Lift up Your Voice Sacred Choral Music
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Handel's Tea Time
Handel’s Tea Time Dorothee Mields Die Freitagsakademie George Frideric Handel (1685–1759) “Venus & Adonis” Cantata for soprano, oboe and basso continuo, HWV 85 Kantate für Sopran, Oboe und Basso continuo, HWV 85 � I. Recitative “Behold, where weeping Venus stands” �:�� � II. Aria “Dear Adonis, beauty’s treasure” �:�� � III. Recitative “Thus, queen of beauty” �:�� � IV. Aria “Transporting joy, tormenting fears” �:�� Concerto à quattro in D Minor for oboe, violin, cello and basso continuo* Concerto à quattro in d-moll für Oboe, Violine, Violoncello und Basso continuo � I. Adagio �:�� � II. Allegro �:�� � III. Largo �:�� � IV. Allegro �:�� From 24 English Songs for soprano, oboe, violin and basso continuo, HWV 228 Aus „24 English Songs“ für Sopran, Oboe, Violine und Basso continuo, HWV 228 � Bacchus �:�� �� The Rapture �:�� Trio Sonata in G Major From 9 German Arias for oboe, violin and basso continuo, HWV 384 for soprano, obligatory instrument and basso continuo Triosonate in G-Dur Aus „9 Deutsche Arien“ für Oboe, Violine und Basso continuo, HWV 384 für Sopran, obligates Instrument und Basso continuo �� I. Adagio �:�� �� “Flammende Rose, Zierde der Erden”, HWV 210 �:�� �� II. Allegro �:�� �� “Süßer Blumen Ambraflocken”, HWV 204 �:�� �� III. Grave �:�� �� “Meine Seele hört im Sehen”, HWV 207 �:�� �� IV. Allegro �:�� “Mi palpita il cor” Henry Purcell (1659–1695) Cantata for soprano, oboe and basso continuo, HWV 132 b Kantate für Sopran, Oboe und Basso continuo, HWV 132 b From the semi-opera “The Fairy Queen”, Z 629 Aus der Semi-Opera „Fairy Queen“, Z 629 �� I. Recitative “Mi palpita il cor” �:�� �� II. Aria “Ho tanti affanni in petto” �:�� �� “O let me weep” (Aria) �:�� �� III. -
November 15, 1959 776Th Concert
NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No. -
5, 2020 - 00 the Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Jul 05, 2020 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 05:50 Watkins Soul of Remembrance from New Black Music 13225 Albany 1200 034061120025 Five Movements in Color Repertory Ensemble/Dunner 00:08:3505:43 Paulus Berceuse Yolanda Kondonassis 11483 Azica 71281 787867128121 00:15:4844:19 Beethoven Symphony No. 6 in F, Op. 68 New York 08852 CBS 42222 07464422222 "Pastoral" Philharmonic/Bernstein 01:01:37 10:51 Schubert Impromptu in B flat, D. 935 No. Marc-Andre Hamelin 13496 Hyperion 68213 034571282138 3 01:13:4317:49 Britten Variations and Fugue on a Philadelphia 04033 Sony 62638 074646263822 Theme of Purcell, Op. 34 Orchestra/Ormandy Classical 01:33:02 27:47 MacDowell Piano Concerto No. 2 in D Amato/London 00734 Archduke 1 n/a minor, Op. 23 Philharmonic/Freeman Recordings 02:02:1910:37 Dvorak Romance in F minor, Op. 11 Frank/Czech 05323 London 460 316 028946031629 Philharmonic/Mackerra s 02:14:1117:25 Dett Magnolia Suite Denver Oldham 05092 New World 367 n/a Records 02:33:0626:51 Haydn Symphony No. 102 in B flat London 00664 London 414 673 028941467324 Philharmonic/Solti 03:01:2730:36 Schubert Symphony No. 6 in C, D. 589 Dresden State 03988 Philips 446 539 028944653922 Orchestra/Sawallisch 03:33:3312:36 Hanson Elegy in Memory of Serge Seattle 00825 Delos 3073 013491307329 Koussevitsky Symphony/Schwarz 03:47:2409:55 Chopin Scherzo No. 4 in E, Op. 54 Benjamin Grosvenor 10752 Decca 478 3206 028947832065 03:58:49 13:08 Harbach One of Ours - A Cather Slovak Radio 08416 MSR 1252 681585125229 Symphony Symphony/Trevor 04:13:1227:41 Chadwick String Quartet No. -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
Annual Report
