DOCSLIB.ORG

International Harp Competitions and Masterclasses AT-A-GLANCE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SPRING 2020 • VOLUME XIII, NO. 6 World Harp congress eviewTHE OFFICIAL PUBLICATION OF THE WORLD HARP CONGRESS, INC. 14 TH WORLD HARP CONGRESS 14 EG CYNGRES TELYNAU’R BYD CARDIFF, WALES CAERDYDD, CYMRU POSTPONED TO 6-12 AUGUST 2021 WE’RE BUSY ADDING DOWNLOADABLE PDFS… www.harp.com The best site for ordering strings, music and harp accessories. Carve Out Tomorrow Camac Centre Paris Workshop & Offices 92, rue Petit La Richerais BP15 75019 Paris, France 44850 Mouzeil, France www.camac-harps.com WORLD HARP CONGRESS, INC. Founder: Phia Berghout, The Netherlands The World Harp Congress was established in 1981 and incorporated in 1982. It originated from the Harpweeks in The Netherlands, organized by Phia Berghout and Maria Korchinska, that first met in 1960. The WHC is held every three years around the world and seeks to promote the exchange of ideas, stimulate contact, and encourage the composition of new music for the harp. Phia Berghout 1983 Maastricht, The Netherlands 2002 Geneva, Switzerland 1985 Jerusalem, Israel 2005 Dublin, Ireland 1987 Vienna, Austria 2008 Amsterdam, The Netherlands 1990 Paris/Sèvres, France 2011 Vancouver, British Columbia, Canada 1993 Copenhagen, Denmark 2014 Sydney, Australia 1996 Tacoma/Seattle, Washington, USA 2017 Hong Kong, China 1999 Prague, The Czech Republic 2021 Cardiff, Wales, United Kingdom WORLD HARP CONGRESS, INC. MEMBERS OF THE CORPORATION Founder: Phia Berghout, The Netherlands Daphne Boden, United Kingdom Founding Chair: Ann Stockton, USA Alexandre Bonnet, The Netherlands Founding Artistic Director: Susann McDonald, USA Clíona Doris, Ireland Founding WHC Review Editor: Linda Wood Rollo, USA Mario Falcao, Portugal/USA Chair Emerita: Patricia Wooster, USA Mercedes Gómez, Mexico Kumiko Inoue, Japan Founding Committee Mieko Inoue, Japan Phia Berghout, The Netherlands Kathy Kienzle, USA Mario Falcao, Portugal/USA Sheila Larchet Cuthbert, Ireland Kumiko Inoue, Japan Susann McDonald, USA Marcela Kozikova, Czechoslovakia Isabelle Perrin, Norway/France Susann McDonald, USA Lieve Robbroeckx, Belgium Sylvia Meyer, USA Natalia Shameyeva, Russia Robert A. Ouimette, USA Ernestine Stoop, The Netherlands Lucile Rosenbloom, USA Helga Storck, Germany Deane Sherman, USA Karen Vaughan, United Kingdom Ann Stockton, USA Linda Wood Rollo, USA Patricia Wooster, USA Elena Zaniboni, Italy BOARD OF DIRECTORS Chair: Kathy Kienzle, USA Clíona Doris, Ireland Artistic Director: Isabelle Perrin, Norway/France Mario Falcao, Portugal/USA Associate Artistic Director: Karen Vaughan, Lucrecia Jancsa, Argentina United Kingdom Jung Kwak, Korea Vice-President: Alexandre Bonnet, The Netherlands Marcela Méndez, Argentina Vice-President: Mieko Inoue, Japan Kaori Otake, Japan/Canada Vice-President: Mercedes Gómez, Mexico ¸ Secretary: Lieve Robbroeckx, Belgium Nicoletta Sanzin, Italy Treasurer: Jaymee Haefner, USA SirinErnestine Pancaro˘glu, Stoop, TurkeyThe Netherlands Editor, WHC Review: Isabel Moretón Achsel, Germany Helga Storck, Germany Caryl Thomas, Wales, United Kingdom Milda Agazarian, Russia Guan Wang, China Kirsten Agresta Copely, USA Patricia Wooster, USA Ann Benjamin, USA Angela Yau, China Maria Cristina de Carvalho, Brazil Ann Yeung, USA Dan Yu, China HONORARY BOARD OF DIRECTORS Bernard Andrès, France Sergiu Natra, Israel Pierre Bartholomée, Belgium Paul Patterson, United Kingdom Marco Betta, Italy Libor Pesek, Czech Republic Robert Freeman, USA R. Murray Schafer, Canada Pierick Houdy, France David del Tredici, USA SPRING 2020 • VOLUME XIII, NO. 6 World Harp congress eviewTHE OFFICIAL PUBLICATION OF THE WORLD HARP CONGRESS, INC. 14 TH WORLD HARP CONGRESS 14 EG CYNGRES TELYNAU’R BYD CARDIFF, WALES CAERDYDD, CYMRU POSTPONED TO 6-12 AUGUST 2021 CONTENTS SPRING 2020 • VOLUME XIII • NO. 6 3 WORLD HARP CONGRESS NEWS Cover design by Petra Bryan. Letter from the Chair Greetings from the Artistic Director Greetings from the Fourteenth World Harp Congress Chairs and Program Overview Focus on Youth 2020/2021 10 HARP HISTORY Anton Pratté (1796-1875) – Delphine Constantin-Reznik Victor Salvi - Harpist. Entrepreneur. Philanthropist. EDITOR Isabel Moretón Achsel 14 SPOTLIGHT ADVERTISING MANAGER Sonja Westberg Israel Harp Contest 1959-2019 – Julia Rovinsky Playing For and With Dancers – Cynthia Price-Glynn GRAPHIC DESIGN/LAYOUT Petra Bryan The World Harp Congress Review is pub- 19 IN MEMORIAM lished biannually in November and May Samuel Milligan and is distributed to over 50 countries. The Milica Baric ideas and opinions expressed in this publication are those of the writers and not Nona Ventura Rosenthal necessarily those of the World Harp Congress, Inc. Memberships to the World Harp Congress, address changes, and other 23 INTERNAZlata BernatovićTIONAL FESTIVALS AND