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Racoon 04-05.3.Pub
1 Periodico di informazione, cultura e curiosità dell’I.S.I.S.S. “Marco Casagrande” Pieve di Soligo Anno 3, Numero 3, 10 marzo 2005 Salute, gente! IL MIO CANTO LIBERO E’ marzo, ormai. A marzo il sole tramonta dopo le sei del pomeriggio, e ciò dovrebbe spingermi ad andare a correre per tonificare il fondoschiena, ma il freschino che ancora persiste mi trattiene dal farlo (che peccato!?). A marzo, esposte nelle vetrine dei negozi, si vedono già le collezioni primavera-estate e guardando l’armadio si desidera con tutto il cuore di potersi liberare da pesanti maglioni e soffocanti sciarpone; sennonché la neve ci ricorda che siamo ancora (uffi puffi!) in inverno! E le temperature ribadiscono il In un mondo che non ci vuole più concetto! il mio canto libero sei tu E così, a marzo, nonostante mi fossi ripromessa di E l'immensità buttare giù con un bel footing per stradine tranquille i si apre intorno a noi chili che hanno nome frittelle, panettone, depressione al di là del limite degli occhi tuoi da ritorno a scuola, eccomi seduta sulla sedia di un Nasce il sentimento nasce in mezzo al pianto tranquillo bar ad ammirare i fiocchi bianchi che e s'innalza altissimo e va scendono a mulinelli, sorseggiando una fumante e vola sulle accuse della gente cioccolata calda ipercalorica (ho rifiutato quella light a tutti i suoi retaggi indifferente perché sarebbe stato ipocrita!!). sorretto da un anelito d'amore di vero amore In un mondo che - Pietre un giorno case Fortunatamente, così come ogni periodo non prigioniero è - ricoperte dalle rose selvatiche -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
An Exposition of the Book of Ecclesiastes
^f^^ ^^^^ LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF 1 LIBRARY OF THE UNIVERSITY OF CALIFORNIA LIBRARY OF T /v /v r^ (V (V fv TTTTTrjrTmi "7r?^nprrc7 LIBRARY OF THE UNIVERSITY OF CALIFORNIA ^^ zS^ '-^ F CALIFORNIA LIBRARY OF THE UNIVERSITY OF CALIFORNIA % ryrTTTrTrj^E 7r-^i-K~j~nrj: C3 ^i ^i Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/expositionofbookOObridrich AN EXPOSITION OF THE BOOK OF ECCLESIASTES. BY THS REV. CHARLES^IiroGES, M.A., RECTOR OF IlINTON MARTELL, DORSET. AUIBOR OF AN " EXPOSITION OF I-SALM CXDC ;" " COiDIENTARY OX PROVERBS " CTBISnAN MDOSTRY ;" " MEMOffi OF 31ART JANE GRAHAM," ETC. LI P!OF THB UNIVERSITY, NEW YORK: ROBERT CARTER & BROTHERS, No. 580 BROADWAY. 1860. -^^ ^-"i-^d. EDWAED 0, JENKINS, Printer and Stereotyper, No. 26 Feankfobt Stebet. PREFACE. The Book of Ecclesiastes has exercised the Church of God in no common degree. Many learned men have not hesitated to number it among the most diffi- cult Books in the Sacred Canon. ^ Luther doubts Avhether any Exposition up to his time has fully mas- tered it.' The Patristic Commentaries, from Jerome downwards, abound in the wildest fancies ; so that, as one of the old interpreters observes, ' the trifles of their allegories it loathetli and wearieth me to set down." Expositors of a different and later school have too often/' darkened counsel bywords without knowledge" (Job, xxxviii. 2) ; perplexing the reader's mind with doubtful theories, widely diverging from each other. The more difficult the book, the greater the need of Divine Teaching to open its contents. -
…Ôôe>XY Xà .Ƒà¦}Ñuãł
110325-27 bk NormaUS 15/12/2004 12:02pm Page 12 Producer’s Note The transfer of the complete opera was made from the best portions of two 1950s-era British LP pressings, which BELLINI seemed to provide the most open and un-gimmicked sound of several editions I had from which to work. The original master tapes were problematic in the same respects as other early recordings Callas made with the Italian EMI team (I Puritani, Lucia di Lammermoor) in that they contained overload distortion, electronic clicks and thump-like sounds during some of Callas’ louder passages. (These can also be heard on EMI’s own CD transfer Norma of this recording.) Unlike every previous EMI CD reissue of this Norma, however, I have closed the gap of several seconds in the music that occurs at the transition from Track 4 to Track 5 of CD 2, which is supposed to be played without pause (as noted by Dr. Robert E. Seletsky in his article, “Callas at EMI: Remastering and Perception” in IA CAL the Spring 2000 issue of The Opera Quarterly). AR LA Mark Obert-Thorn M S Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of 195 ing specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been 4 Record nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. He has found a way to combine all three in the transfer of historical recordings. -