COUNCIL ON FOREIGN RELATIONS ANNUAL REPORT July 1,1996-June 30,1997 Main Office Washington Office The Harold Pratt House 1779 Massachusetts Avenue, N.W. 58 East 68th Street, New York, NY 10021 Washington, DC 20036 Tel. (212) 434-9400; Fax (212) 861-1789 Tel. (202) 518-3400; Fax (202) 986-2984 Website www. foreignrela tions. org e-mail publicaffairs@email. cfr. org OFFICERS AND DIRECTORS, 1997-98 Officers Directors Charlayne Hunter-Gault Peter G. Peterson Term Expiring 1998 Frank Savage* Chairman of the Board Peggy Dulany Laura D'Andrea Tyson Maurice R. Greenberg Robert F Erburu Leslie H. Gelb Vice Chairman Karen Elliott House ex officio Leslie H. Gelb Joshua Lederberg President Vincent A. Mai Honorary Officers Michael P Peters Garrick Utley and Directors Emeriti Senior Vice President Term Expiring 1999 Douglas Dillon and Chief Operating Officer Carla A. Hills Caryl R Haskins Alton Frye Robert D. Hormats Grayson Kirk Senior Vice President William J. McDonough Charles McC. Mathias, Jr. Paula J. Dobriansky Theodore C. Sorensen James A. Perkins Vice President, Washington Program George Soros David Rockefeller Gary C. Hufbauer Paul A. Volcker Honorary Chairman Vice President, Director of Studies Robert A. Scalapino Term Expiring 2000 David Kellogg Cyrus R. Vance Jessica R Einhorn Vice President, Communications Glenn E. Watts and Corporate Affairs Louis V Gerstner, Jr. Abraham F. Lowenthal Hanna Holborn Gray Vice President and Maurice R. Greenberg Deputy National Director George J. Mitchell Janice L. Murray Warren B. Rudman Vice President and Treasurer Term Expiring 2001 Karen M. Sughrue Lee Cullum Vice President, Programs Mario L. Baeza and Media Projects Thomas R. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Giuseppe Verdi
GIUSEPPE VERDI CARLO COLOMBARAAIDA | ANITA RACHVELISHVILI | KRISTIN LEWIS | FABIO SARTORI CONDUCTED BY ZUBIN MEHTA | STAGED BY PETER STEIN GIUSEPPE VERDI Giuseppe Verdi’s masterpiece AIDA at La Scala in Milan is an experience in itself. Consequently, a new production of AIDA is an event barely to be surpassed, especially when performed before a notoriously critical audience of la La Scala. AIDA With his unpretentious and lucid new interpretation of the opera, directorial legend Peter Stein succeeds in delivering a production acclaimed in equal measure by the Orchestra Orchestra and Chorus press and public: “a perfect coup de theatre” (Giornale della musica). of the Teatro alla Scala Conductor Zubin Mehta Indeed, he breathes new life into Giuseppe Verdi’s romantic drama about power, Stage Director Peter Stein passion, jealousy and death: the Nubian Princess Aida, who is unfortunate enough to find herself in prison in Egypt, is secretly in love with the leader of the army, The King Carlo Colombara Radamès. He however has been promised in marriage to the Egyptian king's Amneris Anita Rachvelishvili daughter Amneris, who also loves him. The secret love affair between Aida and Aida Kristin Lewis Radamès is uncovered and fate takes its course ... Radamès Fabio Sartori A “stellar cast” (La Stampa) contributes to the production’s success Ramfis Matti Salminen under the musical direction of Verdi specialist Zubin Mehta. Amonasro George Gagnidze “The entire ensemble is brilliant in its portrayal of the A Messenger Azer Rza-Zada characters” (Die Presse), especially the American soprano The High Priestess Chiara Isotton Kristin Lewis in the title role. -
Elements of Traditional Folk Music and Serialism in the Piano Music of Cornel Țăranu
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Vlad University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Vlad, Cristina, "ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU" (2013). Student Research, Creative Activity, and Performance - School of Music. 65. https://digitalcommons.unl.edu/musicstudent/65 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU by Cristina Ana Vlad A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska December, 2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Ana Vlad, DMA University of Nebraska, 2013 Adviser: Mark Clinton The socio-political environment in the aftermath of World War II has greatly influenced Romanian music. During the Communist era, the government imposed regulations on musical composition dictating that music should be accessible to all members of society. -
Grosser Saal Klangwolke Brucknerhaus Präsentiert Von Der Linz Ag Linz
