PDF-Download
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
For Release: Tk, 2013
FOR RELEASE: January 23, 2013 SUPPLEMENT CHRISTOPHER ROUSE, The Marie-Josée Kravis COMPOSER-IN-RESIDENCE WORLD PREMIERE of SYMPHONY NO. 4 at the NY PHIL BIENNIAL New York Premiere of REQUIEM To Open Spring For Music Festival at Carnegie Hall New York Premiere of OBOE CONCERTO with Principal Oboe Liang Wang RAPTURE at Home and on ASIA / WINTER 2014 Tour Rouse To Advise on CONTACT!, the New-Music Series, Including New Partnership with 92nd Street Y ____________________________________ “What I’ve always loved most about the Philharmonic is that they play as though it’s a matter of life or death. The energy, excitement, commitment, and intensity are so exciting and wonderful for a composer. Some of the very best performances I’ve ever had have been by the Philharmonic.” — Christopher Rouse _______________________________________ American composer Christopher Rouse will return in the 2013–14 season to continue his two- year tenure as the Philharmonic’s Marie-Josée Kravis Composer-in-Residence. The second person to hold the Composer-in-Residence title since Alan Gilbert’s inaugural season, following Magnus Lindberg, Mr. Rouse’s compositions and musical insights will be highlighted on subscription programs; in the Philharmonic’s appearance at the Spring For Music festival; in the NY PHIL BIENNIAL; on CONTACT! events; and in the ASIA / WINTER 2014 tour. Mr. Rouse said: “Part of the experience of music should be an exposure to the pulsation of life as we know it, rather than as people in the 18th or 19th century might have known it. It is wonderful that Alan is so supportive of contemporary music and so involved in performing and programming it.” 2 Alan Gilbert said: “I’ve always said and long felt that Chris Rouse is one of the really important composers working today. -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE
FOR RELEASE: February 22, 2012 SUPPLEMENT CHRISTOPHER ROUSE THE 2012–13 MARIE-JOSÉE KRAVIS COMPOSER-IN-RESIDENCE First Season of Two-Year Term: WORLD PREMIERE, SEEING, PHANTASMATA Advisory Role on CONTACT!, with WORLD, U.S., AND NEW YORK PREMIERES, Led by JAYCE OGREN and ALAN GILBERT _____________________________________ “I just love the Philharmonic musicians: I love working with them, and they play my music with incredible commitment. As a kid in Baltimore I grew up with their recordings, and then, of course, I also heard them on the Young People’s Concerts on television. I’ve always had a special feeling for the Philharmonic because the musicians have always played like they really meant it, with such energy and commitment; and when I got older and wrote music that they played, they did it the same way. I’m thrilled to be able to work with them more closely.” — Christopher Rouse _______________________________________ Christopher Rouse has been named The Marie-Josée Kravis Composer-in-Residence at the Philharmonic, and will begin his two-year tenure in the 2012–13 season. He is the second composer to hold this title, following the tenure of Magnus Lindberg. The Pulitzer Prize- and Grammy Award-winning American composer will be represented by three works with the Philharmonic this season in concerts conducted by Alan Gilbert: Phantasmata, February 21 and 22, 2013; a World Premiere–New York Philharmonic Commission, April 17–20, 2013, which will also be taken on the EUROPE / SPRING 2013 tour; and the reprise of Seeing for Piano and Orchestra (commissioned by the Philharmonic and premiered in 1999), June 20–22, 2013, performed by Emanuel Ax, the 2012–13 Mary and James G. -
And We Danced Episode 3 Credits
AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. -
Boston Symphony Orchestra Concert Programs, Summer, 1970
ISM /, *w*s M •*r:;*. KUCJCW n;. ,-1. * Tanglewood 1970° Seiji Ozawa, Gunther Schuller, Artistic Directors Leonard Bernstein, Advisor FESTIVAL OF CONTEMPORARY MUSIC August 16 — August 20, 1970 Sponsored by the BERKSHIRE MUSIC CENTER In Cooperation with the FROMM MUSIC FOUNDATION PERSPECTIVES NEWOF MUSIC PERSPECTIVES OF NEW MUSIC Participants in this year's Festival are invited to subscribe to the American journal devoted to im- portant issues of contemporary music and the problems of the composer. Published for the Fromm Music Foundation by Princeton University Press. Editor: Benjamin Boretz Advisory Board: Aaron Copland, Ernst Krenek, Darius Milhaud, Walter Piston, Roger Sessions, Igor Stravinsky. Semi-annual. $6.00 a year. $15.00 three years. Foreign Postage is 25 cents additional per year. Single or back issues are $5.00. Princeton University Press Princeton, New Jersey I 5fta 'V. B , '*•. .