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A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
Samuel Barber (1910-1981)
Catalogue thématique des œuvres I. Musique orchestrale Année Œuvre Opus 1931 Ouverture « The School for Scandal » 5 1933 Music for a Scene from Shelley 7 1936 Symphonie in One Movement 9 Adagio pour orchestre à cordes [original : deuxième mouvement du 1938 11 Quatuor à cordes op.11, 1936] 1937 Essay for orchestra 12 1939 Concerto pour violon & orchestre 14 1942 Second Essay for Orchestra 17 1943 Commando March - 1944 Serenade pour orchestre à cordes [original pour quatuor à cordes, 1928] 1 1944 Symphonie n°2 19 1944 Capricorn Concerto pour flûte, hautbois, trompette & cordes 21 1945 Concerto pour violoncelle & orchestre 22 1945 Horizon, pour vents, timbales, harpe & orchestre à cordes - Medea (Serpent Heart) [version révisée Cave of the Heart, 1947 ; arr. Suite 1946 23 de ballet, 1947] 1952 Souvenirs [original : piano à quatre mains, 1951] 28 1953 Medea’s Meditation and Dance of Vengeance 23a 1960 Toccata Festiva pour orgue & orchestre 36 1960 Die Natali - Chorale Preludes for Christmas 37 1962 Concerto pour piano & orchestre 38 1964 Night Flight [arr. deuxième mouvement de la Symphonie n°2] 19a 1971 Fadograph of a Yestern Scene 44 1978 Third Essay for Orchestra 47 Canzonetta pour hautbois & orchestre à cordes [op. posth., complété 1978 48 et orchestré par Charles Turner] © 2009 Capricorn Association des amis de Samuel Barber II. Musique instrumentale Année Œuvre Opus 3 Sketches pour piano : Lovesong / To My Steinway n°220601 / 1923-24 - Minuet Fresh from West Chester (Some Jazzings) pour piano : Poison Ivy 1925-26 - / Let’s Sit it Out, I’d Rather Watch 1931 Interlude I (« Adagio for Jeanne ») pour piano - 1932 Interlude II pour piano - 1932 Suite for Carillon - 1942-44 Excursions pour piano 20 1949 Sonate pour piano 26 Souvenirs pour piano à quatre mains [arr. -
The Mirror of Literature, Amusement, and Instruction Vol
The Mirror of Literature, Amusement, and Instruction Vol. 13 Issue 367 - 25 Apr 1829 Various The Project Gutenberg EBook of The Mirror of Literature, Amusement, and Instruction, by Various This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mirror of Literature, Amusement, and Instruction Vol. 13 Issue 367 - 25 Apr 1829 Author: Various Release Date: March 28, 2004 [EBook #11742] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE MIRROR OF LITERATURE *** Produced by Jonathan Ingram, Elaine Walker and PG Distributed Proofreaders THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION. VOL. 13, No. 367.] SATURDAY, APRIL 25, 1829. [PRICE 2d. * * * * * [Illustration: SUSSEX PLACE, REGENT'S PARK.] SUSSEX PLACE, Is said to have been erected from the designs of Mr. Nash, but is considered as one of the least successful of his productions. It was among the earliest of the terraces in the Park, and its whimsical contrast with the chaster beauties of the adjoining structures soon became the signal for critical pasquinade. It consists of an extensive range of residences, a centre with a pediment, Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. with two octagonal towers, and wings with four other towers in each, all the towers being finished with cupola tops and minarets. Probably the architect was tempted to this introduction for the sake of picturesque variety, since it is not justifiable on the score of architectural beauty or good taste. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
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 from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken 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 did 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 sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. 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 additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
The Moody Blues Tour / Set List Project - Updated April 9, 2006
