DOCSLIB.ORG

N E W S L E T T E R Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
N E W S L E T T E R Vol Harvard University Department of M usic MUSICn e w s l e t t e r Vol. 7, No. 1/Winter 2007 Out of Africa: Kay Kaufman Shelemay and the Music Building Ethiopian Diaspora North Yard ddis Ababa sprawls atop the Ethio- Harvard University pian highland plateau: lush with Cambridge, MA 02138 bougainvillea and eucalyptus, and Anoisy with merchants’ shouts from Africa’s 617-495-2791 largest outdoor market. More than four million people live here in the capital city, www.music.fas.harvard.edu where tin-roofed huts stand in extreme contrast to imperial palaces and elegant hotels. As a young graduate student, Kay INSIDE Kaufman Shelemay spent 2 1/2 years in Addis Ababa breathing in its colors, sounds, 3 Faculty News culture and people. Her book, A Song of INSIDE Shelemay recently interviewed Ethiopian masenqo player, Ato Getame- 4 Graduate Student News Longing. An Ethiopian Journey (1991) is at say Abebe in Cambridge. Left to right: Prof. Shelemay, Charles Sutton (who performed on the masenqo in Ethiopia), Getamesay Abebe, and 2 heart a love letter to this ancient, war-torn 5 Record 18 new graduate Harvard graduate student Danny Mekonnen. 3 part of Africa. students accepted 4 “I love Ethiopian music,” says Shelemay. “My York. This revolutionized my relationship to my 6 Alumni News dissertation project was on the liturgical music field—the work I was doing in Africa I could 6 Loeb Library donates of the Beta Israel, the community today known now do at home. It made me enormously aware of Ethiopian community around me.” materials to Tulane as the Ethiopian Jews, almost all of whom are now living in Israel. I also began research on the Between 1971 and 1994 thousands of Ethio- 7 Library News Ethiopian Christian tradition while I was living in pian immigrants entered the U.S., and the num- 7 Bach Archive publishes Addis Ababa. When the revolution began, I could ber has increased rapidly since then. “Ethiopians seven new volumes see my plan for long term research in Ethiopia have had a presence, and now, a new presence,” was at risk and I began researching everything in says Shelemay. “This is a migration that is separate 8 Composers’ Orchestral sight.” from the historical African American community. Concert It was 1974, and the last Ethiopian emperor For Ethiopian Americans, restaurants present a 9 Undergraduate News I am looking at how music helps establish and maintain communities in transition. I am interested 9 Bernstein & Barenboim in music's role in establishing and maintaining ethnic, religious, and social boundaries. Music also 11 Calendar provides a connective tissue between homeland and diaspora, with music and musicians flowing back and forth, through travel, technology, recordings, etc.—KAY KAUFMAN SHELEMAY was overthrown in a coup that left a wake of public face, and specialty grocery stores, CDs civil unrest, drought and famine. Millions of and videos help transmit and preserve Ethiopian Ethiopians fled their country and relocated in culture.” diaspora communities across the globe. Shelemay Shelemay dove more deeply into Orthodox had little choice but to return to the U.S. where Christian ritual music research she’d begun in Ad- she finished her PhD (University of Michigan), dis Ababa in the 1970s. “The Ethiopian Christian Department Chair moved to New York City, and began her academic Orthodox Church is one of the oldest Christian Ingrid Monson career at Columbia University. Then it dawned denominations, founded in early 4th century,” she Director of Administration on her. explains. Ethiopian church musicians or dabtara Nancy Shafman “What I hadn’t realized until I moved (deb-TARE-uh) traditionally study for years, from early childhood through a series of chant schools. Newsletter Editor into the Upper West Side was that there were Lesley Bannatyne thousands of Ethiopians newly arrived in New But, Shelemay says, the scarcity of clergy in the [email protected] continued on p. 2 Shelemay, continued modern U.S. puts the traditional Ethiopian tions, due out from Harvard University Press in church music at risk. Congregations may use spring 2007). “There are musical therapies in recordings, or only hire musicians for Christ- Ethiopia used to treat mental disorders, as well as mas or Easter. In addition, new music was physical ones. A number of groups of musicians created by young Ethiopians who, during the have careers in magical practices, divination and revolution, sought refuge in Sunday school healing. For example, the Lalibela, a group of lessons and in organized choirs. Hymns were musicians that have Hansen’s disease (leprosy), composed in vernacular language —Amhar- are also mendicants—they sing to keep leprosy ic—and the music circulated on cassettes. By away. And, there are genres of Ethiopian battle the 1990s, Shelemay summarizes, there was songs that are sung to wrestle with spirits who a new Ethiopian music style both in church make people