-.-'--! HffiHHMEffl SiSsi M^lll Epppi ^EwK^^bJbe^h 1 * - ' :- HMK^HRj^EI! 9HKS&k 7?. BCJB1I MQ50 TANGLEWOOD SEIJI OZAWA, GUNTHER SCHULLER, Artistic Directors/LEONARD BERNSTEIN, Adviser THE BERKSHIRE MUSIC CENTER Joseph Silverstein, Chairman of the Faculty Harry J. Kraut, Administrator Aaron Copland, Chairman of the Faculty Emeritus Daniel R. Gustin, Assistant Administrator Leon Barzin, Head, Orchestral Activities James Whitaker, Chief Coordinator ,vvv /ss. Festival of Contemporary Music presented in cooperation with The Fromm Music Foundation Paul Fromm, President Fellowship Program Contemporary Music Activities Gunther Schuller, Head George Crumb, Charles Wuorinen, and Chou Wen-Chung, Guest Teachers Paul Zukofsky, Assistant The Berkshire Music Center is maintained for advanced study in music Sponsored by the Boston Symphony Orchestra William Steinberg, Music Director Michael Tilson Thomas, Associate Conductor Thomas D. -
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected]
JAMES D. BABCOCK, MBA, CFA, CPA 191 South Salem Road Ridgefield, Connecticut 06877 (203) 994-7244 [email protected] List of Addendums First Addendum – Middle Ages Second Addendum – Modern and Modern Sub-Categories A. 20th Century B. 21st Century C. Modern and High Modern D. Postmodern and Contemporary E. Descrtiption of Categories (alphabetic) and Important Composers Third Addendum – Composers Fourth Addendum – Musical Terms and Concepts 1 First Addendum – Middle Ages A. The Early Medieval Music (500-1150). i. Early chant traditions Chant (or plainsong) is a monophonic sacred form which represents the earliest known music of the Christian Church. The simplest, syllabic chants, in which each syllable is set to one note, were probably intended to be sung by the choir or congregation, while the more florid, melismatic examples (which have many notes to each syllable) were probably performed by soloists. Plainchant melodies (which are sometimes referred to as a “drown,” are characterized by the following: A monophonic texture; For ease of singing, relatively conjunct melodic contour (meaning no large intervals between one note and the next) and a restricted range (no notes too high or too low); and Rhythms based strictly on the articulation of the word being sung (meaning no steady dancelike beats). Chant developed separately in several European centers, the most important being Rome, Hispania, Gaul, Milan and Ireland. Chant was developed to support the regional liturgies used when celebrating Mass. Each area developed its own chant and rules for celebration. In Spain and Portugal, Mozarabic chant was used, showing the influence of North Afgican music. The Mozarabic liturgy survived through Muslim rule, though this was an isolated strand and was later suppressed in an attempt to enforce conformity on the entire liturgy. -
Houston Grand Opera Unveils Enchanting New Production of Hansel and Gretel by Renowned Puppeteer Basil Twist
Houston Grand Opera Unveils Enchanting New Production of Hansel and Gretel by Renowned Puppeteer Basil Twist Perfect Holiday Treat for the Whole Family Opens December 1, 2006 Houston, TX (October 5, 2006) – This holiday season, Houston Grand Opera (HGO) stages a spectacular new production of Humperdinck’s beloved fairy tale opera Hansel and Gretel featuring artists from the HGO Studio and members of the HGO Orchestra and Children’s Chorus. Eleven public performances, December 1 – 23, will offer ample opportunities for Houstonians to enjoy this holiday treat. The Production is directed and designed by America’s premier puppeteer Basil Twist, whose works have dazzled audiences across the continent (New York, Washington D.C., San Francisco, and Montreal) and in Europe (France, London and Munich). Called “true magic” by the New York Times, Twist’s work fuses music and puppetry into spellbinding theatrical experiences. His largest puppet for Hansel and Gretel will be a giant witch built by the Jim Henson Company, and Twist will build the remaining puppets himself, including several marionettes and bunraku puppets. Hansel and Gretel showcases artists from the internationally acclaimed HGO Studio, one of the world’s finest programs for opera’s future stars. Irish mezzo-soprano Fiona Murphy and American soprano Rebekah Camm star as the brother and sister who get lost in the woods and are captured by the Witch, sung by American baritone Liam Bonner. American soprano Jennifer Root and American bass-baritone Ryan McKinny sing the Mother and Father, and Russian soprano Albina Shagimuratova sings the Sandman and the Dew Fairy. Russian mezzo-soprano Maria Markina and American Soprano Alicia Gianni will sing the title roles for three performances, plus a student matinee. -
