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Season of Song 2010
Art Song Canberra Inc. www.artsongcanberra.org SEASON OF SONG 2010 In 2010 Art Song Canberra will present seven recitals of fine art song by an outstanding array of award-winning, highly-accomplished artists, many of them widely experienced on the world stage. Background Art Song Canberra is a dedicated group of volunteers and lovers of art song. It was founded as the A.C.T. Lieder Society in 1976 by a small group of devotees of art song led by Eleanor Houston OAM of Covent Garden fame. The society changed its name to Art Song Canberra in 2006. Its purpose is to foster and extend the love of art song. This is done mainly by: presenting high quality concerts to its members and the general public. The annual series is called the Season of Song; conducting an annual Festival of Song in which aspiring singers perform to an audience in a relatively relaxed and friendly environment and receive advice and encouragement from an acknowledged expert; providing opportunities for concert performance for dedicated and talented amateur singers. This format has met with considerable audience approval and Art Song Canberra has scheduled another such event in its Season of Song 2010; and conducting Members’ Soirées, social gatherings of members to sing and play together, taking us back to the origin of Lieder societies. The society presents a series of six or seven vocal recitals each year – the Season of Song. Most of the society‟s artists over the years have been have been highly accomplished both in Australia and internationally. Among the many artists who have performed for the society are such noted Australian singers as Eleanor Houston, Michael Martin, Sally-Anne Russell, Tobias Cole, Warwick Fyfe, Christopher Allan, Angela Giblin, Louise Page and Christina Wilson as well as Susan Burghardt from the USA and Thomas Weinhappel from Vienna. -
2012 02 20 Programme Booklet FIN
COMPOSITION - EXPERIMENT - TRADITION: An experimental tradition. A compositional experiment. A traditional composition. An experimental composition. A traditional experiment. A compositional tradition. Orpheus Research Centre in Music [ORCiM] 22-23 February 2012, Orpheus Institute, Ghent Belgium The fourth International ORCiM Seminar organised at the Orpheus Institute offers an opportunity for an international group of contributors to explore specific aspects of ORCiM's research focus: Artistic Experimentation in Music. The theme of the conference is: Composition – Experiment – Tradition. This two-day international seminar aims at exploring the complex role of experimentation in the context of compositional practice and the artistic possibilities that its different approaches yield for practitioners and audiences. How these practices inform, or are informed by, historical, cultural, material and geographical contexts will be a recurring theme of this seminar. The seminar is particularly directed at composers and music practitioners working in areas of research linked to artistic experimentation. Organising Committee ORCiM Seminar 2012: William Brooks (U.K.), Kathleen Coessens (Belgium), Stefan Östersjö (Sweden), Juan Parra (Chile/Belgium) Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Institute in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music- making and our understanding of them. ORCiM -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
THE UNIVERSITY of MELBOURNE ANNUAL REPORT Report of the Proceedings of the University for the Year Ended 31St December, 1949
THE UNIVERSITY OF MELBOURNE ANNUAL REPORT Report of the Proceedings of the University for the year ended 31st December, 1949. To His Excellency, Sir Dallas Brooks, K.C.B., C.M.G., D.S.O.,, Governor of Victoria. May it Please Your Excellency, I have the honour, in accordance with Section 43 of the Uni versity Act 1928, to submit to Your Excellency the following report of the Proceedings of the University during 1949. 1. Student Numbers: The first falling off in numbers, since the post-war inflation, took place in 1949 when the total number of students was 9,254 compared with 9,497 in 1948. This was the direct result of the reduction of ex-service entries from 3,770 in 1948 to 3,460 in 1949. The 1950 enrolments are bound to recede sharply and 1951 will probably see the lowest point of the recession in as much as our recent surveys, which are similar to those prepared by the Universities Commission for all Australian Universities, indicate that numbers will start to rise again in 1952. The restrictions on entry remained as in 1948 and applied only to the second year of the Medical Course (42 students who had passed First Year being deferred till 1950) and to the "extra-Victorian quota" in the first year. 2. Staff: The size of the University can be measured to some extent by the number of those on the pay-roll, which increased from 1,344 in 1948 to 1,534 in 1949 (1,186 full-time and 348 part-time). -