Inhalt Bandl Vorwort XXVII Einleitung I Vorspiel Auf Dem Theater — Eine Stimme Zur Rechten Zeit ...I Vollendung Und Ende
Inhalt Bandl Vorwort XXVII Einleitung i Vorspiel auf dem Theater — Eine Stimme zur rechten Zeit .... i Vollendung und Ende des Belcanto: Enrico Caruso 3 Vom Erbe — über das Erben 9 I. Kapitel Dialog mit der Ewigkeit 19 In der Welt der Erinnerung zählt die Zeit nicht 19 Auf der Suche nach der verlorenen Zeit 26 Sänger und Schallplatte 28 Von Treue und Untreue 34 II. Kapitel Belcanto 39 Goldenes Zeitalter 39 Heiliger Geist - Hermaphrodit - Modern Heroe - Die übernatürlich schöne Stimme 46 Paradigma: Farinelli 48 Das Ende der Gesangskunst? 55 III. Kapitel Der ferne Klang oder: Die alte Schule 59 Nachtigall: Adelina Patti 59 • Auf Flügeln des Gesanges: Marcella Sembrich 67 Exkurs: Die Schule der Mathilde Marchesi 73 Assoluta: Lilli Lehmann 76 • Yankee-Diva: Lillian Nordica 83 • Der letzte Rokoko-Tenor: Fernando de Lucia 88 • La voix unique du monde: Fran cesco Tamagno 99 • Exkurs: Die Zerstörung des Helden: Francesco Tamagno und die Otello-Tradition 104 • Magisches Wispern: Victor Maurel 112 • La Gloria d'Italia: Mattia Batristini 115 • Der vollkommene Sänger: Pol Plancon 122 IV. Kapitel Richard Wagner: Die menschliche Stimme ist die Grundlage aller Musik 127 Der Darsteller ist der wahre Künstler 127 Die Oper oder: Das Narrenhaus für allen Wahnsinn der Welt . 129 Kesting, Jürgen digitalisiert durch: Die grossen Sänger IDS Luzern 2010 Der dramatische Gesang 132 Paradigma I - Die Utopie von der vollkommenen Tenorstimme oder: Joseph Tichatschek 137 Paradigma II - Das Gesangsgenie ohne Stimme oder: Wilhelmine Schröder-Devrient 139 Wenn sich die Theorie der Wirklichkeit nicht fügt 144 Gesang als Handlung 147 Die Frage des Belcanto 149 Gesang und Sprache: Wagner, der Lautkomponist 159 Entwicklungen des Wagner-Gesangs 163 V. -
The Parable of the Sower, Part 4—The Rocky Ground Hearer” Matthew 13 Dr
L. Matthew in Biblical Perspective The Kingdom of God and the Word of God “The Parable of the Sower, Part 4—The Rocky Ground Hearer” Matthew 13 Dr. Harry L. Reeder III May 24, 2015 – Morning Sermon We will start by looking at Matthew 13. This is the parable of the sower. This is our fourth study of six in this series. Let’s look at Matthew 13. It’s God’s Word and it’s the truth. Matthew 13:1–9, 18–23 says [1] That same day Jesus went out of the house and sat beside the sea. [2] And great crowds gathered about him, so that he got into a boat and sat down. And the whole crowd stood on the beach. [3] And he told them many things in parables, saying: “A sower went out to sow. [4] And as he sowed, some seeds fell along the path, and the birds came and devoured them. [5] Other seeds fell on rocky ground, where they did not have much soil, and immediately they sprang up, since they had no depth of soil, [6] but when the sun rose they were scorched. And since they had no root, they withered away. [7] Other seeds fell among thorns, and the thorns grew up and choked them. [8] Other seeds fell on good soil and produced grain, some a hundredfold, some sixty, some thirty. [9] He who has ears, let him hear.” [18] “Hear then the parable of the sower: [19] When anyone hears the word of the kingdom and does not understand it, the evil one comes and snatches away what has been sown in his heart. -
Norbeck, Peters & Ford