sick. and outside it. And now other Ethiopian “I remain interested in music’s role as a part musics are becoming popular on the world of healing therapies in many cultures worldwide.” music stage as well. “Ethiopian music is getting hot!” Shele- Hans Tutschku’s Tell Me! ...a secret premieres may enthuses. “Bands in different parts of the Kay Kaufman Shelemay is G. Gordon Watts Profes- at the Carpenter Center March 8–April 13, world are starting to play Ethiopian music, sor of Music and Professor of African and African 2007. The piece is built around two interactive largely because of the web and published American Studies. A revised second edition of her sound and video installations which invite the recordings. Mulatu Astatke, a composer who Soundscapes. Exploring Music in a Changing viewer to become, quite literally, part of the initiated Ethio-jazz in the 1960s, was inspired World (W.W. Norton) was published in June art. The photographs in Tell Me! ... a secret ... in part by church chant. (Mulatu—Ethiopi- 2006. She has recently worked with the UNESCO are inspired by Tutschku’s previous multimedia ans are called by their first names—composed Intangible Culture Heritage Program in Ethiopia, performances. Incorporating dance, music, and the soundtrack for Jim Jarmusch’s 2005 and also helped redesign the humanities curriculum image projection, Tutschku’s work utilizes both film, Broken Flowers.) In fact, last month I at Hebrew University in Israel. Shelemay received his acting studies in Berlin and his work with plugged in my earphones on a plane flying a 2007-2008 NEH Fellowship to support her Ensemble für Intuitive Musik. to Hawaii and I heard Mulatu on the world research in preparation for a new book on the Opening reception is on March 15 at music channel! Maybe people who study Ethiopian diaspora community. 5:30pm; gallery talk on March 16 at 5:00pm. Beethoven get used to this, but when you’ve studied Ethiopian music your whole life Ethiopian Leader Honored in Chelsea, MA you’re not accustomed to hearing it on the radio, in film, or broadcast. It’s exciting.” Thanks to the initiative of Shelemay has begun working with Mike Mekonnen Tsegaye, Mulatu on a number of projects. “I’m in- an Ethiopian American city terested in how musical communities are councilman in Chelsea, Mas- constituted—how people can be born into sachusetts, the Chelsea City a tradition, like a religious tradition, or come Council recently sponsored a together in political affinity, like much of the proclamation honoring Father roots music, or coalesce because they just like Sahay Berhanu, the spiri- the sounds. Mulatu’s music partakes in all tual leader of a Boston area this. He’s helped me understand how music Ethiopian Christian Orthodox works in society—Orthodox church music, Church located in Mattapan. folkloric music, Ethio jazz and pop mu- Many of the large population sic—how these categories are not mutually of Ethiopians in Chelsea at- exclusive.” She is currently working closely tend this church, and Shele- with church musicians in the United States may, who has come to know such as an accomplished musician living Father Sahay Berhanu through in Cambridge who heads a local Ethiopian Shelemay with Ethiopian spiritual leader and liturgical music expert her research, was invited to the Orthodox church. Father Sahay Berhanu at his proclamation ceremony in Chelsea. ceremony. Shelemay is also exploring a longtime fascination with music and healing (She co- “It was thrilling,” says Shelemay. “This is a new community, engaged with the workings edited the volume, Pain and Its Transforma- of local government, acknowledging one of their own who is helping to establish Ethiopian religious life here.” 2 Faculty News Morton B. Knafel Professor performances by Laurence Dreyfus and John Thomas F. Kelly was made Butt, and Wolff gave an illustrated talk on an honorary citizen of the exciting recent discoveries about Bach. city of Benevento, Italy on The prize, sponsored by the Kohn Foun- November 17th, in the course dation, is awarded to an individual who has of a special session of the City made an outstanding contribution to the Council in the presence of the performance and/or scholarly study of the Prefect of the Province. That music of Johann Sebastian Bach. The selec- evening Kelly introduced and tors for the inaugural prize were Professor commented on a concert of Curtis Price KBE (chair), Professor John Butt Beneventan chant sung by the (Glasgow University), Professor Laurence choir of Benevento Cathedral Dreyfus FBA (Oxford University) and Dr. and transcribed by him, in the Ralph Kohn FRS (Kohn Foundation). 8th-century church of Santa Sofia. The following day he Kelly receives honorary citizenship in Benevento, Italy. Music Lectures at Warren Center was a guest at a special event in Together with Nancy Cott (Department of His- the Benevento Conservatory, where he was Bernard Rands received an honorary doc- tory), Carol Oja will lead the Warren Center at presented with a special award.
