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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Einem Gottfried
EINEM VON GOTTFRIED Compositore austriaco (Berna 24 I 1918 - Waldviertel 12 VII 1966) Dapprima autodidatta, Gottfried von Einem studiò con Boris Blacher e sviluppò in seguito un equilibrato linguaggio musicale. Nel 1938 iniziò la sua carriera come istruttore di canto all'Opera di Berlino e come assistente al Festival di Bayreuth. Durante il nazionalsocialismo venne più volte arrestato. Dopo la guerra Einem rivestì varie funzioni sia al Festival di Salisburgo, sia alle Festwochen di Vienna. Dal 1963 al 1972 insegnò alla Musikhochschule di Vienna, dal 1964 fu membro della Akademie der Kunste di Berlino e dal 1965 al 1970 presidente dell'Akademie fur Musik austriaca. 1 DANTONS TOD Di Gottfried von Einem (1918-1996) libretto proprio e di Boris Blacher, dal dramma di Georg Büchner (La morte di Danton) Opera in due atti e sei quadri Prima: Salisburgo, Felsenreitschule, 6 agosto 1947 Personaggi: Georges Danton (Bar); Julie, sua moglie (Ms); Camille Desmoulins e Jean Hérault de Séchelles, deputati (T); Lucille, moglie di Camille (S); Maximilien Robespierre (T); Saint-Just (B); Simon, suggeritore (B); due becchini (T); una dama (S); una popolana (A); uomini e donne del popolo In Dantons Tod non si saluta solo un esordio teatrale particolarmente felice, tanto da decretare all’autore fama subitanea, ma anche l’inizio della consuetudine salisburghese (mai più abbandonata) di inserire ogni anno nel Festival un’opera contemporanea in ‘prima’ assoluta. Il soggetto di Büchner venne scelto sull’onda emotiva suscitata dal fallito attentato a Hitler nel 1944; ad approntare la versione ridotta fu Boris Blacher, maestro di Einem e futuro dedicatario dell’opera. -
Koymen-Mastersreport-2016
DISCLAIMER: This document does not meet current format guidelines Graduate School at the The University of Texas at Austin. of the It has been published for informational use only. Copyright by Erol Gregory Mehmet Koymen 2016 The Report Committee for Erol Gregory Mehmet Koymen Certifies that this is the approved version of the following report: Conservative Progressivism: Hasan Ferid Alnar and Symbolic Power in the Turkish Music Revolution APPROVED BY SUPERVISING COMMITTEE: Sonia Seeman, Supervisor Elliot Antokoletz Conservative Progressivism: Hasan Ferid Alnar and Symbolic Power in the Turkish Music Revolution by Erol Gregory Mehmet Koymen, B.M. Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin May 2016 Acknowledgements. Many people and organizations have made this master’s report possible. For their generous financial support, I would like to thank the following organizations: the Butler School of Music, which has provided both a Butler Excellence Scholarship and a teaching assistantship; The University of Texas at Austin Center for Middle Eastern Studies, for a Summer 2014 FLAS grant to study Turkish; The University of Texas at Austin Center for European Studies, for an Academic Year 2014-2015 FLAS grant to study Turkish; the Butler School of Music, the University of Texas at Austin Graduate School, and the University of Texas at Austin Center for Russian, East European, and Eurasian Studies, for professional development grants; the Institute of Turkish Studies, for a Summer Language Grant; and the American Research Insitute in Turkey, for a Summer Fellowship for Intensive Advanced Turkish Language Study at Boğaziçi University. -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
The Secret of the Musikverein and Other Shoebox Concert Halls
Proceedings of the Institute of Acoustics THE SECRET OF THE MUSIKVEREIN AND OTHER SHOEBOX CONCERT HALLS T Lokki Aalto University School of Science, Department of Computer Science, Finland J Pätynen Aalto University School of Science, Department of Computer Science, Finland S Tervo Aalto University School of Science, Department of Computer Science, Finland A Kuusinen Aalto University School of Science, Department of Computer Science, Finland H Tahvanainen Aalto University School of Science, Department of Computer Science, Finland A Haapaniemi Aalto University School of Science, Department of Computer Science, Finland 1 INTRODUCTION AND MOTIVATION The Musikvereinssaal in Vienna is indisputably one of