Are We in Music's Afro-American Epoch?
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Page 1 (1/31/20) Waltz in E-Flat Major, Op. 19 FRÉDÉRIC CHOPIN
Page 1 (1/31/20) Waltz in E-flat major, Op. 19 FRÉDÉRIC CHOPIN (1810-1849) Composed in 1831. Chopin’s Waltz in E-flat major, Op. 18, his first published specimen of the genre and one of his most beloved, was composed in 1831, when he was living anxiously in Vienna, almost unknown as a composer and only slightly appreciated as a pianist. In 1834, he sold it to the Parisian publisher Pleyel to finance his trip with Ferdinand Hiller to the Lower Rhineland Music Festival at Aachen, where Hiller introduced him to his long-time friend Felix Mendelssohn. The piece was dedicated upon its publication to Mlle. Laura Horsford, one of two sisters Chopin then counted among his aristocratic pupils. (Sister Emma had received the dedication of the Variations on “Je vends des scapulaires” from Hérold’s Ludovic, Op. 12 the year before.) The Waltz in E-flat follows the characteristic Viennese form of a continuous series of sixteen- measure strains filled with both new and repeated melodies that are capped by a vigorous coda. Ballade No. 1 in G minor, Op. 23 FRÉDÉRIC CHOPIN Composed 1831. In the Ballades, “Chopin reaches his full stature as the unapproachable genius of the pianoforte,” according to Arthur Hedley, “a master of rich and subtle harmony and, above all, a poet — one of those whose vision transcends the confines of nation and epoch, and whose mission it is to share with the world some of the beauty that is revealed to them alone.” Though the Ballades came to form a nicely cohesive set unified by their temporal scale, structural fluidity and supranational idiom, Chopin composed them over a period of more than a decade. -
Die Ukraine Zwischen Ost Und West
Ernst-Moritz-Arndt-Universität Greifswald Greifswalder Ukrainistische Hefte Heft 4 Die Ukraine zwischen Ost und West Rolf Göbner zum 65. Geburtstag Herausgegeben von Ulrike Jekutsch und Alexander Kratochvil Shaker Verlag Aachen 2007 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Gedruckt mit finanzieller Unterstützung der Philosophischen Fakultät der E.-M.-Arndt-Universität Greifswald und der Deutschen Assoziation der Ukrainisten Greifswalder Ukrainistische Hefte Herausgeber: Alexander Kratochvil Redaktionsrat: Guido Hausmann, Timofij Havryliv, Michael Moser Copyright Shaker Verlag 2007 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungs- anlagen und der Übersetzung, vorbehalten. Printed in Germany. ISBN 978-3-8322-6625-7 ISSN 1860-2215 Shaker Verlag GmbH • Postfach 101818 • 52018 Aachen Telefon: 02407 / 95 96 - 0 • Telefax: 02407 / 95 96 - 9 Internet: www.shaker.de • E-Mail: [email protected] 3 4 Inhaltsverzeichnis Geleitwort der Herausgeber 9 Anatolij Tkaenko Ukrainicum – – (-) 12 LITERATURWISSENSCHAFT Mychajlo Najenko . 15 Mykola Sulyma „“ 26 Anna-Halja Horbatsch Tschornobyl in der ukrainischen Literatur 33 Stefanija Andrusiv 0* 0 40 Jutta Lindekugel Pseudonyme schreibender Frauen in der ukrainischen Literatur Ende 19. - Anfang 20. Jahrhundert: -
Die Kunst Hören Zu
SONDERVERANSTALTUNGEN Programmübersicht So, 25. Mai, 14.00 Uhr, St. Sophien Brüssow Fr, 23. Mai, 19.00 Uhr, Dorfkirche Schenkenberg Konzert zur Amtseinführung von Pastor Matthias Gienke Eröffnungskonzert 5. UCKERMÄRKISCHER hester Preußisches Kammerorchester C Sa, 24. Mai, 19.00 Uhr, Dorfkirche Milow R Jörg Reddin, Orgel Berlin - Symphonie einer Großstadt ORGELFRÜHLING Liebe Freunde der Orgelmusik, Dirigent: Jürgen Bischof & O & So, 25. Mai, 19.00 Uhr, St. Marien Angermünde Im vergangenen Jahr wurde die Schuke-Orgel in Brüssow nach auptkonzerte 23. Mai bis 9. Juni 2014 bereits seit Jahrtausenden verbindet Musik die Menschen auf die H Bach & Luther der ganzen Welt. Anders als Sprache, die - wenn man sie nicht be- rgel umfangreichen Restaurierungsarbeiten mit einem grandiosen O herrscht - zu Verständigungsschwierigkeiten führt, gelingt es der Konzert von Matthias Eisenberg und dem Bläserensemble kunst Do, 29. Mai, 17.00 Uhr, Dorfkirche Luckow-Petershagen Musik diese Barrieren wie kaum eine andere Kunst „wortlos“ zu Joachim Schäfer aus Dresden eingeweiht. Annähernd 400 Glanz & Gloria Besucher füllten die Kirche zum