COMPETITIONS business matters should be directed to: Singapore HARPFEST 2019 Leanna Johnson, Membership Chair International Harp Competition “Marcel Tournier” in Cosenza 14501 Montfort Drive, #1625 Dallas TX 75254, USA Slovenian International Harp Competition Email: [email protected] Nippon Harp Competition and International Festival The WHC Review is included in membership International Harp Competition in Szeged dues. International Harp Competitions and Festivals At-A-Glance Advertising in the WHC Review is open to all harp-related businesses and events as well as schools and conservatories. Dead- 28 NEW MUSIC lines for ad copy are September 1 and March 1. Advertising copy, payment and Rhona Clarke: Seen From Above inquiries should be directed to: Recent Premieres and Publications Sonja Westberg 1234 Evans Road, Apt 414 San Antonio Texas 78258 30 NATIONAL NEWS Email: [email protected] News items should be directed to the 41 MEET THE CORRESPONDENTS official correspondents of each country. Poland Editorial letters and photos must be re ceived by 15 August (Fall issue) and 15 February (Spring issue). Articles must 42 WORLD HARP CONGRESS CORRESPONDENTS be sub mitted by 1 June (Fall issue) and 1 December (Spring issue). Please direct all material to: 42 INDEX OF ADVERTISERS to the World Harp Congress Isabel Moretón Achsel, Editor Review Lange-Hop-Strasse 76 30559 Hannover, Germany Email: [email protected] 43 NATIONAL HARP ASSOCIATIONS OF THE WORLD ISSN 1542-9415 www.worldharpcongress.org © 2020 World Harp Congress, Inc. All rights reserved. printed on recycled paper Become a member of the World Harp Congress Be part of the worldwide harp community and support the only international organization that hosts a full week harp congress in a different country every three years. Membership bene�its include : Subscription to our biennial WHC Review, which includes world-wide harp news, interviews, harp history, new music, and international festivals Eligibility for discounted harp insurance through Anderson Harp Insurance Group Opportunities for professionals to perform or present at Congresses • OpportunitiesTimely/Speci�ic for Information students to about apply upcoming for Focus onCongresses Youth, masterclasses, mock orchestra audition, and workshops at Congresses Online membership directory Access to International Harp Archives, Audio and Video Lending Libraries, Radio Interviews and much more Please visit the website to become a member: www.worldharpcongress.com/membership Is it time to renew your membership? Please visit the website to renew you membership: www.worldharpcongress.com/membership for download on the website to send to the Membership Chair at If you cannot [email protected]. your membership online, you will �ind a registration form If you wish to pay in Euros please contact Alexandre Bonnet at [email protected]. ANNOUNCEMENT Congratulations to St. Petersburg, Russia, host of the 15th World Harp Congress! The co-chairs will be Sofia Kiprskaya and Elizaveta Alexandrova. The Mariinsky Theatre in St. Petersburg, venue of the 15th World Harp Congress. www.worldharpcongress.com WORLD HARP CONGRESS NEWS Letter from Greetings from the the Chair Artistic Director Dear Friends, Dear Colleagues and Friends, We are so sorry to announce the postponement of the 14th It is with deep sadness that I write this message, as our 14th Congress in Cardiff. You will find in this issue the wonderful pro- WHC planned for July in Cardiff has had to be postponed to gram that the Cardiff team has put together. We hope that seeing August 2021. this will encourage those of you who already registered to carry These past few weeks, the world, our lives and the immediate your registration to the 2021 Congress. Also, if you have already future have drastically changed, impacting us all. But when this purchased airline tickets to Cardiff, you might save money by unprecedented situation is over we will need more than ever to transferring the flight dates to 2021 instead of asking for a refund. bring our music and ourselves together. I sincerely hope that you and your families are healthy and The Cardiff team has done extraordinary work to put togeth- are managing to cope with this world-wide disaster. I am er one of the best programs we have ever had. At this point they especially thinking of those of you who rely on free-lancing for intend to keep it just as planned,hoping that everyone involved concerts and gigs to support yourselves and your families. This will be available for the new dates. must be especially difficult for you. I hope you are able to find As a number of you have already paid for registration (and ways to continue to make music. Many of us are learning new had probably booked your travel), I would suggest that it will
Recommended publications
  • PCC Cat 20-21 Jan Changes-Without Highlights