Load more

Recommended publications
  • Considerations for Choosing and Combining Instruments
    CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Richard Koprowski EDITORIAL BOARD
    EDITOR: Richard Koprowski ASSOCIATE EDITOR: Douglass Seaton EDITORIAL BOARD: Thomas W. Baker, Laura DeMarco, Laurence Dreyfus, Paul Hawkshaw, Victoria Horn, Peter M. Lefferts, George Stauffer, Barbara Turchin EDITORIAL STAFF: Peter Dedel, James Bergin, Clara Kelly, Stephan Kotrch, Judith J. Mender, Dale E. ::Y1onson, Mary Lise Rheault, Martin H. Rutishauser, Lea M. Rutmanowitz, Glenn Stanley, Douglas A. Stumpf, Linda Williams ADJUNCT EDITORS: Nola Healy Lynch New York University Robert Lynch Rena 1\1 ueller BUSINESS DEPARTMENT: Ann Day FACULTY ADVISOR: Edward A. Lippman Copyright © 1977, The Trustees of Columbia University in the City of New York Printed in the United States CORRESPONDING EDITORS: Domestic Susan Gillerman Boston University, Boston, Mass. Carla Pollack Brandeis University, Waltham, Mass. Ellen Knight Brigham Young University, Provo, Utah Myrl Hermann Bryn Mawr College, Bryn Mawr, Pa. Harrison M. Schlee Carnegie-Mellon University, Pittsburgh, Pa. Kenneth Gabele Case Western Reserve University, Cleveland, Ohio Ronald T. Olexy Catholic University of America, Washington, D.C. John Gordon Morris City University of New York, New York, N.Y. Sheila Podolak City University of New York, Brooklyn College, Brooklyn, N.Y. Jeffrey Giles City University of New York, Hunter College, New York, N.Y. Monica Grabie City University of New York, Queens College, Flushing, N.Y. Edward Duffy Columbia University, New York, N.Y. Howard Pollack Cornell University, Ithaca, N.Y. Lou Reid Florida State University, Tallahassee, Fla. Susan Youens Harvard University, Cambridge, Mass. Robert A. Green Indiana University, Bloomington, Ind. Andrea Olmstead Juilliard School, New York, N.Y. William Borland Louisiana State University, Baton Rouge, La. Adriaan de Vries McGill University, Montreal, Quebec, Canada Laura Calzolari Manhattan School of Music, New York, N.Y.
    [Show full text]
  • Richard Koprowski Douglass Seaton
    EDITOR: Richard Koprowski ASSOCIATE EDITOR: Douglass Seaton EDITORIAL BOARD: Thomas W. Baker, Laura DeMarco, Laurence Dreyfus, Paul Hawkshaw, Victoria Horn, Peter M. Lefferts, George Stauffer, Barbara Turchin EDITORIAL ST AU: Judy Becker, James Bergin, Clara Kelly, Stephan Kotrch, Judith J. Dale E. :Vlonson, Lea M. Rutmanowitz, Glenn Stanley, Douglas A. Stumpf, Linda Williams ADJUNCT EDITORS: Asya Berger New York University Rena Mueller BUSINESS DEPARTMENT: Ann Day FACULTY ADVISOR: Leeman Perkins Copyright © 1977, The Trustees of Columbia University in the City of New York Printed in the United States CORRESPONDING EDITORS: Domestic Susan Gillerman Boston University, Boston, Mass. Brian Taylor Brandeis University, Waltham, Mass. Ellen Knight Brigham Young University, Provo, Utah Myrl Hermann Bryn Mawr College, Bryn Mawr, Pa. Harrison M. Schlee Carnegie· Mellon University, Pittsburgb, Pa. Kenneth Gabele Case 'Vestern Resene University, Cleveland, Ohio Ronald T. Olexy Catholic Uni\'ersity of America, Washington, D,C. John Gordon Morris City University of New York, New York, N.Y. Sheila Podolak City University of New York, Brooklyn College, Brooklyn, N.Y. Jeffrey Giles City University of New York, Hunter College, New York, N.Y. Monica Grable City University of New York, Queens College, Flushing, N.Y. Peter Lefferts Columbia University, New York, N.Y. Howard Pollack Cornell Uni\'ersity, Ithaca, N.Y. Lou Reid Florida State Unh'ersity, Tallahassee, Fla. Susan Youens Harvard University, Cambridge, Mass. Robert A. Green Indiana Uni\ersity, Bloomington, Ind. Andrea Olmstead Juilliard School, New York, ;\I.Y. William Borland Louisiana State University, Baton Rouge, La. Adriaan de Vries McGill University, Montreal, Quebec, Canada Laura Calzolarl Manhattan School of Music, New York, N.Y.