The Voice and Histories of Emotion: 1500-1800 Performance Collaboratory
program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 program THE VOICE AND HISTORIES OF EMOTION: 1500-1800 Performance Collaboratory Presented by ARC Centre of Excellence for the History of Emotions (CHE) Hosted by Department of Performance Studies The University of Sydney 29 September – 1 October 2014 Venues Collaboratory Organising Committee Main Venue Jane Davidson & Penelope Woods, CHE The Rex Cramphorn Studio Alan Maddox, Ian Maxwell & Glen McGillivray, Department of Performance Studies The University of Sydney The University of Sydney The studio is on Level 1 of the John Woolley Building, A20, and is accessed from Manning Rd, down the concrete steps opposite the Old Teachers’ College. sydney.edu.au/arts/about/maps.shtml?locationID=A20 Monday Afternoon Venue The Old School, Building G15 Important Notice Maze Crescent, University of Sydney. Participants can access wifi internet through the The Old School building backs onto Cadigal Green ‘UniSydney’ network, not ‘Uni-Sydney Guest’ network. in the Darlington section of campus, a 5-10 minute account name: historyofemotions walk from Performance Studies. password: 58316659 sydney.edu.au/arts/about/maps.shtml?locationID=G15 program Day 1: Monday 29 September, Rex Cramphorn Studio 8.30am Registration at The Rex Cramphorn Studio 9.15am Welcome 9.30–10.30am Session 1: KeynoTe Chaired by Jane davidson -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Francesco Cavalli One Man. Two Women. Three Times the Trouble
GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. -
ANODE 2014 Press Release
ANODE 2014 Festival and Symposium presented by FOCI Arts in partnership with Tulane University and Coup d'Oeil Art Consortium April 10-14, 2014 Press Contact: Ray Evanoff: 504.214.7503 | [email protected] ANODE 2014 ("Artistic New Orleans: Discussions & Extensions") is a brand new contemporary music festival taking place in New Orleans and Chicago in April 10-14, organized by FOCI Arts in partnership with Coup d'oeil Art Consortium and the Tulane University Music Department. It features concerts, public discussions, gallery shows, and educational events showcasing a variety of internationally- prominent contemporary musicians, both based in New Orleans and from across the globe. ANODE 2014 will showcase their work in performances, and explore the visual documentation of their music through a display of scores and sketches at Coup d'oeil Art Consortium's gallery. The festival will feature numerous world premieres and New Orleans first performances, and is the first event of its kind to take place in New Orleans, with a sister concert in Chicago. ANODE 2014 is made possible in part through the generous support of the Harry and Alice Eiler Foundation, inc, the Newcomb College Institute of Tulane University, and Coup d'Oeil Art Consortium. Claus-Steffen Mankopf's attendance is made possible through the generous support of the Goethe- Institut Chicago. The attendance of Kathryn Schulmeister and Joan Arnau Pàmies is made possible through the generous support of New Music USA. 7:30 - Amanda DeBoer Bartlett, Shanna Gutierrez, and Jesse Langen -
Download Booklet
SAM HAYDEN FREE DOWNLOAD from our online store Sam Hayden Die Abkehr 11’07 Ensemble Musikfabrik • Stefan Asbury conductor Helen Bledsoe fl ute/piccolo/alto fl ute · Peter Veale oboe/cor anglais Richard Haynes contrabass clarinet · Rike Huy trumpet/piccolo trumpet Bruce Collings trombone · Benjamin Kobler piano · Dirk Rothbrust percussion Hannah Weirich violin · Axel Porath viola · Dirk Wietheger cello Håkon Thelin double bass Enter code: HAYDEN247 nmcrec.co.uk/recording/dieabkehr Die Abkehr (Turning Away) is the most recent drive or melodic elegance of a particular part one composition presented here. As Hayden explains, moment, to the dialogic interplay between different ‘[t]he more poetic meanings of the title hint at a instruments the next and the more complex and critical commentary on the increasingly nostalgic diffuse surface of the totality at another time. What and inward-looking culture of the UK’. Abkehr also remains tantalisingly out of reach is an appreciation means ‘renunciation’, and to what extent that title of the whole and its constituent parts at the same time. is expressed more specifi cally in the piece, over and Again like earlier works, Die Abkehr is highly above being embodied by a musical language that episodic: there are three movements, each seems out of step with what the composer sees as consisting of a number of short individual sections the dominant trends in the UK and that is largely each exploring a particularly type of material. If shared with the rest of his oeuvre is hard to say. As anything, however, Hayden appears to have grown the composer also states, the composition ‘is the bolder in his use of the general pause: time and latest of a cycle of pieces that combine ideas related again, the music recedes into silence, before to “spectral” traditions with algorithmic approaches starting afresh. -