Eröffnungskonzert des umgehen. zu So, 8. Juni, 14.00 Uhr, Dorfkirche Hetzdorf 4. Uckermärkischen Orgelfrühlings. In diesem Jahr nun soll ein Auch wenn Orgelmusik über viele Jahrhunderte vor allem im got- Umschlinget uns, ihr Friedensbande großes Konzert mit Orgel und Orchester folgen. hören tesdienstlichen Bereich zum Einsatz kam, hat sie inzwischen auch Mo, 9. Juni als konzertantes Instrument zahlreiche Zuhörer gefunden. Dies 13.30 Uhr, Kirche Herzfelde • 15.00 Uhr, Kirche Klosterwalde beweisen auch unsere Erfahrungen der vergangenen vier Jahre, Sa, 31. Mai, 15.00 Uhr, Kirchlein im Grünen Alt Placht Wandelkonzert zum Ausklang in denen die Besucherzahlen des Uckermärkischen Orgelfrühlings Im Dialog dialog Werke von Telemann, J. -
Songs of the Century
Songs of the Century T. Austin Graham hat is the time, the season, the historical context of a popular song? When is it most present in the world, best able Wto reflect, participate in, or construct some larger social reality? This essay will consider a few possible answers, exploring the ways that a song can exist in something as brief as a passing moment and as broad as a century. It will also suggest that when we hear those songs whose times have been the longest, we might not be hearing “songs” at all. Most people are likely to have an intuitive sense for how a song can contract and swell in history, suited to a certain context but capable of finding any number of others. Consider, for example, the various uses to which Joan Didion is able to put music in her generation-defining essay “Slouching Towards Bethlehem,” a meditation on drifting youth and looming apocalypse in the days of the Haight-Ashbury counterculture. Songs create a powerful sense of time and place throughout the piece, with Didion nodding to the Grateful Dead, Jefferson Airplane, Quick- silver Messenger Service, and “No Milk Today” by Herman’s Hermits, “a song I heard every morning in the cold late spring of 1967 on KRFC, the Flower Power Station, San Francisco.”1 But the music that speaks most directly and reverberates most widely in the essay is “For What It’s Worth,” the Buffalo Springfield single whose chiming guitar fifths and famous chorus—“Stop, hey, what’s that sound / Everybody look what’s going down”—make it instantly recognizable nearly five decades later.2 To listen to “For What It’s Worth” on Didion’s pages is to hear a song that exists in many registers and seems able to suffuse everything, from a snatch of conversation, to a set of political convictions, to nothing less than “The ’60s” itself. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 Rev
SRCD.225 STEREO ADD BlissCONDUCTSBliss SIR ARTHUR BLISS (1891 - 1975) 1 Mêlée Fantasque (1921 rev. 1937 & 1965) (13’06”) Mêlée Fantasque 2 Rout for Orchestra and Soprano (1920) (7’24”) Rout Adam Zero - Suite (1946) Adam Zero (Excerpts) 3 II Dance of Spring (2’49”) 4 IV Bridal Ceremony (2’17”) Hymn to Apollo 5 V Dance of Summer (3’48”) Serenade 6 Hymn to Apollo (1928 rev. 1965) (10’23”) (conducted by Brian Priestman) Serenade for Orchestra and Baritone (1929)† (25’52”) The World is charged 7 I Overture: The Serenader (8’30”) with the grandeur of God 8 II ‘Fair is my Love’ (4’52”) (conducted by Philip Ledger) 9 III Idyll (7’24”) 10 IV ‘Tune on my Pipe the praises of my Love’ (5’06”) London Symphony Orchestra The World is charged with the grandeur of God (1969)* (13’31”) LSO Wind and Brass Ensemble 11 I ‘The World is charged with the grandeur of God’ (5’22”) Ambrosian Singers 12 II ‘I have desired to go’ (3’18”) Rae Woodland 13 III ‘Look at the Stars’ (4’51”) John Shirley-Quirk (79’13”) Rae Woodland, soprano • John Shirley-Quirk, baritone London Symphony Orchestra LSO Wind and Brass Ensemble • Ambrosian Singers* Sir Arthur Bliss • Brian Priestman† • Philip Ledger* The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1971 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 1992 Lyrita Recorded Edition, England. -
2017-04-02 Messiah