    PCC Cat 20-21 Jan Changes-Without Highlights

    PENSACOLA CHRISTIAN COLLEGER 2020 – 2021 CATA LO G PENSACOLA CHRISTIAN COLLEGE PENSACOLA 1 UNDERGRADUATE 2 – EMPOWERING CHRISTIAN LEADERS R TO INFLUENCE THE WORLD 20 CATALOG 37426101-2/20 AS Sophomores, Juniors, and Seniors, Come Experience PCC for Yourself at College Days! Nov. 18–20, 2020 • Mar. 24–26, 2021 • Apr. 7–9, 2021 Yes, you can come any time, but no other time is quite like College Days. You’ll get a glimpse of college academics as you visit classrooms and labs. You’ll find out what students are like as you stay in a resi- dence hall. You can go to special activities planned just for you. But that’s not all. Beyond that, you’ll experience chapel in the Crowne Centre, go to meals in the Four Winds or Varsity, and head to the Sports Center for rock climbing and more. That’s just a start of what you can do during College Days. When you’re done looking through these pages, you’ll know a good bit about PCC. But it’s not the same as being here! See for yourself what PCC is really like. Ask questions in person. And get a better idea if this is the next step God has for you. Find out more today at pcci.edu/CollegeDays or call 1-800-PCC-INFO, ext. 4, to reserve your spot. pcci.edu • [email protected] 1-800-PCC-INFO (722-4636) for new student admissions (850) 478-8496 for all other info. @ConnectPCC Pensacola Christian College @ConnectPCC PensacolaChristianCollege catalog available online at pcci.edu/Catalog PENSACOLA CHRISTIAN COLLEGER 1 UNDERGRADUATE 2 – 20 CATALOG CONTENTS General Information ...............................
  • Arts Council Ballet Policy Review