    [Show full text]
  • 'Wagner and Literature: New Directions: Introduction'
    This is a repository copy of 'Wagner and Literature: New Directions: Introduction'. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/80544/ Version: Accepted Version Article: Allis, MJ (2014) 'Wagner and Literature: New Directions: Introduction'. Forum for Modern Language Studies. ISSN 0015-8518 https://doi.org/10.1093/fmls/cqu031 Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 Some late revisions made to this draft were subsequently incorporated at the publication stage. The final version is available from: http://dx.doi.org/10.1093/fmls/cqu031 Wagner and Literature: New Directions Introduction Many readers of this Special Issue will be aware of the plethora of events last year marking the 200th anniversary of the birth of Richard Wagner (1813-83).
    [Show full text]
  • Jewish Secularity and Edgar Zilsel's Geniereligion
    Yale Journal of Music & Religion Volume 6 Number 2 Sound and Secularity Article 2 2020 Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Abigail Fine University of Oregon Follow this and additional works at: https://elischolar.library.yale.edu/yjmr Part of the Cultural History Commons, German Language and Literature Commons, Jewish Studies Commons, Musicology Commons, and the Other Religion Commons Recommended Citation Fine, Abigail (2020) "Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918)," Yale Journal of Music & Religion: Vol. 6: No. 2, Article 2. DOI: https://doi.org/10.17132/2377-231X.1169 This Article is brought to you for free and open access by EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in Yale Journal of Music & Religion by an authorized editor of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. Assimilating to Art-Religion: Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Cover Page Footnote I wish to thank August Sheehy and Margarethe Adams for organizing the symposium that was the impetus for this project. This article was greatly enriched by incisive commentary from three anonymous reviewers who engaged with the work in detail. I am further indebted to Roy Chan for his thoughtful comments on a draft of this article. This article is available in Yale Journal of Music & Religion: https://elischolar.library.yale.edu/yjmr/vol6/iss2/2 Assimilating to Art-Religion Jewish Secularity and Edgar Zilsel’s Geniereligion (1918) Abigail Fine After fleeing the Nazis, many European From its first pages, Zilsel’s treatise set Jewish and Marxist scholars were fortunate out to destroy the Geniereligion—that is, the to find a new sense of belonging abroad, at parareligious cults of veneration that form institutions like the New School for Social around artists, scientists, pedagogues, and Research in New York City or among the other secular figures.
    [Show full text]
  • J.S. Bach's the Art of Fugue
    Uri Golomb Johann Sebastian Bach’s The Art of Fugue In the introduction to his book Musical Meaning and Emotion, philosopher Stephen Davies wrote: “I do not believe that all music is expressive. Neither do I believe that expressiveness is always the most important feature of music that is expressive” (p. x). To illustrate this, he presented Bach’s Art of Fugue as the archetypal example. Here, he claims, is a work in which the listener’s attention should be drawn to “the way the material is handled”; the music’s “expressive and dynamic features” – or lack thereof – are of marginal importance (p. 354). This view is not atypical. The Art of Fugue’s reputation as a cerebral, intellectual work is so pervasive that Rinaldo Alessandrini, in the notes to his recording, was moved to ask: “is it possible to consider The Art of Fugue as music?” Until recently, The Art of Fugue was considered Bach’s very last work, sketched and written in last years of his life. It thus came to be viewed as Bach’s “Last Will and Testament”. This resonated with the more general tendency to consider any artist’s late works as transcendental, “unworldly” reflections of their creator’s spirit. Much was also made of the fact that the work was published with no indication of instrumentation: this was seen as further evidence for Bach’s disengagement from material considerations, his indifference to sonority and performance. Some even described The Art of Fugue as Augenmusik – “eye-music”, which should be contemplated and analysed, not realised in sound.