OLDHAM CHORAL SOCIETY PATRON: Jeffrey Lawton CHAIRMAN: Fred Jones Vice-Chair: Margaret Hood Vice-President: Nancy Murphy Hon. Secretary: Ray Smith Hon. Treasurer: John Price Music Director: Nigel P. Wilkinson Accompanist: Angela Lloyd-Mostyn Conductor Emeritus: John Bethell MBE Librarian: Tricia Golden / Janeane Taylor Ticket Sec.: Margaret Hallam Patrons’ Sec.: Sylvia Andrew Uniform Co-ordination: Val Dawson Webmaster: David Baird Concert Manager: Gerard Marsden Promotions Group: David Baird, Edna Gill, Margaret Hood, Fred Jones, Maggs Martin, Sue Morris, June O’Grady, Brenda Roberts, LIFE MEMBERS Eva Dale, Fred Jones, Margaret Hood, Alan Mellor, Nancy Murphy, Peter Quan, Eric Youd A MESSAGE FROM THE CHAIR One of the joys of being in a choir is that from time to time you get to sing your favourite work. That is my pleasure this evening. I have loved the "Messiah" for many years (not saying how many!). To my mind it is a pity that it is usually confined to the busy period of Christmas, so I am particularly pleased to have a Lenten performance. The emotion and drama of the Easter story are something quite special, and deserve to be savoured. Our wonderful soloists and the East Lancs Sinfonia will, I am sure, join with the choir to produce a magical musical experience. We will not be having our usual lighter-themed concert at Middleton Arena this year. Instead we will be holding a Choir "At Home" evening on Friday, 16th June in our regular rehearsal venue - the beautiful Ballroom of Chadderton Town Hall, from 7.30 to 10.30pm. You are invited to join us for a short concert, followed by some time for social and fund-raising activities. -
Pamela King – [email protected] – University of Bristol, Bristol
King 0 Pamela King – [email protected] – www.bristol.ac.uk/medievalcentre University of Bristol, Bristol Thème/Topic Renaissance of Medieval Theatre Titre/Title The Renaissance of Medieval Theatre and the Growth of University Drama in England Résumé/Abstract The battle to be permitted to impersonate the deity on the stage in Britain is well documented, as is the role of theatrical impresarios such as William Poel, Nugent Monck and E. Martin Browne, the Religious Drama Society and the British Drama League. What has received less attention is the role of the universities in the latter part of this process, and in experimental productions of medieval plays. Oxford University Drama Society provided the test bed, but it was at Bristol, in the first department at a British University dedicated to the study of Drama in performance, that the renaissance of medieval religious drama found its first academic home under the aegis of Glynne Wickham and his colleagues. This paper will draw on many unpublished archive holdings from the Bristol University Theatre Collection. It will investigate the intersection between the movement which resulted in drama being accepted as a legitimate and autonomous university subject and the parallel campaign against the established conventions of censoring religious theatre in the United Kingdom. As well as charting this history, it will discuss the emergent understandings of the nature of medieval religious drama in the middle of the twentieth century in church, state and academy. King 1 The Renaissance of Medieval Theatre and the Growth of University Drama in England Pamela King The slim journal Theatre in Education, issue 5, number 25, for April 1951 carried three interestingly linked articles. -
WAM Benjamin Britten
“Glas rođen iz bola” “Mnogo sam dobra vidio i mnogo zla. A to dobro nikada nije bilo savr{eno. Uvijek je na njemu nekakav {av, nekakav defekt, uvijek je nekakva nesavr{enost na bo`anskoj slici, nekakav nedostatak u an|eoskoj pjesmi, nekakvo mucanje u bo`anskom govoru.” Dugo se vremena znalo za postojanje The Britten-Pears Collection koju je utemeljio legendarni producent DECCA-inih i potom BBC-jevih izdanja John Culshaw. Do sada ni jedan od ovij ~etiriju video naslova nije bio objavljen i tim je vi{e pojavljivanje cjelovitih filmova na DVD-u, koji obilje`avaju zna~ajna ostvarenja skladatelja, pijaniste i dirigenta lorda Benjamina Edwarda Brittena (1913.-1976.) i njegovog `ivotnog partnera tenora Petera Pearsa (1910.