    Arts Council Ballet Policy Review

    ARTS COUNCIL BALLET POLICY REVIEW November 2013 1 TABLE OF CONTENTS INTRODUCTION EXECUTIVE SUMMARY CHAPTER 1: HISTORICAL CONTEXT 1.1 Chapter introduction 1.2 A brief overview of ballet history 1.3 Ballet’s relevance in western contemporary society 1.4 Irish ballet in brief 1.5 Chapter conclusion CHAPTER 2: EDUCATION 2.1 Chapter introduction 2.2 Impediments to the development of formal dance education in Ireland 2.3 A brief overview of the current provision for pre-vocational dance training in Ireland 2.4 A possible model for professional dance education in Ireland 2.5 Proposed outline of course content for a BA in Dance 2.6 The positioning of a professional dance programme within a university setting and the development of international associations for quality assurance 2.7 Chapter conclusion CHAPTER 3: AN AUDIENCE PERSPECTIVE 3.1 Chapter introduction 3.2 Audience data sources 3.3 Audience data observations 3.4 Participation observations 3.5 Strategies for nurturing and developing audiences/engagement. 3.5.1 Research 3.5.2 Skills 3.5.3 Partnerships 3.5.4 Branding 3.5.5 Programming 3.5.6 External perceptions 3.5.7 Participatory activities 3.6 Chapter conclusion CHAPTER 4: PROFESSIONAL PRACTICE 4.1 Chapter introduction 4.2 Common factors 4.3 Artistic considerations and planning 2 4.3.1 A commitment to creativity and moving the art form forward. 4.3.2 Producing a ‘balanced’ programme 4.3.3 Imaginative programming achieved taking account of practical considerations 4.4 Model of practice for Ireland 4.5 Chapter conclusion APPENDIX 1: ARTS COUNCIL CONSULTATION PROCESS NOTES APPENDIX 2: ABOUT THE AUTHORS 3 INTRODUCTION In May 2006 the Arts Council commissioned an independent review of the context and issues affecting professional ballet in Ireland.
  • Sassofonista Nicolò Pantaleo Direttore Giovanni Pelliccia

    Sassofonista Nicolò Pantaleo Direttore Giovanni Pelliccia

    Sassofonista Nicolò Pantaleo Direttore Giovanni Pelliccia 2016 Il Sindaco Metropolitano Antonio Decaro è lieto di presentare Ludwing van Beethoven Le creature di Prometeo, ouverture op. 43 Adagio, molto allegro con brio Mirco Ceci Cinque pezzi per orchestra Felix Mendelssohn - Bartholdy Ouverture Op. 26, “Le Ebridi” (“La grotta di Fingal”) Alexander Glazunov Concerto in Mib op. 109 per Saxofono Alto e Orchestra d’archi Claude T. Smith Fantasia per sax contralto e orchestra (Trascrizione per orchestra sinfonica di Vincenzo Anselmi) Prod. n. 33 2016 Liberatore, Sandra Pastrana, Ekaterina Metlova, Abramo Rosalen e collaborando, inoltre, con registi Giovanni Pelliccia come Marisa Fabbri, Pasquale D’Ascola e Mickal Znaniecki; nell'ambito delle Celebrazioni Rotiane promosse dal Conservatorio di Musica di Monopoli ha diretto gli allestimenti delle seguenti opere liriche: Il cappello di paglia di Firenze, La notte di un nevrastenico, I due timidi e Aladino e la lampada magica. Docente di conservatorio dal 1993, attualmente è titolare della cattedra di Direzione d'Orchestra presso il Conservatorio “N. Piccinni” di Bari. Giovanni Pelliccia, cresciuto in una famiglia di Nicolò Pantaleo tradizioni musicali, si è diplomato in pianoforte e direzione d'orchestra al Conservatorio "S. Cecilia" di Roma sotto la guida di Carla Giudici e Bruno Aprea, studiando contemporaneamente composizione con Gino Marinuzzi jr.; successivamente ha conseguito il diploma in direzione d'orchestra del corso triennale di perfezionamento tenuto da Donato Renzetti presso l'Accademia Musicale Pescarese. Nell'ambito della sua attività direttoriale, oltre a collaborare abitualmente con alcune delle principali orchestre ICO italiane, ha diretto concerti in Austria, Stati Uniti, Canada e Corea del sud, collaborando con Nato a Bari nel 1983 dimostra sin da giovanissimo solisti come Bruno Canino, Eugene Rousseau, Danilo una naturale propensione alla musica, afnata già dai Rossi, Roberto Abbondanza, Manuela Custer, Maria primi anni dallo studio del pianoforte.
  • LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2

    LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2

    28908Laviniabooklet 10-09-2008 11:05 Pagina 1 CHANNEL CLASSICS CCS SA 28908 LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2 As a little girl of eight, I was already captivated by the magical sounds of the harp, so pure and rich. Once I discovered the instrument’s wealth of possibilities during my first lessons and my years at the conservatory, I quickly set myself a goal: I wanted to promote the harp as a solo instrument, wherever and however I could. I wanted to do this not only through the performance of well-known pieces, but also by encouraging contemporary composers to produce new harp compositions. For my first Channel Classics CD, I have chosen a combination of three 20th-century French masters. The Parisian firm of Érard, in particular, created technical innovations to the harp which considerably broadened the instrument’s (chromatic) capabilities; these innovations, followed by the first ‘minor’ masterpieces by Debussy and Ravel, soon made Paris the epicentre of a veritable harp explosion. More and more well-trained harpists appeared, and so did composers who became interested in the harp. Even though André Caplet did not compose much for the harp, the ‘Deux Divertissements’ are now an indispensable part of the repertoire. They are one of the harpist’s ‘musts’. And I cannot imagine why Jacques Ibert’s ‘Six Pièces’, those surprisingly colourful miniatures – are so rarely performed in their entirety. French-American Carlos Salzedo occupies a special place in the world of the harp. Famous both as a performer and teacher, he was immensely influential.
  • CAROLS for CHRISTMAS Carols and Seasonal Readings for Christmas and Winter

    CAROLS for CHRISTMAS Carols and Seasonal Readings for Christmas and Winter

    Gerald Neufeld conductor Alison MacNeill accompanist CAROLS FOR CHRISTMAS Carols and Seasonal Readings for Christmas and Winter Sunday November 30, 2014 WINTER’S EVE TRIO St. George’s Anglican Church | 3:00 pm Sharlene Wallace Harp Joe Macerollo Accordion George Koller Bass concert sponsors soloist sponsors government & community support Program CAROLS FOR CHRISTMAS Carols and Seasonal Readings for Christmas and Winter Hodie . Gregorian Chant Wolcum Yole, from Ceremony of Carols . Benjamin Britten Herself a rose, who bore the Rose . Christina Rossetti Laurie McDonald, reader As dew in Aprille, from Ceremony of Carols . Benjamin Britten Birth of Jesus . Luke 2, 1–20 Scott Worsfold, reader This little Babe, from Ceremony of Carols . Benjamin Britten Interlude, from Ceremony of Carols . Benjamin Britten Greensleeves . .. Traditional Winter’s Eve Trio What Child is this . arr . John Stainer Winter’s Eve Trio, choir and audience 1. What child is this, who laid to rest 2. Why lies He in such mean estate, On Mary’s lap is sleeping? Where ox and ass are feeding? Whom angels greet with anthem sweet, Good Christian, fear: for sinners here While shepherds watch are keeping? The silent Word is pleading; This, this is Christ, the King; Nails, spear shall pierce Him through, Whom shepherds guard and angels sing; The Cross be born for me, for you; Haste, haste to bring Him laud, Hail, hail the Word made flesh, The Babe, the Son of Mary! The Babe, the Son of Mary! 3. So bring Him incense, gold, and myrrh, Come peasant, king to own Him; The King of kings salvation brings; Let loving hearts enthrone Him.
  • Klassieke Zaken Maart 2015