The Moody Blues Tour / Set List Project - updated April 9, 2006 compiled by Linda Bangert Please send any additions or corrections to Linda Bangert ([email protected]) and notice of any broken links to Neil Ottenstein ([email protected]). This listing of tour dates, set lists, opening acts, additional musicians was derived from many sources, as noted on each file. Of particular help were "Higher and Higher" magazine and their website at www.moodies- magazine.com and the Moody Blues Official Fan Club (OFC) Newsletters. For a complete listing of people who contributed, click here. Particular thanks go to Neil Ottenstein, who hosts these pages, and to Bob Hardy, who helped me get these pages converted to html. One-off live performances, either of the band as a whole or of individual members, are not included in this listing, but generally can be found in the Moody Blues FAQ in Section 8.7 - What guest appearances have the band members made on albums, television, concerts, music videos or print media? under the sub-headings of "Visual Appearances" or "Charity Appearances". The current version of the FAQ can be found at www.toadmail.com/~notten/FAQ-TOC.htm I've construed "additional musicians" to be those who played on stage in addition to the members of the Moody Blues. Although Patrick Moraz was legally determined to be a contract player, and not a member of the Moody Blues, I have omitted him from the listing of additional musicians for brevity. Moraz toured with the Moody Blues from 1978 through 1990. From 1965-1966 The Moody Blues were Denny Laine, Clint Warwick, Mike Pinder, Ray Thomas and Graeme Edge, although Warwick left the band sometime in 1966 and was briefly replaced with Rod Clarke. -
Open THESIS.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS AND SCIENCES IDENTITY AND HIP-HOP: AN ANALYSIS OF EGO-FUNCTION IN THE COLLEGE DROPOUT AND THE MISEDUCATION OF LAURYN HILL LAURA KASTNER SPRING 2017 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts & Sciences and Statistics with honors in Communication Arts & Sciences Reviewed and approved* by the following: Anne Demo Assistant Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Senior Lecturer of Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT In this thesis, I will be analyzing how Kanye West and Lauryn Hill create identity for themselves and their listeners in the albums The College Dropout and The Miseducation of Lauryn Hill, respectively. Identity creation will be analyzed using Richard Gregg’s concept of ego-function. By applying the three stages of the theory – victimization of the ego, demonization of the enemy, and reaffirmation of the ego – to both albums, I hope to uncover the ways that both West and Hill contribute to identity creation. I also discuss the ways in which they create identity that cannot be explained by ego-function theory. I also briefly address the following questions: (1) How does the language of ego-function differ between the artists? (2) How does their music speak to listeners of different ethnicities? (3) What role does gender play in ego-function? Does the language of ego-function differ between genders? ii TABLE OF CONTENTS Acknowledgements ………………………………………………………………......iii Chapter 1 Introduction ................................................................................................. 1 Kanye West: The Jerk and the Genius ............................................................................ -
Musical Narrative in Three American One-Act Operas with Libretti By
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Musical Narrative in Three American One- Act Operas with Libretti by Gian Carlo Menotti: A Hand of Bridge, The Telephone, and Introductions and Good-Byes Elizabeth Lena Smith Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MUSICAL NARRATIVE IN THREE AMERICAN ONE-ACT OPERAS WITH LIBRETTI BY GIAN CARLO MENOTTI: A HAND OF BRIDGE, THE TELEPHONE, AND INTRODUCTIONS AND GOOD-BYES By ELIZABETH LENA SMITH A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 Copyright © 2005 Elizabeth Lena Smith All Rights Reserved The members of the Committee approve the dissertation of Elizabeth Lena Smith defended on March 14, 2005. ___________________________ Jane Piper Clendinning Professor Directing Dissertation ___________________________ Larry J. Gerber Outside Committee Member ___________________________ Michael H. Buchler Committee Member ___________________________ Matthew L. Lata Committee Member ___________________________ Matthew R. Shaftel Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To someone I once knew… iii ACKNOWLEDGEMENTS I wish to extend my appreciation to my advisor Prof. Jane Piper Clendinning for her continuous support and guidance through the preparation of this document as well as related proposals and presentations that preceded it. In every aspect of my doctoral experience, her encouragement and thoughtful counsel has proven invaluable. Also, my gratitude goes to Prof. Matthew Shaftel (whose doctoral seminar inspired this project) and Prof. -