    [Show full text]
  • Impact Case Study (Ref3b) Page 1
    Impact case study (REF3b) Institution: University of Oxford Unit of Assessment: 35 Music, Drama, Dance and Performing Arts Title of case study: The social, cultural and economic impact of practice-led early music research 1. Summary of the impact Practice-led performance research at Oxford fosters dynamic, interactive relationships between academics and professional ensembles that are of huge cultural and economic impact to a wide variety of beneficiary groups. This case study presents two internationally recognised research-led groups – Phantasm and the Choir of New College, Oxford – whose work offers strong examples of social and cultural impact, including: a significant contribution to public understanding of English and European musical and cultural heritage; increased public access to previously inaccessible repertories; contribution to the local economy and tourism industry in Oxford; and the provision of unique educative opportunities for instrumentalists and singers. 2. Underpinning research The University of Oxford is a world-leading centre for performance, and the Faculty of Music hosts several internationally renowned practitioners and performance researchers. Professor Laurence Dreyfus (Lecturer in Music and Fellow of Magdalen College since 2005) and Professor Edward Higginbottom (Lecturer in Music and Director of Music at New College since1976) lead this community. Dreyfus‟ research has focussed on interpretations of J.S. Bach and English consort music of the 16th and 17th centuries, while Higginbottom has published on the organ and early French music. Both have a strong interest in performance practice and research in this area. Prior to arriving at Oxford, Dreyfus' research considered the close interrelationship between theory, compositional practice and performance in early music, e.g.
    [Show full text]
  • Viols and Objects
    Music We’d Like to Hear 7.30 pm 18 July 2014 co-produced with Sound and Music St Mary-at-Hill, Lovat Lane, London VIOLS & OBJECTS Phantasm: Mira Benjamin Laurence Dreyfus John Lely Emilia Benjamin Tim Parkinson Jonathan Marson Markus Trunk Mikko Perkola Markku Luolajan-Mikkola Daniel Hyde William Lawes 1602–45 Salisbury, England Consort Sett I a5 in g I Fantazya II On the Playnsong III Aire Christian Wolff b. 1934 Nice, France Another (2012) ‘At least two people, play independently, more or less heterophonically ...’ Consort Sett II a5 in a I Fantazy (No 1) II Fantazy (No 2) III Aire Taylan Susam b. 1986 Amsterdam, Netherlands for sesshū tōyō (2008) ‘sounds: light like a brushstroke of ink’ Consort Sett III a5 in c I Fantazia II Aire (No 1) III Pavan IV Aire (No 2) [interval] Alvin Lucier b. 1931 New Hampshire, US Chambers (1968) ‘Collect or make large and small resonant environments ... Find a way to make them sound ...’ Consort Sett IV a5 in F I Fantazy II Pavan III Aire Antoine Beuger b. 1955 Oosterhout, Netherlands three drops of rain / east wind / ocean (2006) haiku by fukuda kodojin (1865–1944), probably the last poet and artist in the japanese literati tradition Consort Sett V a5 in C I Fantazy II Pavan III Aire Phantasm, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus and has become recognised as the most exciting viol consort active on the world scene today. The ensemble catapulted into international prominence when its debut CD of works by Henry Purcell won a Gramophone Award for the Best Baroque Instrumental Recording of 1997.
