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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Tuba Syllabus / 2003 Edition
74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:56 AM Page 36 Tuba SYLLABUS / 2003 EDITION SHIN SUGINO SHIN Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. An acclaimed adjudicator certification program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Beethoven, Bagels & Banter
Beethoven, Bagels & Banter SUN / OCT 21 / 11:00 AM Michele Zukovsky Robert deMaine CLARINET CELLO Robert Davidovici Kevin Fitz-Gerald VIOLIN PIANO There will be no intermission. Please join us after the performance for refreshments and a conversation with the performers. PROGRAM Ludwig van Beethoven (1770-1827) Trio in B-flat major, Op. 11 I. Allegro con brio II. Adagio III. Tema: Pria ch’io l’impegno. Allegretto Olivier Messiaen (1908-1992) Quartet for the End of Time (1941) I. Liturgie de cristal (“Crystal liturgy”) II. Vocalise, pour l'Ange qui annonce la fin du Temps (“Vocalise, for the Angel who announces the end of time”) III. Abîme des oiseau (“Abyss of birds”) IV. Intermède (“Interlude”) V. Louange à l'Éternité de Jésus (“Praise to the eternity of Jesus”) VI. Danse de la fureur, pour les sept trompettes (“Dance of fury, for the seven trumpets”) VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (“Tangle of rainbows, for the Angel who announces the end of time) VIII. Louange à l'Immortalité de Jésus (“Praise to the immortality of Jesus”) This series made possible by a generous gift from Barbara Herman. PERFORMANCES MAGAZINE 20 ABOUT THE ARTISTS MICHELE ZUKOVSKY, clarinet, is an also produced recordings of several the Australian National University. American clarinetist and longest live performances by Zukovsky, The Montréal La Presse said that, serving member of the Los Angeles including the aforementioned Williams “Robert Davidovici is a born violinist Philharmonic Orchestra, serving Clarinet Concerto. Alongside her in the most complete sense of from 1961 at the age of 18 until her busy performing schedule, Zukovsky the word.” In October 2013, he retirement on December 20, 2015. -
Henry Purcell, Tatiana Troyanos, Felicity Palmer, Richard
Henry Purcell Dido & Aeneas mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Dido & Aeneas Country: France Released: 1977 Style: Opera, Baroque MP3 version RAR size: 1624 mb FLAC version RAR size: 1666 mb WMA version RAR size: 1745 mb Rating: 4.4 Votes: 696 Other Formats: MOD DMF WMA MP4 MOD MMF DMF Tracklist Overture A1 Act I: The Palace A2 Act II: Scene 1: The Cave B1 Act II: Scene 2: The Grove 9:25 B2 Act III 19:04 Credits Choir – English Chamber Choir* Conductor – Raymond Leppard Liner Notes – Raymond Leppard Mezzo-soprano Vocals [First Witch] – Alfreda Hodgson Mezzo-soprano Vocals [Sorceress] – Patricia Kern Orchestra – English Chamber Orchestra Soprano Vocals [Belinda] – Felicity Palmer Soprano Vocals [Dido] – Tatiana Troyanos Soprano Vocals [Second Witch] – Linn Maxwell Soprano Vocals [Second Woman (Venus)] – Elizabeth Gale Tenor Vocals [Aeneas] – Richard Stilwell Tenor Vocals [Sailor] – Philip Langridge Notes Liner notes in English, French, Italian, and German. 8-page booklet with lyrics in English, French, Italian, and German. Other versions Category Artist Title (Format) Label Category Country Year Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, Tatiana The Classic Orchestra, Tatiana Troyanos, Felicity French ARL1-3021 Troyanos, Felicity ARL1-3021 US 1978 Palmer, Richard Erato Palmer, Richard Stilwell, Raymond Collection Stilwell, Raymond Leppard - Dido & Leppard Aeneas (LP, Box) Henry Purcell, Henry Purcell, English Chamber English Chamber Orchestra, The Orchestra, The English Chamber -
Mcdonald, Bernard M. (2010) Cavalli's "Ormindo": Tonality and Sexuality in Seventeenth-Century Venice
McDonald, Bernard M. (2010) Cavalli's "Ormindo": tonality and sexuality in seventeenth-century Venice. MMus(R) thesis. http://theses.gla.ac.uk/1958/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Cavalli’s Ormindo: Tonality and Sexuality in Seventeenth-Century Venice by Bernard Michael McDonald Submitted in fulfilment of the requirements of the degree of Master of Music to The Department of Music Faculty of Arts University of Glasgow April 2010 © Bernard McDonald 2010 ABSTRACT Ormindo, the third collaboration between the composer Francesco Cavalli and the librettist Giovanni Faustini, was created for the 1644 carnival opera season at Venice’s Teatro San Cassiano. This thesis, aimed at performers as well as scholars, begins with a brief consideration of the cultural context of early public opera in Venice and the emergence of the musical language of tonality. It goes on to examine how, in setting Faustini’s text, Cavalli represents desire and sexuality, constructs character, and creates a musical narrative. Cavalli’s implementation of the precepts of the seconda prattica is also considered in terms of textural and rhetorical devices. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