-1986.), za kojega je i napisao mnogo svoja djela uklju~uju}i i operu “Peter Grimes”, svojevrsna svjetska glazbena senzacija. Sve su te snimke prire|ene upravo za televiziju, a neki su tonski zapisi istovremeno prire|eni i za izdavanje na nosa~ima zvuka. Za proslavljenu se video snimku ciklusa Schubertovih pjesama “Winterreise” pri~alo da je ~ak nadma{ivala onu izdanu na nosa~ima zvuka, a sada ju je po prvi puta bilo mogu}e i upoznati. Odabir je svih ovih naslova nezaobilazna glazbena literatura i ljubiteljima snimljenih djela i muzikolozima za gonetanje jednog od najzna~ajnih glazbenih opusa kojega je dala Velika Britanija. B. BRITTEN: BILLY BUDD Uvodni citat su rije~i {to ih pjeva ostarjeli Kapetan Peter Pears, Peter Glossop, Michael Langdon, u prologu Brittenove opere “Billy Budd”, uvode}i John Shirley-Quirk, Ambrosian Opera Chorus, slu{atelja u radnju {to se dogodila prije mnogo go- London Symphony Orchestra, Charles Mackerras dina na brodu koji se, plove}i pod njegovim za- Aquarius Records DECCA DVD 074 3256 povjedni{tvom, borio protiv Napoleonove flote. -
Musiker in Brandenburg
Musiker aus Brandenburg Kurzbiografien der in der Sonder- sammlung „Musik aus Brandenburg“ der Musikbibliothek der Stadt- und Landesbibliothek Potsdam vertretenen Musiker Stand: September 2014 1 Musiker in Brandenburg ... gab und gibt es sicher einige. Aber bekannte und berühmte doch eher nicht! So lautet wohl die landläufige Meinung zum Thema Brandenburger Musiker. Trifft man auf ein interessierteres Publikum, so fallen Namen wie Quantz, der „Alte Fritz“ oder C. P. E. Bach, aber kaum ein Name aus der Gegenwart oder der jüngeren Geschichte. Beschäftigt man sich ein wenig mit dieser Materie und das ist heute dank Internet kein Problem, so stößt man recht schnell auf den einen oder anderen bekannten Namen und stellt fest, dass sie / er in Brandenburg geboren, gelebt oder gearbeitet hat oder es noch immer tut. So war die Schaffung der Sondersammlung „Musik aus Brandenburg“ willkommener Anlass, sich mit den Biografien der in dieser Sammlung vertretenen Musiker zu beschäftigen, um sie letztlich auch unseren Lesern zur Verfügung stellen zu können. Dabei stellten sich vor allem zwei Fragen: was macht den Brandenburger Musiker zum Brandenburger Musiker und wer ist ein Musiker? Während sich die zweite Frage recht schnell dahingehend beantworten ließ, dass zu diesem Personenkreis all jene gehören, die sich aktiv mit Musik beschäftigen, egal ob sie als Komponist, Interpret, Musikwissenschaftler oder Musikbuchautor tätig sind, war die Eingrenzung des „Brandenburger Musikers“ weitaus schwieriger. Letztendlich zählen jene Musiker zu diesem Kreis, die in Brandenburg geboren sind oder mehrere Jahre hier gelebt oder gearbeitet haben. In Ausnahmefällen aber auch diejenigen, bei denen z. B. die Uraufführung ihres Werkes innerhalb des Brandenburgischen stattfand. -
LBW: Public-2
Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T. -
V the POSTHUMOUS NARRATIVE POEMS OF
'/v$A THE POSTHUMOUS NARRATIVE POEMS OF C. S. LEWIS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Caroline L. Geer, B. A. Denton, Texas December, 1976 Geer, Caroline Lilian, The Posthumous Narrative Poems of C. S. Lewis. Master of Arts (English), December, 1976, 73 pp., bibliography, 15 titles. The purpose of this study is to introduce the three posthumous narrative poems of C. S. Lewis. Chapter One is an introduction to Lewis's life and scholarship. The second chapter is concerned with "Launceloti" in which the central theme of the story explores the effect of the Quest for the Holy Grail on King Arthur's kingdom. Chapter Three studies "The Nameless Isle," in which Celtic and Greek mythic ele- ments strongly influence both characterization and plot. The fourth chapter is an analysis of The Queen of Drum and its triangular plot structure in which the motivating impetus of the characters is the result of dreams. Chapter Five recapitulates Lewis1s perspectives of life and reviews the impact of his Christianity on the poems. The study also shows how each poem illustrates a separate aspect of the cosmic quest. TABLE OF CONTENTS Chapter Page I. INTRODUCTION. 1 II. "LAUNCELOT . 13 III. "THE NAMELESS ISLE" . 32 IV. THE QUEEN OF DRUM: A STORY jflFIVECANTOS ......... 50 V. CONCLUSION . * . 66 BIBLIOGRAPHY . 72 iii CHAPTER I INTRODUCTION Nothing about a literature can be more essential than the language it uses. A language has its own personality; implies an outlook, reveals a mental activity, and has a resonance, not quite the same as those of any other.