Norbeck, Peters & Ford 59 Congress Street Saint Albans, VT 05478-1611 USA 1-802-524-7673; 1-800-654-5302 Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com Auction Number 146 •- AUCTION Closing Date: Friday, 29 May, 2015 1001. AINO ACKTÉ: FAUST – Air des bijoux / LOHENGRIN – Einsam in trüben Tagen (in French). 10½” brown Parl. Odeon PO 93 (XPr 1-2/4-2), (w.Ackté’s signature embossed in shellac). M-A, superlative copy. MB 35 “It is difficult to realise that Ackté's sensational début at Covent Garden was as Salome in Richard Strauss' opera. Here she sings…with grace and excellent coloratura technique, and although she was Finnish, the style is typically French, and with immaculate diction. - John Freestone 1002. AGUSTARELLO AFFRE (The French Tamagno): ARMIDE – Plus j’observe ces lieux (Gluck) / MARCELLE DEMOUGEOT, AGUSTARELLO AFFRE, JUSTE NIVETTE: FAUST - Anges purs, anges radieux. 10½” brown & white French Odéon 97011/60895 (XP 4250/4267). A or better, choice copy has few faintest rubs, positively inaud. MB 15 1003. AGUSTARELLO AFFRE (The French Tamagno): SIGURD – Esprits, gardiens (Reyer) / L’ATTAQUE DU MOULIN – Adieux à la forêt (Bruneau). 10½” brown & gold / brown & white French Odéon 36682/36741 (XP 2460/2565). A to M-A, choice copy. MB 15 1004. AGUSTARELLO AFFRE (The French Tamagno): L’AFRICAINE – Pays merveilleux, 2s. 10½” brown & gold French Odéon 36695/72 (XP 2463/75). A to M-A, choice copy has, Sd.2 only, very few superficial pap.scuffs, barely visible & inaud. MB 15 1005. AGUSTARELLO AFFRE (The French Tamagno): GUILLAUME TELL – Asile héréditaire / LOHENGRIN – In fernem Land (in French). -
Columbia Records Catalogue 1922
Complete to Supplement No. 60.1 CURRENT PRICES OF COLUMBIA RECORDS. DARK BLUE LABEL (Doable,S,ided)v__I'sges_60 to 103 10 inch 3/6 12-inch 516 .. ... Hebrew-Jewish Records-see page 110. Wm. McEwan Sacred Album 42/- . each The Children's Bo:-" (see 103) 21/- page - LIGHT BLUE LABEL ('J Pc.'er 9 42 uble-Sided; , to 10-inch 5/- each 12-inch 7/6 ea -a "Daughter of Madame Angot " A1Lum 13 s."."EEN LABEL. Pages 43 to 59 PINK LABS L, GRAND OPERA (Single-Side d Page 1C 12-inch 1246 iva-dica only. ... .. ... each BROWN LAB-Z.. ITALIAN OPERA ;Double-Sided) 104 to :106 516 10-inch :3/6 each ... )'L iach eac" RMEN' Ai .um, compieta 0 1.'Sa i i)A " Aihurn, containing Complete Opera £ r "i?ICOLETfO"Album,containingCompleteOpera . £4 8n. `IteCards. '::tng txdn>,flcru/t4 ruder P.rittlA! CAUTION..--Cuwnrbta 3ety '4;,stralian Zealand Parents, naý" ný: b! aal for :slr! ar offered fir salt at less than Al autfori,ed pries: fixed tAo,* liaFls eannrrier respa,iaýrly. euir,{;;r rendering LRtk ells:- ant pýr'`arer to damage for infringe sent"-ssýwýwý++.ýmr ýrnllls.. ý7s8 BRIT'S}-?!NST;TUTE QE SOUND, 922 SUPPLEMENTARY CATALqQIWTION;(7DFD ROAD, i iris Supplementary Catalogue includes all Columbia Records issued in the supplements Nos. 61 to 65 and Special Issues. and with the 1922 Catalogue comprises the complete Columbia repertoire to the No. 65 and " Lady of re Rose " Supplements. I ORPLE LABEL-12-In. Single-Sided. 716 LIGHT BLUE LABEL-12-in.-contd. 72:18 (Carmen-My Mother I Behold ILe Chasseur Ntaudit (Tbe Accursed l Duct: Shaba Mullings and 1.1423{ Hunter). -
PD030 Elenco CD Sezione Informatica a Dicembre 2011
SPORTELLO DI PADOVA SEZIONE INFORMATICA Comunicato n. 30 PD - 23/12/2011 INVENTARIO CD MUSICALI A DICEMBRE 2011 n° Autore Titolo Genere 187 Abba The definitive collection Leggera Straniera 112 Abdelli Abdelli Etnico 389 Aboriginal Beats Of Aboriginal Beat from Australia Etnico 481 AC/DS Powerage Rock Straniero 605 Adele 21 Rock Straniero 71 Adiemus Cantata mundi Etnico 417 Aerosmith The very best of Aerosmith Rock Straniero 264 Afrocelt Seed Etnico 488 Afterhours I Milanesi ammazzano il sabato Rock Italiano 314 Alanis Morissette So-Called chaos Rock Straniero 42 Alex Britti It.pop Leggera Italiana 61 Alex De Grassi The water gardon New Age 369 Alice in Chains Live Rock Straniero 307 Alicia Keys The diary of Alicia Keys Rock Straniero 375 Alicia Keys Unplugged Leggera Straniera 608 Alison Krauss & Union Station Paper Airplane Rock Straniero 582 Alva Noto + Ryuichi Sakamoto Summvs Contemporanea 415 Alva Noto Ryuichi Sakamoto Insen Etnico 529 Amadou & Mariam Welcome to Mali Etnico 155 Andrea Bocelli Cieli di Toscana Leggera Italiana 258 Andrea Bocelli Sentimento Leggera Italiana 79 Anggun Chrysalis Rock Straniero 262 Ani Difranco Evolve Rock Straniero 443 Ani Difranco Reprieve Rock Straniero 471 Annie Lennox Song of mass destruction Rock Straniero 514 Annie Lennox Diva Rock Straniero 566 Annie Lennox A Cristmas Cornucopia Rock Straniero 510 Anouar Brahem The astounding eyes of Rita Etnico 604 Anoushka Shankar Traveller Etnico 269 Anovar Braim Le pass du chat noir Etnico 530 Anthony and the Johnsons The crying light Rock Straniero 567 Arcade -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh. -