James Campbell
James Campbell discography (860) 567‐2500 | www.gamisimonds.com James Campbell discography James Campbell has appeared on over 40 recordings since 1975. The following is a discography of those recordings that are currently available on CD. Most are available in stores or through the record label web sites. Unless otherwise noted, works listed are those that feature James Campbell. The Glenn Gould Edition Borodin Trio SONY Classical (SMK 52661) (1995) Chandos Records (CHAN 8655) (1998) with Glenn Gould, piano James Campbell with the Borodin Trio Debussy: Rhapsody No. 1 Beethoven: Trio in B flat, Op. 11 (Re‐release of a recording made in 1973 for CBC TV) Mozart: Kegelstadt Trio in E flat Major, K. 498 Carl Maria von Weber Afternoon Reverie Marquis Classics (MAR 271) (2000) Marquis Classics (MAR 337) (2007) A powerful program of gems of the Romantic clarinet repertoire. James Campbell pairs up with organist Charles Webb on an enchanting Weber: Concerto No. 1 in f minor for Clarinet and Orchestra, Op. 73 collection of some of the most beautiful songs written. Included is the with the London Symphony Orchestra (conductor, Paul Freeman) music of Schumann, Debussy, Bach and Mendelssohn—wonderfully Weber: Grand Duo Concertant, Op. 48 with pianist Leonard Hokanson transcribed and brilliantly performed by this unique and compelling Heinrich Baermann: Quintet in E flat major, Op. 23 for Clarinet and String instrument combination. Quartet with the Allegri String Quartet Manhattan Echoes Brahms Marquis Classics (MAR 267 CD) (2000) Cala Records (CACD 1006) (1991) James Campbell, clarinet; Gene DiNovi, piano; Dave Young, double James Campbell with the London Symphony Orchestra bass (conductor: Geoffrey Simon) Jazz and Broadway standards including: Stardust, Somewhere, Speak Brahms: Sonata Op. -
1 Remembering Christopher Hogwood (1941-2014) by Michael
1 Ruhling, Michael E. "Remembering Christopher Hogwood (1941-2014)." HAYDN: Online Journal of the Haydn Society of North America 4.2 (Fall 2014), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2014. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Remembering Christopher Hogwood (1941-2014) by Michael E. Ruhling "You can play things stylishly on the wrong instruments or unstylishly on the right instruments; I hope we’ll get it stylish on the right instruments. It’s just clearing the way so that people hear them as the composer intended, and if he wasn’t a complete idiot, the way he intended is presumably the correct way for them." — Christopher Hogwood (From an article by Luke Conklin in The Julliard Journal, March 2011, announcing a performance with Julliard415.) 2 Ruhling, Michael E. "Remembering Christopher Hogwood (1941-2014)." HAYDN: Online Journal of the Haydn Society of North America 4.2 (Fall 2014), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2014. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Photo by Marco Borggreve. Used with permission. The Haydn Society of North America recently lost one of its original Advisory Board members. Christopher Hogwood passed away September 24 shortly after his 73rd birthday. He had been suffering from a brain tumor for several months. As a keyboardist, conductor, and musicologist, Hogwood leaves an indelible mark on the performance and reception of 18th- and early 19th-century music. -
Musik Von Victor Herbert Cellokonzert Nr