Michael Engel Aber Von Anfang Terauffassungen Aufeinander“
AUSBLICK AUF DIE SPIELZEIT 2008/09 (4) pressestimmen zu „CHLESTAKOWS Wiederkehr“ (8) Letzter Auftritt für „den engel“ (7) THEATERREISE NACH BERLIN (8) THEATERFREU(N)DE ALS GESCHENK (2) ENDLICH MEHR (ORCHESTER) SPIELRAUM (2) „dAs rheingold“ für den ring – interVIEW (1) TERMINE UND PREMIEREN (5) STAMMTISCH THEATERFREUNDE (8) Ausgabe 15mai 2008 ZEITUNG DES VEREINS ZUR FÖRDERUNG DES LANDESTHEATERS DETMOLD E.V. Der Ring des Nibelungen Bühnenfestspiel für drei Tage und einen Vorabend von Richard Wagner Vorabend: Das Rheingold Premiere: Samstag, 31. Mai 2008, 19.30 Uhr, Landestheater Ungebrochen ist die Faszination von Wagners „Ring“, Generationen von Thea terleuten haben sich in immer neuen Deutungen mit diesem Kunstwerk ausein andergesetzt. Wo liegt für Sie der Reiz, sich dieser Herausforderung zu stellen? Da kommt einiges zusammen: die inhalt liche Auseinandersetzung, auch die mit der Rezeptionsgeschichte und natürlich auch die theaterpraktischen Anforde rungen, die der „Ring“ an jedes Theater stellt. Er ist nun einmal eines der gewal tigsten Bühnenwerke, nicht nur was seine zeitliche Ausdehnung auf vier Abende an RHEINGOLD belangt. Die Botschaft im „Ring“ scheint einfach und ist dennoch so vielschichtig: Fricka (Angelika Kirchhof) S Ohne ein verbindlich bleibendes Wertesy Wotan (Mark Morouse) Loge (Johannes Harten) stem wird Macht leichter missbraucht, DA das Unterdrücken von Zuneigung, Eros zum Erlangen und Wahren von Herrschaft Die erste Szene des „Rheingolds“ spielt berichten. Sie erzählen von einem Gott, schafft Raum für Neid und Habgier. Albe „auf dem Grunde des Rheins“. Wie deuten der nicht über die Natur herrscht, der rich hat die Liebe verflucht, und diese Sie diese Ortsangabe in Ihrer Inszenie nicht Schöpfer, sondern Teil der Schöp Lieblosigkeit überträgt sich auf jeden, der rung? fung ist. -
Dorothea Redepenning: Dostojewskij Auf Der Opernbühne
Dostoevsky Studies, New Series, Vol. XIV (2010), pp. 1342 DOROTHEA REDEPENNING Universität Heidelberg Dostojewskij auf der Opernbühne Dostojewskijs Werke eigenen sich streng genommen nicht als Libretto- Vorlagen. Dennoch hat er Komponisten seit Beginn des 20. Jahrhunderts zu Opern, aber auch zu Oratorien inspiriert. Der Beitrag macht in einem einführenden Schritt die ästhetischen Fragen beim Zusammenwirken von Literatur und Musik bewusst. Sodann beleuchtet er die Opernkonzeption, die sich in der zweiten Hälfte des 19. Jahrhunderts in Russland heraus- bildete und die Voraussetzungen für die ersten Dostojewskij-Opern bereitstellte. Ein dritter Teil zeigt in einer umfassenden Übersicht die Präsenz Dostojewskijs im internationalen Opernschaffen; daran schließen sich zwei exemplarische Untersuchungen und ein Fazit. I. Literatur und Musik Musik und Literatur sind seit alters her Schwestern oder Freundinnen, die, wenn sie sich zusammentun, ihre Kreativität aus dem Spannungsfeld von Gemeinsamkeiten und Gegensätzen entfalten. Formale Gesetzmäßig- keiten eines Gedichts (Reimstruktur, Versmaß, Strophenbau) und die internen Prinzipien musikalischer Formbildung (Periodizität, harmonische und melodische Halb- und Ganzschlussbildungen), dazu die semantische und die emotionale Dimension in textlicher und musikalischer Auslegung – dieses Spannungsfeld findet im Lied stets neue, individuelle Lösungen. Eine poetische Form wie das Sonett zum Beispiel fordert Komponisten bis in die Gegenwart heraus.1 Seit den Anfängen der Oper (um 1600) ringen Literaten und Musiker mit dem Problem, dass ihre Künste unterschiedliche Zeitverhältnisse zu ihrer Entfaltung brauchen. Musik kommt, um sich „ausleben“ zu können, auch ohne Text aus. Für die 1 Vgl. dazu Sara Jeffe: Modi di cantar sonetti – Zur Geschichte der Sonettvertonungen bis ins 20. Jahrhundert, in Vorbereitung. 14 Dorothea Redepenning Literatur heißt das, dass sie Rücksicht nehmen muss auf die Weitschwei- figkeit der Musik – eine abendfüllende Oper braucht viel weniger Text als ein Drama. -