Puccini and the Girl
CHAPTERNO FIVE Puccini, Publicity, and the 1910 Premiere With the opera completed and the contract signed, Fanciulla moved toward its New York premiere guided by a new set of imperatives, which were deter- mined by material concerns. Simply put, the Metropolitan could not afford for this event to be anything less than a sensation: the financial investment was huge and the cultural risk even greater. As the narrative of events presented in this chapter will show, Fanciulla’s debut was also New York’s debut on the world stage. By presenting the first-ever American premiere of an opera by a major European composer, the Metropolitan organization hoped to win le- gitimacy for New York as one of the world’s great opera cities. The unprece- dented amount of advance publicity, both in New York and abroad, shows that no expense was spared to guarantee the opera’s success and to advance the Metropolitan’s broader agenda. The Metropolitan publicists succeeded in shaping pre-premiere opinion in a number of ways. They gave the press great access to Puccini, Belasco, Tos- canini (see pl. 24), and the principal singers, resulting in a flurry of interview articles, and managed to make the premiere into a bona fide society event, guaranteeing that New York’s wealthiest residents and most famous celebri- ties would attend the opera and that society newspaper writers would cover the event. A number of common threads run through the advance newspaper articles. One of the Metropolitan’s favorite publicity angles was to claim that the opera blended together two different worlds—that Fanciulla represented a synergy of old and new, European and American. -
Conference Programme 19 Schedule Outline 19 RMA Events and Committee Meetings 20 Thursday, 13 September 21 Friday, 14 September 36 Saturday, 15 September 53
Programme committee Michelle Assay (RMA Conferences Co- ordinator since 2017) Christopher Charles (University of Bristol) Warwick Edwards (RMA Conferences Co-ordinator to 2017) Will Finch (University of Bristol) Annika Forkert (Liverpool Hope University) Katy Hamilton (RMA) Guido Heldt (University of Bristol, committee chair) Barbara Kelly (Royal Northern College of Music, Manchester) Thomas Schmidt (University of Huddersfield) Conference team Lindsay Carter Neal Farwell (electroacoustic concert) Kate Guthrie (deputy conference director) Guido Heldt (conference director) Sarah Hibberd (deputy conference director) John Pickard (acoustic concert) Peter Relph Contents 1 Welcome 2 Maps and plans 4 Places to eat and drink 6 About the RMA 8 Future RMA events 10 Meet the keynote speakers 12 Conference programme 19 Schedule outline 19 RMA events and committee meetings 20 Thursday, 13 September 21 Friday, 14 September 36 Saturday, 15 September 53 Contacts, emergencies and acknowledgments 72 Notes 73 Welcome 2 Dear colleagues Welcome to the 54th Annual Conference of the Royal Musical Association, taking place at the University of Bristol. It is a particular pleasure to return to Bristol following the very successful Research Students’ Conference three years ago. Once again we have had an overwhelming national and international response to the call for papers, compositions and presentations – a testament to the extraordinary range of music research being carried out today. The conference highlights the Edward J. Dent medal presentation and Lecture by Alejandro L. Madrid and the Peter Le Huray Lecture by Robert Adlington; and selected acoustic and electroacoustic compositions will be premiered by the Bristol Ensemble and the Bristol University Loudspeaker Orchestra. In addition there are the Annual General Meeting of the Association, a reception sponsored by Routledge, and an exhibition of books and other materials.