Musik von Victor Herbert Cellokonzert Nr. 1 D-dur op. 8 Cellokonzert Nr. 2 e-moll op. 30 Einzelwerke für Cello Arien und Chöre, Lieder Lynn Harrell, Cello The Academy of St. Martin in the Fields, Neville Marriner Kingsway Symphony Orchestra & Chorus, Salvatore Camarata Kiri Te Kanawa, Sopran London Symphony Orchestra, Stephen Barlow Eloquence ELQ4827305, PC: BG (2 CD), VÖ: 8.5.2019, 0028948273058 Beliebte Arien und Chöre und romantische Konzerte von einem Pionier der amerikanischen Operette. Der in Dublin geborene Victor Herbert (1859-1924) begann seine Karriere als Cellist in Deutschland, spielte für Eduard Strauss, für Brahms und Liszt und emigrierte als Solocellist der Metropolitan Opera in die USA. In dieser Funktion komponierte er das zweite von zwei für ihn selbst geschriebenen Konzerten. Sie wurden erstmals 1986 von Lynn Harrell auf diesem Decca-Album als Paar aufgenommen. „Herbert war ein virtuoser Cellist“, sagt Harrell, „und das zeigt sich in der Musik. er schrieb so schön für das Cello.“ Das Album wurde mit charmanten Charakterstücken aufgefüllt, ursprünglich für Cello und Klavier, neu transkribiert für die Akademie von St. Martin in the Fields. Herbert etablierte sich in New York und entwickelte seinen ganz eigenen Orchester- und Gesangsstil. Er gründete und leitete daneben die amerikanische Hauptorganisation zum Schutz des musikalischen Urheberrechts, was zu einem berühmt gewordenen Ereignis führte: als Herbert im Restaurant die Rechnung präsentiert wurde, schrieb er spontan eine Gegenrechnung für die andauernde unberechtigte Verwendung seiner Musik. Das Restaurant wollte nicht bezahlen, er klagte und gewann. Zu dieser Zeit war Herbert Komponist am Broadway, mit Hits wie „Babes in Toyland“ (1894) und „The Red Mill“ (1906). -
Download Booklet
MONTEVERDI © Lebrecht Music & Arts Photo Library ???????????? Claudio Monteverdi (1567 – 1643) The Coronation of Poppea Dramma musicale in a Prologue and two acts Libretto by Giovanni Francesco Busenello, English translation by Geoffrey Dunn Prologue Fortune Barbara Walker soprano Virtue Shirley Chapman soprano Love Elizabeth Gale soprano Opera Ottone, most noble lord Tom McDonnell baritone Poppea, most noble lady, mistress of Nero, Janet Baker mezzo-soprano raised by him to the seat of empire Nero, Roman emperor Robert Ferguson tenor Ottavia, reigning empress, repudiated by Nero Katherine Pring mezzo-soprano Drusilla, lady of the court, in love with Ottone Barbara Walker soprano Seneca, philosopher, preceptor to Nero Clifford Grant bass Arnalta, aged nurse and confidante of Poppea Anne Collins mezzo-soprano Lucano, poet, intimate of Nero, nephew of Seneca Emile Belcourt tenor Valletto, page of the empress John Brecknock tenor Damigella, lady-in-waiting to the empress Iris Saunders soprano Liberto, Captain of the praetorian guard Norman Welsby baritone First soldier Robin Donald tenor Second soldier John Delaney tenor Lictor, officer of imperial justice Anthony Davey bass Pallas Athene, goddess of wisdom Shirley Chapman soprano Chorus of Sadler’s Wells Opera Orchestra of Sadler’s Wells Opera Raymond Leppard 3 compact disc one Time Page Act I 1 Sinfonia 2:55 p. 30 Prologue 2 ‘Virtue, go hide yourself away’ 7:16 p. 30 Fortune, Virtue, Love Scene 1 3 ‘Again I’m drawn here’ 8:32 p. 31 Ottone, Soldier 2, Soldier 1 4 ‘My lord, do not go yet!’ 9:54 p. 32 Poppea, Nero Scene 2 5 ‘At last my hopes have ended’ 6:38 p. -
Raymond Program.Pdf
Conductor Laureate Raymond Leppard served as Music Director of A Celebration of Raymond Leppard the Indianapolis Symphony for 14 January 13, 2020 years, from 1987 to 2001. During his tenure with the Orchestra, he led eight recordings, two tours to Europe and Welcoming Remarks ..............................................................................Dr. John Bloom initiated “Indianapolis On-The-Air,” a nationally syndicated radio broadcast of Film Tribute from WFYI Media Indianapolis Symphony performances that aired on more than 250 stations Comments ............................................................................Marianne Williams Tobias across the United States. Trio No. 1 in B-flat major for Violin, Cello, and Piano ......................Franz Schubert In addition to his 14-year tenure as Andante un poco mosso (1797–1828) Music Director of the Indianapolis University of Indianapolis faculty: Symphony Orchestra and long Richard Ratliff, piano association with the English Chamber Orchestra, Raymond Leppard appeared Joana Genova, violin with the New York Philharmonic on numerous occasions, toured with the Austin Huntington, cello Chicago and Detroit symphonies and conducted many other major orchestras, including the Boston Symphony, The Philadelphia Orchestra, Los Angeles Video Comments .................................................................................Christel DeHaan Philharmonic, Pittsburgh Symphony, Israel Philharmonic, the BBC Symphony (including the Last Night of the Proms), as well as in all European