1 © Luisa Greenfield
1 © Luisa Greenfield © Luisa MING TSAO (*1966) 1 – 7 ensemble ascolta Conductors: 1 – 7 Johannes Kalitzke, Andrea Nagy, clarinet 8 – 19 Stefan Schreiber Erik Borgir, violoncello Recording dates: 1 – 7 18–19 Jul 2014, Hubert Steiner, guitar 8 – 19 28–29 Nov 2015 Plus Minus (2012 /13) Mirandas Atemwende (2014 /15) Andrew Digby, trombone Recording venues: 1 – 7 KvB-Saal Funkhaus Köln, Germany Realization of Karlheinz Stockhausen’s Markus Schwind, trumpet 8 – 19 Teldex Studio Berlin, Germany “Plus Minus” Anne-Maria Hoelscher, accordion Producer: 1 – 7 Eckhard Glauche Florian Hoelscher, piano 8 – 19 Markus Heiland 1 Plus Minus – Page I. 05:53 8 Erwartung 02:54 Martin Homann, percussion Recording engineer: 1 – 7 Mark Hohn Boris Müller, percussion 8 – 19 Markus Heiland Julian Belli, percussion Technique / Editing: 1 – 7 Astrid Groflmann 2 Plus Minus – Page II. 05:38 9 Es gibt einen Ort 02:33 Akos Nagy, percussion Executive Producer: 1 – 7 Harry Vogt 8 – 19 Markus Heiland 3 Plus Minus – Page III. 04:15 10 Du entscheidest dich 02:01 8 – 19 Kammerensemble Final mastering: Markus Heiland Neue Musik Berlin Graphic Design: Alexander Kremmers 4 Plus Minus – Page IV. 03:24 11 Heute 04:44 Miranda: Tajana Raj, soprano (paladino media), cover based on Caliban: Christoph Gareisen and artwork by Erwin Bohatsch 5 Plus Minus – Page V. 03:04 12 Helligkeitshunger 04:36 Jan Pohl, speaking voices Publisher: Edition Peters Rebecca Lenton, flute Gudrun Reschke, oboe / english horn 1 – 7 © 2014 Produced by 6 13 Plus Minus – Page VI. 03:59 Das Geschriebene 03:44 Theo Nabicht, bass clarinet Westdeutscher Rundfunk Köln. -
Michael Finnissy Singular Voices
Michael Finnissy Singular Voices 1 Lord Melbourne †* 15:40 2 Song 1 5:29 3 Song 16 4:57 4 Song 11 * 3:02 5 Song 14 3:11 6 Same as We 7:42 7 Song 15 7:15 Beuk o’ Newcassel Sangs †* 8 I. Up the Raw, maw bonny 2:21 9 II. I thought to marry a parson 1:39 10 III. Buy broom buzzems 3:18 11 IV. A’ the neet ower an’ ower 1:55 12 V. As me an’ me marra was gannin’ ta wark 1:54 13 VI. There’s Quayside fer sailors 1:19 14 VII. It’s O but aw ken weel 3:17 Total Duration including pauses 63:05 Clare Lesser soprano David Lesser piano † Carl Rosman clarinet * Michael Finnissy – A Singular Voice by David Lesser The works recorded here present an overview of Michael Finnissy’s continuing engagement with the expressive and lyrical possibilities of the solo soprano voice over a period of more than 20 years. It also explores the different ways that the composer has sought to ‘open-up’ the multiple tradition/s of both solo unaccompanied song, with its universal connotations of different folk and spiritual practices, and the ‘classical’ duo of voice and piano by introducing the clarinet, supremely Romantic in its lyrical shadowing of, and counterpoints to, the voice in Song 11 (1969-71) and Lord Melbourne (1980), and in an altogether more abrasive, even aggressive, way in the microtonal keenings and rantings of the rarely used and notoriously awkward C clarinet in Beuk O’ Newcassel Sangs (1988). -
F Te Hititomts of Iulbonrnt 1939
f te Hititomts of iUlbonrnt 1939. VISITOR. HIS EXCELLENCY THE GOVERNOR OF VICTORIA. COUNCIL. CHANCELLOR SIR JAMES WILLIAM BARRETT, K.B.E., C.B., C.M.G., LL.D. (Manitoba), M.D., M.S. (Melb.), F.R.A.C.S., F.R.C.S. (Eng.), C.M.Z.S. Elected 30th August, 1935. DEPUTY-CHANCELLOR. RT. HON. SIR JOHN GREIG LATHAM, P.C, G.C.M.G., K.C., M.A., LL.M. Elected 30th August, 1935. VICE-CHAN CELLOR. JOHN DUDLEY GIBBS MEDLEY, M.A. (Oxon). MEMBERS. Appointed by the Governor-in-Council, 17th December, 1935— HON. JOHN PERCY JONES, M.L.C. Originally appointed 11th July, 1923. HON. SIR STANLEY SEYMOUR ARGYLE, K.B.E., M.L.A., M.B.. B.S. Originally appointed 15th September, 1927. SIR WILLIAM LENNON RAWS, KT.B., C.B.E. Originally appointed 12th December, 1928. HON. JOHN LEMMON, M.L.A. Originally appointed, 19th July, 1932. CHARLES HAROLD PETERS, M.C. Originally appointed Sth December, 1932. JAMES MACDOUGALL, Originally appointed Uih August, 1933. HON. PERCY JAMES CLAREY, M.L.C. 19th December, 1938— JOSEPH EDWIN DON. Elected by Convocation, 17th December, 1935— MR. JUSTICE CHARLES JOHN LOWE, M.A., LL.B. Originally elected 10th February, 1927. JAMES RALPH DARLING, M.A. (Oxon and Melb,). Originally elected 31st October, 1933. MORRIS MONDLE PHILLIPS, M.A. Originally elected 13th November, 1934. BERNARD TRAUGOTT ZWAR, M.D., M.S., F.R.A.C.S. Originally elected 7th May, 1935. WILFRF.D RUSSELL GRIMWADE, C.B.E., B.Sc. Originally elected 13th August, 1935. Elected by Convocation, 16th December, 1937— SIR JAMES WILLIAM BARRETT, K.B.E.