the most admired concert halls in the world. Even those who prefer defined and clear sound to overwhelming enveloping reverberation praise the acoustics of the Musikverein. Researchers have studied the acoustics of this golden hall, mostly by the objective measures, but still the superior acoustics remains unexplained. General consensus among acousticians seems to be that numerous strong early lateral reflections, high ceiling, and bright en- veloping reverberation are the keys to the success. Here, we aim to explain the acoustics of shoebox concert halls, including the Musikverein, with the measurements of spatial impulse responses. More- over, we propose to shift the research focus in concert hall acoustics from traditional energy decay based parameters towards aspects on how acoustics can support music and make it more enjoyable. Although the Musikverein provides strong sensations for any listeners not all people like its overwhelm- ing reverberation in blind listening. We have recently conducted a large listening test 8 that included preference judgements between six concert halls on three different seats with two different signals. -
Die Münchner Philharmoniker
Die Münchner Philharmoniker Die Münchner Philharmoniker wurden 1893 auf Privatinitiative von Franz Kaim, Sohn eines Klavierfabrikanten, gegründet und prägen seither das musikalische Leben Münchens. Bereits in den Anfangsjahren des Orchesters – zunächst unter dem Namen »Kaim-Orchester« – garantierten Dirigenten wie Hans Winderstein, Hermann Zumpe und der Bruckner-Schüler Ferdinand Löwe hohes spieltechnisches Niveau und setzten sich intensiv auch für das zeitgenössische Schaffen ein. Von Anbeginn an gehörte zum künstlerischen Konzept auch das Bestreben, durch Programm- und Preisgestaltung allen Bevölkerungs-schichten Zugang zu den Konzerten zu ermöglichen. Mit Felix Weingartner, der das Orchester von 1898 bis 1905 leitete, mehrte sich durch zahlreiche Auslandsreisen auch das internationale Ansehen. Gustav Mahler dirigierte das Orchester in den Jahren 1901 und 1910 bei den Uraufführungen seiner 4. und 8. Symphonie. Im November 1911 gelangte mit dem inzwischen in »Konzertvereins-Orchester« umbenannten Ensemble unter Bruno Walters Leitung Mahlers »Das Lied von der Erde« zur Uraufführung. Von 1908 bis 1914 übernahm Ferdinand Löwe das Orchester erneut. In Anknüpfung an das triumphale Wiener Gastspiel am 1. März 1898 mit Anton Bruckners 5. Symphonie leitete er die ersten großen Bruckner- Konzerte und begründete so die bis heute andauernde Bruckner-Tradition des Orchesters. In die Amtszeit von Siegmund von Hausegger, der dem Orchester von 1920 bis 1938 als Generalmusikdirektor vorstand, fielen u.a. die Uraufführungen zweier Symphonien Bruckners in ihren Originalfassungen sowie die Umbenennung in »Münchner Philharmoniker«. Von 1938 bis zum Sommer 1944 stand der österreichische Dirigent Oswald Kabasta an der Spitze des Orchesters. Eugen Jochum dirigierte das erste Konzert nach dem Zweiten Weltkrieg. Mit Hans Rosbaud gewannen die Philharmoniker im Herbst 1945 einen herausragenden Orchesterleiter, der sich zudem leidenschaftlich für neue Musik einsetzte. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
An Audio History of the San Francisco Symphony Cue Sheet
From the Archives: An Audio History of the San Francisco Symphony Cue Sheet Episode 5 - The Krips Era Length 23:28 & SEC. MIN. Cue # Title or Description Composer Performer(s) Original Source Date Link for More Information Wolfgang Amadeus 1 Symphony No. 40: I Mozart Josef Krips; SFS 1 0 KKHI radio broadcast 11/29/1963 2 Legend for Orchestra Andrew Imbrie Enrique Jorda; SFS 0 20 CRI 33rpm 152 1962 Symphony No. 1: II (Naoum 3 Blinder solo) Johannes Brahms Pierre Monteux; SFS 0 21 KKHI radio broadcast 12/23/1951 Symphony No. 1: II (Frank 4 Houser solo) Johannes Brahms Josef Krips; SFS 0 21 KKHI radio broadcast 11/29/1963 Jacob Krachmalnik; 5 Violin Concerto in E Felix Mendelssohn Josef Krips; SFS 0 59 KKHI radio broadcast 3/12/1965 Interview with Jacob Jacob Krachmalnik; Bill 6 Krachmalnik Agee 0 20 KKHI radio broadcast 2/17/1967 7 Symphony No. 9 in C Major: II Franz Schubert Josef Krips; SFS 0 23 KKHI radio broadcast 12/6/1968 Oberon Overture (Robert 8 McGinnis playing solo) Carl Maria von Weber Josef Krips; SFS 0 21 KKHI radio broadcast 3/3/1965 9 Mathis der Maler Paul Hindemith Josef Krips; SFS 0 44 KKHI radio broadcast 12/4/1964 10 Mathis der Maler Paul Hindemith Josef Krips; SFS 0 44 KKHI radio broadcast 12/6/1968 11 Symphony No. 9: III Antonin Dvořák Josef Krips; SFS 0 8 KKHI radio broadcast 1/6/1967 12 Der Rosenkavalier Suite Richard Strauss Josef Krips; SFS 0 32 KKHI radio broadcast 3/3/1965 13 Der Rosenkavalier Suite Richard Strauss Josef Krips; SFS 0 34 KKHI radio broadcast 4/8/1972 14 Symphony No. -