    Klassieke Zaken Maart 2015

    UITGAVE VAN DE VERENIGING KLASSIEKE ZAKEN 35STE JAARGANG MAART 2015 NR 2 BORODIN KWARTET 70 jaar Hét tijdschrift voor liefhebbers van klassieke muziek Carus is distributed in the Benelux by Outhere Distribution CAR83292 CAR83386 CAR83337 CAR83259 CAR83394 CAR83290 info: [email protected] EXCLUSIEVE AANBIEDING 23,99 * 15 ,99 EEN KWETSBARE SCHUMANN Robert Schumann is vooral de man van de piano. Zo wordt zijn pianoconcert nog geregeld uitgevoerd, maar zijn viool- en celloconcert behoren niet echt tot het stan- daard repertoire. Een doorn in het oog van het illustere trio Isabelle Faust, Jean-Guihen Queyras en Alexander Melnikov. Tijdens een tournee met een van de drie piano- trio’s op het programma besloten zij Schumann volledig te rehabiliteren met een trilogie: drie cd’s met elk een van de concerten gekoppeld aan een pianotrio. Deze eerste cd van het trio pleit meteen voor het gelijk van het drietal. Het Vioolconcert en het Derde pianotrio worden gespeeld op historische instrumenten en onthullen alles wat Schu- mann tot Schumann maakt. Heerlijke lyriek, soms aan waanzin grenzende dramatiek, en in alles prachtige mu- ziek die door de verfijnde klank van de darmsnaren en de schitterende begeleiding van het Freiburger Barockor- chester een prachtig breekbare intimiteit krijgt. Zo kwets- baar, open en eerlijk hoorde u Schumann nog nooit. ROBERT SCHUMANN TRILOGY VOL. 1 VIOLIN CONCERTO, PIANO TRIO NO. 3 Isabelle Faust, Jean-Guihen Queyras, Alexander Melnikov, Freiburger Barockorchester o.l.v. Pablo Heras-Casado FELIXFOTO: BROEDE HARMONIA MUNDI 3 14902 0219621 / 152 711 VKZ * Alleen verkrijgbaar bij de Klassieke Zaken Specialisten. Zie voor de complete lijst pagina 50.
  • Harp Seattle 2018 Booklet WEB ONLY.Pub

    Harp Seattle 2018 Booklet WEB ONLY.Pub

    General Information for HARP SEATTLE 2018 About Harp Seattle Rental Harps Harp Seattle is a three-day festival at Dusty Strings Music Once you register, you can indicate on your registration Store & School in Seattle, WA for harpers of all levels to form if you would like to rent a harp, and if so, what kind. participate in an event that has been part of the folk harp We will contact you a month before the event to set up community for over a decade. Seasoned performers pre- your rental. Availability is first-come-first-served. sent workshops created to enhance the skills and knowledge of players at all levels so there’s something for everyone. Refund Policy You may cancel your registration for a full refund less a Location $25 administrative fee through September 5 th , 2018. You All workshops, concerts, and happenings take place at may cancel your registration for a 50% refund less a $25 Dusty Strings Music Store & School, 3406 Fremont Avenue administrative fee through October 1 st , 2016. No refunds N, Seattle, except for the tour of the manufacturing facility, are available for partial attendance or for cancellations which is located at 3450 16 th Avenue W in the Interbay made after October 1 st . All workshops, presenters, and neighborhood. See page 12 for directions and parking times are subject to change. information for both locations. Harp Valet Registration Harp valets are ready to assist you with dropping off your Registration includes an all-access pass to the weekend’s harp on Friday morning, October 5 th and picking it up on workshops, concerts, and happenings.
  • Accademia Musicale Romana