    [Show full text]
  • Lawes: Consorts to the Organ
    CONSORTS TO THE ORGAN WILLIAM LAWES WILLIAM LAWES (160 2–1645) CONSORTS TO THE ORGAN LAURENCE DREYFUS treble viol and director WENDY GILLESPIE treble viol JONATHAN MANSON tenor viol EMILIA BENJAMIN tenor viol MIKKO PERKOLA tenor and bass viols MARKKU LUOLAJAN-MIKKOLA bass viol with DANIEL HYDE organ 2 Set a5 in g 1 I Fantazya a5 .....................3:06 2 II On the Playnsong a5 ...........4:14 3 III Aire a5 ..........................1:25 Set a5 in a 4 I Fantazy a5 (No. 1) .............5:09 5 II Fantazia a5 (No. 2) .............2:49 6 III Aire a5 ..........................1:56 Set a5 in c 7 I Fantazia a5 .....................3:12 8 II Aire a5 (No. 1) .................1:38 9 III Paven a5 ........................6:31 bk IV Aire a5 (No. 2) .................1:27 Set a5 in C bl I Fantazy a5 ......................2:25 bm II Paven a5 ........................5:06 bn III Aire a5 ..........................2:18 Set a6 in g bo I Paven a6 ........................6:35 bp II Fantazy a6 ......................3:18 bq III Aire a6 .........................2:10 Set a6 in F br I Aire a6 (No. 1) .................2:29 bs II Fantazy a6 (No. 1) .............4:56 bt III Aire a6 (No. 2) ................1:35 ck IV Fantazy a6 (No. 2) .............3:08 Set a6 in B flat cl I Fantazy a6 ......................4:24 cm II Aire a6 .........................2:38 cn III Inominy a6 .....................4:26 3 William Lawes Consorts to the Organ – A Guide to the Perplexed No amount of historical study prepares one for the originality and daring of William Lawes’s Consorts to the Organ .
    [Show full text]
  • Download Booklet
    Linn Records Label of the Year ‘Linn is the very model of a modern record company, ensuring that the highest standards are maintained from the studio right through the company’s CKD 372 very impressive digital store.’ JAMES JOLLY, EDITOR-IN-CHIEF, GRAMOPHONE LINN, GLASGOW ROAD, WATERFOOT, GLASGOW G76 0EQ UK t: +44 (0)141 303 5027/9 f: +44 (0)141 303 5007 e: [email protected] d Christe qui Lux es a4 (I) ...............................2.50 PHANTASM (CA. 1540~1623) f In nomine a5 (II) (‘on the sharp’) ...........2.32 WILLIAM BYRD LAURENCE DREYFUS director, treble viol g Christe qui Lux es a4 (II) ..............................2.42 WENDY GILLESPIE treble & tenor viols Complete Consort Music h In nomine a4 (II) .................................................2.35 JONATHAN MANSON tenor viol j Fantasia a6 (II) .....................................................5.08 MARKKU LUOLAJAN-MIKKOLA bass viol q Fantasia a3 (III) ...............................................................................1.04 k Miserere a4 ............................................................1.33 MIKKO PERKOLA tenor & bass viols w Browning a5 (The leaves be green) ...............................4.37 l Fantasia a4 (I) .......................................................2.22 EMILIA BENJAMIN tenor viol e Te lucis a4 ..........................................................................................2.20 ; Christe qui Lux es a4 (III) ............................1.07 Recorded at r In nomine a5 (III) ...........................................................................2.31
    [Show full text]
  • !Book Per Musi 24.Indb
    KJAR, D. The Plague, a Metal Monster, and the Wonder of Wanda. Per Musi, Belo Horizonte, n.24, 2011, p.79-100. The Plague, a Metal Monster, and the Wonder of Wanda: In Pursuit of the Performance Style David Kjar (Boston University, Boston, EUA) [email protected] Abstract: The claim of having achieved “authenticity” in performance has today almost disappeared without a trace. However, Richard Taruskin’s efforts to disprove the premise through a series of articles in the 1980s still beg important questions, such as exactly what are the origins of the early music movement’s performance style and which performers had a role in its transmission? Taruskin contends that Stravinsky transmitted the “geometrical,” or modernist, Bach to the musical world, and that Stravinsky might have learned it from Wanda Landowska. Taruskin’s accolade exposes more than a bit of irony within the early-music revival, since Landowska is seldom, if ever, acknowledged as a significant contributor to the development of the early-music “style” of performance, even though Landowska’s recordings reveal a performer with a modern style, one that foreshadows 1980s early-music performances. Due primarily to the sound of her non-historic harpsichord, Landowska’s influence, however, has been diminished, and her significant role was negated in the post-“authenticity” early music movement. This paper traces Landowska’s central influence through an investigation of her Varsovian musical education, Parisian residency, and recordings. It recognizes and advocates for the contributions made by Landowska before the advent of the “authenticity” era. Keywords: Historical Performance; Early Music; Authenticity; Performance Practice; Landowska; Kleczyński.
    [Show full text]