ZWISCHEN CREDO Vollendeter Genuss TRADITION BEKENNTNIS braucht ein & GLAUBE perfektes MODERNE Zusammenspiel RELIGION Als führendes Energie- und Infrastrukturunternehmen im oberösterreichischen Zentralraum sind wir ein starker Partner für Wirtschaft, Kunst und Kultur und die Menschen in der Region. Die LINZ AG wünscht allen Besucherinnen und Besuchern beste Unterhaltung. bezahlte Anzeige LINZ AG_Brucknerfest 190x245.indd 1 02.05.18 10:32 6 Vorworte 12 Saison 2018/19 16 Abos 2018/19 22 Das Große Abonnement 32 Sonntagsmatineen 44 Internationale Orchester 50 Bruckner Orchester Linz 56 Kost-Proben 60 Das besondere Konzert 66 Oratorien 128 Hier & Jetzt 72 Chorkonzerte 134 Moderierte Foyer-Konzerte INHALTS- 78 Liederabende 138 Musikalischer Adventkalender 84 Streichquartette 146 BrucknerBeats 90 Kammermusik 150 Russische Dienstage 96 Stars von morgen 154 Musik der Völker 102 Klavierrecitals 160 Jazz VERZEICHNIS 108 Orgelkonzerte 168 Jazzbrunch 114 Orgelmusik zur Teatime 172 Gemischter Satz 118 WortKlang 176 Kinder.Jugend 124 Ars Antiqua Austria 196 Serenaden 204 Kooperationen 216 Kalendarium 236 Saalpläne 242 Karten & Service 4 5 Linz hat sich schon längst als interessanter heimischen, aber auch internationalen Künst- Der Veröffentlichung des neuen Saisonpro- Musik wird heutzutage bevorzugt über diverse und innovativer Kulturstandort auch auf in- lerinnen und Künstlern es ermöglichen, ihr gramms des Brucknerhauses Linz sehen Medien, vom Radio bis zum Internet, gehört. ternationaler Ebene Anerkennung verschafft. Potenzial abzurufen und sich zu entfalten. Für unzählige Kulturinteressierte jedes Jahr er- Dennoch hat die klassische Form des Konzerts Ein wichtiger Meilenstein auf diesem Weg war alle Kulturinteressierten jeglichen Alters bietet wartungsvoll entgegen. Heuer dürfte die nichts von ihrer Attraktivität eingebüßt. Denn bislang auf jeden Fall die Errichtung des Bruck- das ausgewogene und abwechslungsreiche Spannung besonders groß sein, weil es die das Live-Erlebnis bleibt einzigartig – dank der nerhauses Linz. -
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini. -
Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 As a Stylistic Guide
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2008 Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide Jonathan Candler Kilgore University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Catholic Studies Commons, Composition Commons, Liturgy and Worship Commons, and the Other Music Commons Recommended Citation Kilgore, Jonathan Candler, "Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide" (2008). Dissertations. 1129. https://aquila.usm.edu/dissertations/1129 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC GUIDE by Jonathan Candler Kilgore A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2008 COPYRIGHT BY JONATHAN CANDLER KILGORE 2008 The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC -
Schütz Edition Has Been Published Containing Choral Collection, Loreley, Which Is Published As Part of the Various Individual Works
X | 201X CHCHORCHORALCHORMUSIKOR MUMUSIK MUSICSIK HEUTE HEUTHEUTETODAYE 2 | 2017 CARUSCARUS MagazinMagazine MOZART UNVOLLEN- DET Fragment c-Moll-Messe BACH COMPLETE EDITION GOUNOD GEISTLICH INTEGRATION MUSIKALISCH ChorwerkeThe Complete für die KircheSacred VocalKinderlieder Works für alle MUSICAL CAPITAL PARIS CULTURAL TREASURE Following Rossini and Gounod German folk songs in new arrangements C Carus Gioachino Rossini 1792–1868 150th anniversary of death 2018 Although first and foremost considered an opera composer, the Italian Gioachino Rossini composed an extensive range of sacred and secular vocal music. Well-known are the Stabat Mater and the Petite Messe solennelle. It is also worth discovering his many smaller choral works. Gioachino Rossini ROSSINI Petite Messe solennelle Stabat Mater Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 Stabat Mater komponierte Gioachino Rossini neben Kammermusik nur noch Carus 40.650 größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. Immer wieder hat Rossini die bildreiche Sprache der vermutlich aus dem 13. Jahrhundert stam- menden latenischen Dichtung Komponisten zu Vertonungen inspi- riert, darunter große Namen wie Pergolesi, Joseph Haydn und Verdi. In 10 Nummern vereinigt Rossini unterschiedliche Formen wie Arie, CHOIR Chor- und E AP Duett, Quartett und Chor, opernhaft ariose Schreibweise und stren- TH P Stabat Mater gen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Ensemblemusik Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works Carus 70.089 of church music.