Composer Brochure
CARTER lliott E composer_2006_01_04_cvr_v01.indd 2 4/30/2008 11:32:05 AM Elliott Carter Introduction English 1 Deutsch 4 Français 7 Abbreviations 10 Works Operas 12 Full Orchestra 13 Chamber Orchestra 18 Solo Instrument(s) and Orchestra 19 TABLE TABLE OF CONTENTS Ensemble and Chamber without Voice(s) 23 Ensemble and Chamber with Voice(s) 30 Piano(s) 32 Instrumental 34 Choral 39 Recordings 40 Chronological List of Works 46 Boosey & Hawkes Addresses 51 Cover photo: Meredith Heuer © 2000 Carter_2008_TOC.indd 3 4/30/2008 11:34:15 AM An introduction to the music of Carter by Jonathan Bernard Any composer whose career extends through eight decades—and still counting—has already demonstrated a remarkable staying power. But there are reasons far more compelling than mere longevity to regard Elliott Carter as the most eminent of living American composers, and as one of the foremost composers in the world at large. His name has come to be synonymous with music that is at once structurally formidable, expressively extraordinary, and virtuosically dazzling: music that asks much of listener and performer INTRODUCTION alike but gives far more in return. Carter was born in New York and, except during the later years of his education, has always lived there. After college and some postgraduate study at Harvard, like many an aspiring American composer of his generation who did not find the training he sought at home, Carter went off to Paris to study with Nadia Boulanger, an experience which, while enabling a necessary development of technique, also lent his work a conservative, neoclassical style for a time. -
Avant Première Catalogue 2017
Avant PreCATALOGUEmi ère 2017 UNITEL is one of the world's leading producers of classical music programmes for film, television, video and new media. Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the UNITEL catalogue of more than 1700 titles presents some of the greatest achievements in the last half a century of classical music. Search the complete UNITEL catalogue online at www.unitel.de Front cover: Elīna Garanča in G. Donizetti's “La Favorite” / Photo: Wilfried Hösl UNITEL AVANT PREMIÈRE CATALOGUE 2017 Editorial Team: Konrad von Soden, Franziska Pascher Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: 31st of January 2017 ∙ © Unitel 2017 ∙ All Rights reserved FOR COPRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching / Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas -
Czech Music 2018-3
18 3_ Vítězslav Mikeš IGLOO Sound Gallery 1968 in Czech Music Jan Bedřich Kittl 1188 3_ czech music quarterly DEAR READERS, CONTENTS: In this issue, we celebrate the contemporary CONTEXTS APPEAR GRADUALLY achievements of musicologist Vítězslav VÍTĚZSLAV MIKEŠ ON CONTEMPORARY MUSIC Mikeš, who received a state honour for his AND CZECH-LITHUANIAN RELATIONSHIPS promotion of Lithuanian music, and explore by Matěj Kratochvíl the activities of IGLOO at the Vysočina _ page 2 Regional Gallery in Jihlava, which has now presented ten exhibitions in the only “MAY PEACE REMAIN WITH THIS LAND…” sound-focused gallery space in the Czech HOW CZECH MUSIC REACTED TO THE EVENTS OF 1968 Republic. We return to previous centuries by Vlasta Reittererová in Vlasta Reitererová's refl ection on the _ page 8 musical context of 1968, the year of the Soviet occupation, and in a period biography A TALE OF MUSIC FESTIVALS, MONEY, AND REDEMPTION of composer Johann Friedrich Kittl, AN INTERVIEW WITH THOMAS SOVÍK translated into English for the fi rst time by Vilém Spilka by Tom Moore. All in all, this is another _ page 14 issue packed with a startling variety of Czech music. It is also my honour for the fi rst time VÍTĚZSLAVA KAPRÁLOVÁ : TALES OF A SMALL FLUTE to greet you from these pages as deputy by Lukáš M. Vytlačil editor-in-chief. _ page 18 May I wish you an inspirational musical autumn. SOUND IN THE GALLERY Ian Mikyska NOTES ON THE IGLOO SOUND GALLERY IN JIHLAVA by Lenka Dolanová _ page 19 CZECH MUSIC EVERY DAY EVENTS AT HOME AND ABROAD IN THE SUMMER OF 2018 by Barbora Vacková _ page 24 JOHANN FRIEDRICH KITTL: THE EARLIEST BIOGRAPHY by Tom Moore _ page 26 REVIEWS _ page 37 Czech Music Quarterly is issued ISSN 1211-0264 (Print), ISSN 1804-0586 (Online) by the Czech Music Information Centre MK ČR E 7099 with support of the Ministry of Culture of the Czech Republic and the Czech Music Fund.