    Accademia Musicale Romana

    AccademiaAccademia MusicaleMusicale RomanaRomana IN COLLABORATION WITH “Colle La Salle” Institute ACCADEMIC YEAR 2019 / 2020 The Accademia Musicale Romana, in collaboration with “Colle La Salle” Institute of Rome, organizes Piano Improvement Masterclass M° GILDA BUTTA' at the Theatre of “Colle La Salle” Institute in Rome (Via dell'Imbrecciato n. 181) from 13th to 15th March 2020. The Masterclass includes n. 3 (trhee) lessons. They can participate at the Masterclass as students effective the candidates that will be admitted after the audition that will be held on the first day. Will not be allowed more than 9 (nine) effective students, otherwise you will be able to follow the Master as auditor students. All effective students will perform in the final concert that will be inserted in Concert Season 2019/2020 in Rome and for the best students possibility in the 10th Accademia Festival of the Accademia Musicale Romana in Saracinesco (near Rome). All participants who have attended the Masterclass will receive a certificate that will be presented exclusively at the end of the Final Concert of the Masterclass. The best students will be reported to perform in other concerts seasons or Festivals. PIANO MASTERCLASS GILDA BUTTA' (Piano) CONTRIBUTION OF REGISTRATION € 60,00 (non-refundable and net of bank charges) must be paid for each student by 3 March 2020 on c / c bank account: Accademia Musicale Romana – Fineco Bank CODICE IBAN: IT41V0301503200000003594894 – BIC (SWIFT): UNCRITMM Reason: Contribution Piano Masterclass (Buttà) CONTRIBUTION OF FREQUENCY PIANO IMPROVEMENT Masterclass GILDA BUTTA' (Piano) Audition and first meeting 13 March 2020 – 4:30 p.m. Students Effectives € 140,00 Listeners € 50,00 The Masterclass is open to pianists of all ages and levels.
  • English Is a Welsh Language

    English Is a Welsh Language

    ENGLISH IS A WELSH LANGUAGE Television’s crisis in Wales Edited by Geraint Talfan Davies Published in Wales by the Institute of Welsh Affairs. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means without the prior permission of the publishers. © Institute of Welsh Affairs, 2009 ISBN: 978 1 904773 42 9 English is a Welsh language Television’s crisis in Wales Edited by Geraint Talfan Davies The Institute of Welsh Affairs exists to promote quality research and informed debate affecting the cultural, social, political and economic well-being of Wales. IWA is an independent organisation owing no allegiance to any political or economic interest group. Our only interest is in seeing Wales flourish as a country in which to work and live. We are funded by a range of organisations and individuals. For more information about the Institute, its publications, and how to join, either as an individual or corporate supporter, contact: IWA - Institute of Welsh Affairs 4 Cathedral Road Cardiff CF11 9LJ tel 029 2066 0820 fax 029 2023 3741 email [email protected] web www.iwa.org.uk Contents 1 Preface 4 1/ English is a Welsh language, Geraint Talfan Davies 22 2/ Inventing Wales, Patrick Hannan 30 3/ The long goodbye, Kevin Williams 36 4/ Normal service, Dai Smith 44 5/ Small screen, big screen, Peter Edwards 50 6/ The drama of belonging, Catrin Clarke 54 7/ Convergent realities, John Geraint 62 8/ Standing up among the cogwheels, Colin Thomas 68 9/ Once upon a time, Trevor
  • MTO 22.4: Gotham, Pitch Properties of the Pedal Harp

    MTO 22.4: Gotham, Pitch Properties of the Pedal Harp

    Volume 22, Number 4, December 2016 Copyright © 2016 Society for Music Theory Pitch Properties of the Pedal Harp, with an Interactive Guide * Mark R. H. Gotham and Iain A. D. Gunn KEYWORDS: harp, pitch, pitch-class set theory, composition, analysis ABSTRACT: This article is aimed at two groups of readers. First, we present an interactive guide to pitch on the pedal harp for anyone wishing to teach or learn about harp pedaling and its associated pitch possibilities. We originally created this in response to a pedagogical need for such a resource in the teaching of composition and orchestration. Secondly, for composers and theorists seeking a more comprehensive understanding of what can be done on this unique instrument, we present a range of empirical-theoretical observations about the properties and prevalence of pitch structures on the pedal harp and the routes among them. This is particularly relevant to those interested in extended-tonal and atonal repertoires. A concluding section discusses prospective theoretical developments and analytical applications. 1 of 21 Received June 2016 I. Introduction [1.1] Most instruments have a relatively clear pitch universe: some have easy access to continuous pitch (unfretted string instruments, voices, the trombone), others are constrained by the 12-tone chromatic scale (most keyboards), and still others are limited to notes of the diatonic or pentatonic scales (many non-Western-orchestral members of the xylophone family). The pedal harp, by contrast, falls somewhere between those last two categories: it is organized around a diatonic configuration, but can reach all 12 notes of the chromatic scale, and most (but not all) pitch-class sets.
  • H E Ik E F Is Cher