In and out of the Mainstream > Opera News > the Met Opera Guild
In and Out of the Mainstream > Opera News > The Met Opera ... http://www.operanews.com/Opera_News_Magazine/2010/2/Fea... Features February 2010 — Vol. 74, No. 8 (http://www.operanews.org/Opera_News_Magazine/2010/2 /ITALIAN_MASTER__RICCARDO_MUTI_CONDUCTS_THE_MET_PREMIERE_OF_ATTILA.html) In and Out of the Mainstream BARRY SINGER looks at the careers of Samuel Barber and William Grant Still, two composers whose work reflected the ever-changing path of twentieth-century American music. William Grant Still and Samuel Barber Samuel Barber's debut opera, Vanessa, followed William Grant The essence of Still's Still's debut opera, Troubled Island, by less than a decade. Both were output resided in jazz and hard-won labors of love that each composer initiated without a the blues. Barber had commission and ultimately brought to fruition on the strength of his little use for either. own tenacity. Both operas were hits with their opening-night audiences - Vanessa at the Met, Troubled Island at New York City Opera's then-City Center home. Both, nonetheless, soon disappeared 1 of 8 1/9/12 12:28 PM In and Out of the Mainstream > Opera News > The Met Opera ... http://www.operanews.com/Opera_News_Magazine/2010/2/Fea... from the active repertory. In the 1990s, Vanessa would be restored to a respected place in opera, a rebirth that Barber did not live to witness. For Still's Troubled Island, though, resurrection has never really come. As the centennial of Barber's birth approaches, it is intriguing to view him through the contrasting prism of William Grant Still. In many senses, no American composer of the twentieth century contrasts with Barber more. -
Gian Carlo Menotti
Gian Carlo Menotti Trio for violin, clarinet and piano Five songs for soprano & piano Cantilena e Scherzo for harp & string quartet Canti Della Lontananza for soprano & piano Gian Carlo Menotti Gian Carlo Menotti was born in Italy in 1911, but moved to America in 1928 to study at the Curtis Institute of Music, where he met his long-term partner, fellow-composer Samuel Barber. Throughout his life, Menotti felt a kinship with both his Italian heritage and the immediacy of American life. His musical style was direct and Trio for Violin, Clarinet & Piano emotional, drawing upon the influences of Puccini and Mussorgsky especially, but 01 Capriccio 5’09 encompassing a whole range of stylistic traits. Above all, Menotti was acutely 02 Romanza 5’59 conscious of reaching out to his audience. A prolific writer of stage works, his 1951 television opera Amahl and the Night Visitors brought opera to a new, wider public, and 03 Envoi 2’33 as co-founder of the Festival of Two Worlds in Spoleto in Italy, as well as its sister Spoleto Festival in South Carolina, Menotti lived out his belief that music is a gift to Five Songs be celebrated and shared by all. 04 i The Eternal Prisoner 2’05 Menotti’s Trio was commissioned by the Verdehr Trio, though it took more than one 05 ii The Idle Gift 1’41 request to motivate Menotti to write the work. Indeed, the Trio’s very existence is a 06 iii The Longest Wait 3’54 testament to the value of perseverance. Violinist Walter Verdehr first wrote to Menotti 07 iv My Ghost 3’47 in 1987, asking him to write a work for his chamber ensemble comprising violin, 08 v The Swing 3’41 clarinet and piano. -
CORSER Wl«I • • 11/ Lilo, Tosto Tat Ji /0#14" Tjitkro Ii Ltr,U," -TASSONI