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. -
Vahdah Olcott-Bickford Collection, 1800-2008
http://oac.cdlib.org/findaid/ark:/13030/c8zp4c79 No online items Guide to the Vahdah Olcott-Bickford Collection, 1800-2008 Special Collections & Archives Oviatt Library California State University, Northridge 18111 Nordhoff St. Northridge, CA, 91330 URL: http://library.csun.edu/SCA Email: [email protected] Phone: (818) 677-2832 Fax: (818) 677-2589 © Copyright 2012 Special Collections & Archives. All rights reserved. Guide to the Vahdah IGRA/VOB 1 Olcott-Bickford Collection, 1800-2008 Overview of the Collection Collection Title: Vahdah Olcott-Bickford Collection Dates: 1800-2008 Bulk Dates: 1923-1979 Identification: IGRA/VOB Creator: Olcott-Bickford, Vahdah, 1885-1980 Physical Description: 88.71 linear feet Language of Materials: English French German Spanish; Castilian Italian Portuguese Repository: International Guitar Research Archives (IGRA) Abstract: Vahdah Olcott-Bickford, née Ethel Lucretia Olcott, was an professional teacher of the Guitar, most well known for her influential Guitar Method, Op. 25, and the Advanced Course, Op. 116. She also wrote numerous articles about the guitar, and corresponded with other musicians and enthusiasts about the instrument throughout her long career. The Vahdah Olcott-Bickford Collection documents Olcott-Bickford’s professional life as a classical guitarist, an avid member of various organizations in the United States, her work with guitarists around the world, and her personal life. The collection includes scores, letters, photographs, newspaper clippings, receipts, articles, lecture notes, and guest books, and dates from 1874-1980. Biographical Information: Ethel Lucretia Olcott was born on October 17, 1885 in Norwalk, Ohio. She was three years old when she and her parents moved to Los Angeles, California. At the age of eight she started guitar lessons with George Lindsay, a well-known classic guitarist. -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
University Musical Society
UNIVERSITY MUSICAL SOCIETY Chicago Symphony Winds Grover Schiltz, Oboe Daniel Gingrich, Horn Richard Kanter, Oboe Norman Schweikert, Horn Larry Combs, Clarinet Burl Lane, Bassoon John Bruce Yeh, Clarinet William Buchman, Bassoon Sunday Afternoon, April 4, 1993, at 4 p.m. Rackham Auditorium, Ann Arbor, Michigan PROGRAM Serenade No. 12 in C minor, K. 388 Mozart Allegro Andante Allegro Eine vergniigliche Musik ..... Alfred Uhl Overture, ziemlich lebhaft, frisch Lustiger Marsch, ruhig bewegt Dudelsack Trepak.sehrrasch INTERMISSION Serenade No. 11 in E-flat major, K. 375 Mozart Allegro maestoso Adagio Allegro The Chicago Symphony Winds are represented by Mariedi Anders Artists Management Inc., San Francisco. U-M freshman Brandon Blazo performed the pre-concert carillon recital. FORTIETH CONCERT OF THE 114TH SEASON THIRTIETH ANNUAL CHAMBER ARTS SERIES PROGRAM NOTES Serenade No. 12 in E-flat major, K. 375 Mozart Mozart wrote this Serenade in Vienna, in October 1781, for six instruments - pairs of clarinets, horns, and bassoons. A few months later he added parts for a pair of oboes and tightened up the form considerably. On November 3, 1781, he wrote to his father that the piece had so pleased the players (of the first version) that to celebrate his name day, "at eleven o'clock at night I was treated to a serenade of my own composition. The six men who played it are poor beggars, but they play very well together. They came to the center of my courtyard, and just as I was about to undress they surprised me most pleasantly with the E-flat chord. [Abridged]" These "social" works are not unlike his symphonies, except that they are usually looser in form and lighter in tone, and they may have extra slow movements or minuets or both.