    H E Ik E F Is Cher

    Foto: Heike Fischer „Ich habe nie etwas Sinnvolleres gemacht.“ Lars Vogt, Pianist e e a v a N a d e N : o t o F Eine Initiative von Künstlern, um Schüler an klassische Musik heranzuführen Leidenschaft und Begeisterung Wenn Lars Vogt über Rhapsody in School spricht, spürt man sofort, wie sehr ihm das Projekt am Herzen liegt. Die Idee kam dem Weltklasse-Pianisten beim Gespräch mit seinen Künstlerfreunden: auch sie allesamt Ausnahmekönner und weltweit anerkannte Solisten. Dieser Gedankenaustausch bildete die Basis für das Projekt, das während der vergangenen Jahre rasant Fahrt aufgenommen hat und heute eines der erfolgreichsten Musikvermittlungsprojekte im deutschsprachigen Raum ist. Einzigartig! Die Spitzenmusiker kommen zu den Schülern in die Schule! Eine Initiative von Künstlern für Schüler Eine Idee, die begeistert, entflammt und nachwirkt WIN-WIN-WIN Das Erfolgsgeheimnis von Rhapsody in School sind die begeisternden Erlebnisse für alle Beteiligten: Die Schüler erleben hautnah, wie sich Liebe und Begeisterung für eine Sache auswirken können. Die Lehrer beobachten an ihren Schülern eine oft ungeahnte Neugierde und Emotionalität. Die Künstler erleben, wie ihre Leidenschaft Funken schlägt. Der Kontakt mit dem jungen Publikum ist unmittelbar und ungefiltert. „Klassische Musik trifft bei den Schülern immer auf offene Herzen, auch wenn sie keine Erfahrung damit haben“ , sagt der Schulleiter der „Anna-Freud-Schule“ in Köln, Ludwig Gehlen. Als Mitglied des Vereins „Musiker Hautnah e.V.“ kennt er das Projekt von Beginn an. Wie alle anderen Förderer und Organisatoren engagiert er sich ehrenamtlich und bildet damit eine der Säulen des Erfolgs. " R h a p s o d e n " u n d i h r P u b l i k u m Quartet New Generation, Susanne Fröhlich, Foto: Claudia Scholz Rhapsody und Partner Mehr als 60 Festivals, Theater, Orchester und Bildungsinitiativen Konzerthäuser & Veranstalter Gewandhaus Leipzig | Konzerthaus Berlin Musikverein Wien | Mozarteum Salzburg Bildungsinitiativen Verband Deutscher Schulmusiker e.V.
  • Ladyslipper Tenth Anniversary

    Ladyslipper Tenth Anniversary

    Ladyslipper Tenth Anniversary Resource Guide apes by Women T 1986 About Ladyslipper Ladyslipper is a North Carolina non-profit, tax- 1982 brought the first release on the Ladys­ exempt organization which has been involved lipper label: Marie Rhines/Tartans & Sagebrush, in many facets of women's music since 1976. originally released on the Biscuit City label. In Our basic purpose has consistently been to 1984 we produced our first album, Kay Gard­ heighten public awareness of the achievements ner/A Rainbow Path. In 1985 we released the of women artists and musicians and to expand first new wave/techno-pop women's music al­ the scope and availability of musical and liter­ bum, Sue Fink/Big Promise; put the new age ary recordings by women. album Beth York/Transformations onto vinyl; and released another new age instrumental al­ One of the unique aspects of our work has bum, Debbie Tier/Firelight Our purpose as a been the annual publication of the world's most label is to further new musical and artistic direc­ comprehensive Catalog and Resource Guide of tions for women artists. Records and Tapes by Women—the one you now hold in your hands. This grows yearly as Our name comes from an exquisite flower the number of recordings by women continues which is one of the few wild orchids native to to develop in geometric proportions. This anno­ North America and is currently an endangered tated catalog has given thousands of people in­ species. formation about and access to recordings by an expansive variety of female musicians, writers, Donations are tax-deductible, and we do need comics, and composers.