GENEALOGY OP 'JSB GORSER FAMILY IN AMERICA BM8aACJNO MANY OF THE DESCENDANTS OF THE EARLY SETTLERS OF THE NAME IN . MASSACHUSETTS AND NEW HAMPSHIRE WITH IOMB · REMINISCENCES OF THEIR TRANS;.ATLANTIC COUSINS, ° CORSER wl«i • • 11/ lilo, Tosto tAt Ji /0#14" tJitkro ii ltr,u," -TASSONI, GENEALOCiY 01' TB■ CORSER FAMILY. ABBREVIATIONS USED IN THIS BOOK, a. .e.ged. b. born. conj. conjecturally. d. died. dau. daughter. dee. deceased. m. or mar. married. res. residence. s. son. unm. ' unmarried. u. s. w. •(u~ so weiter [Ger.]), etc . • The figures attached (in the manner of exponer,ts, so called, in algebraic notation) to the personal or Christian names, denote the generation; as, Asas (William•, John'), mean ing, - Asa the third, or of the third generation, in the line of descent, son of William the second, son of John the first. oor CONTENTS. I. PRELIMINARY- ORIGIN OF THE CORSER SURNAME AND FAMILY, u. s. w. No. 1. Primary use of Name. _ I 2, Derivation of Name. _ _ _ - I 3. The Cursores. __ _ _ __ 4. Italian and Frem~h F<•nns. • __ _ _ _ S. Of French Patern1ty. _ _ _ _ _ a.. 6. Le Corsour. _ _ _ _ , 3 7. Corviser. _ _ _ _ _ '4 8. Origin of Family - Italian Speculation. + 9, Later Diversions. 5 to. The Family Arms. - - - . 11. The FamDy in England, _ . _ 11a. Further Partic~lars relating to the English Family .. 11 b. Family of George Corser, Esq. -- - - . -- - - Io 11 c. The Rev. Thomas Corser. _ _ _ _ I I 11 d. -
Lyric Opera of Kansas City Announces Selection of 2018-2019 Resident Artists and Kicks Off Explorations Series with High Fidelity Opera
FOR IMMEDIATE RELEASE Contact: Ellen McDonald (816) 213-4355 (c) [email protected] For Tickets: kcopera.org or (816) 471-7344 Lyric Opera of Kansas City Announces Selection of 2018-2019 Resident Artists and Kicks Off Explorations Series with High Fidelity Opera Resident Artist Program, led by World-Renowned Tenor and Teacher Vinson Cole includes Soprano Kaylie Kahlich, Mezzo-soprano Kelly Birch, Tenor Joseph Leppek, Baritone SeokJong Baek and Coach/Accompanist James Maverick High Fidelity Opera to showcase Resident Artists Sat. Nov. 17 at the Lyric Opera’s Michael and Ginger Frost Production Arts Building Kansas City, MO (Oct. 25, 2018) – General Director and CEO Deborah Sandler today announced the selection of the artists for the Resident Artist Program for the 2018-2019 season. They include soprano Kaylie Kahlich, mezzo-soprano Kelly Birch, tenor Joseph Leppek, baritone SeokJong Baek and coach/accompanist James Maverick. Led by Vinson Cole, UMKC Conservatory of Music and Dance faculty member and one of the leading artists of his generation, they will perform in various roles throughout the 2018-2019 season on the main stage at the Kauffman Center for the Performing Arts as well as at community outreach and education events. During their residencies, in addition to appearing in mainstage roles, the Resident Artists will work with visiting guest artists, conductors and directors, participate in master classes, receive career coaching, study leading roles, make musical appearances in the community, and appear in their own intimate musical performances as a part of Lyric Opera of Kansas City’s Explorations series, which will focus on intimate gems of the vocal music repertoire. -
A Dramaturgical Approach to the Performance of Selected Choral Works of Samuel Barber
A Dramaturgical Approach to the Performance of Selected Choral Works of Samuel Barber by David Edward Holler A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Degree Faculty of Music University of Toronto © Copyright by David Edward Holler 2019 A Dramaturgical Approach to the Performance of Selected Choral Works of Samuel Barber David Edward Holler Doctor of Musical Arts Degree Faculty of Music University of Toronto 2019 Abstract The purpose of the study is to demonstrate how a dramaturgical approach to the interpretation and performance of the choral music of Samuel Barber aids the conductor in developing well- informed performances of his music. Exploration of score markings, contextual information including the composer’s biography, a twentieth century overview and the musical climate of the day, and background about the texts and their writers all contribute to producing well-grounded and knowledgeable performances of Barber’s compositions Reincarnations and The Prayers of Kierkegaard. Various ideologies on what constitutes a well-informed performance and the importance of the performer are explored: Nicholas Cook’s ideas on score vs. script, Peter Kivy’s thoughts on composer intention, Richard Taruskin’s questioning of the importance of authenticity, Gary Tomlinson’s discussion on the virtues of contextual information, Clifford Geertz’s comparison of thick vs. thin descriptions, and Randall Dipert’s three-tiered system of identifying levels of intentions. Studies by Gary E. McPherson on children’s musical development and Philip Brett on sexual identity and its effect on artistic development give reason ii to explore Barber’s personal life.