CZONE DD Layout 1
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Cultual Analysis and Post-Tonal Music
Cambridge University Press 978-0-521-02843-1 - Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon Ellie M. Hisama Excerpt More information 1 CULTUAL ANALYSIS AND POST-TONAL MUSIC Given the vast, marvelous repertoire of feminist approaches to literary analysis introduced over the past two decades, a music theorist interested in bringing femi- nist thought to a project of analyzing music by women might do well to look first to literary theory. One potentially useful study is Sandra Gilbert and Susan Gubar’s landmark work The Madwoman in the Attic, which asserts that nineteenth-century writing by women constitutes a literary tradition separate and distinct from the writing of men and argues more specifically that writings of women, including Austen, Shelley, and Dickinson, share common themes of alienation and enclo- sure.1 Some feminist theorists have claimed that a distinctive female tradition exists also in modernist literature; Jan Montefiore, for example, asserts that in autobio- graphical writings of the 1930s, male modernists tended to portray their experi- ences as universal in contrast to female modernists who tended to represent their experiences as marginal.2 But because of the singular nature of the modernist, post-tonal musical idiom, an analytical project intended to explore whether a distinctive female tradition indeed exists in music immediately runs aground. Unlike tonal compositions, which draw their structural principles from a more or less unified compositional language, post- tonal works are constructed according to highly individualized schemes whose meaning and coherence derive from their internal structure rather than from their relation to a body of works. -
559288 Bk Wuorinen US
AMERICAN CLASSICS SONGS OF PEACE AND PRAISE Choral Music from Queens College Weisgall • Brings • Mandelbaum • Smaldone Sheng • Schober • Saylor • Kraft The New York Virtuoso Singers Harold Rosenbaum Queens College Choir and Vocal Ensemble Bright Sheng • James John SONGS OF PEACE AND PRAISE Songs of Peace and Praise Choral Music from Queens College Choral Music from Queens College Hugo Weisgall (1912–1997) Bruce Saylor (b. 1946) The choral music on this recording represents a group of Foundation. He twice served as composer-in-residence at composers who are or were at one time faculty members of the American Academy in Rome, was president of the 1 God is due praise (Ki lo noeh) (1958) 2:34 Missa Constantiae (2007) the Aaron Copland School of Music at Queens College, American Music Center for ten years, and also served as 8 Kyrie 1:31 CUNY. It was conceived as a vehicle to celebrate the long president of the American Academy and Institute of Arts and Allen Brings (b. 1934) 9 Sanctus 1:03 history of composers associated with the school, through Letters. Weisgall is a former director of the composer-in- 2 In paradisum (1957) 3:15 0 Benedictus 1:30 the vocal excellence of the incomparable New York residence program for the Lyric Opera of Chicago and was ! Agnus Dei 3:06 Virtuoso Singers, and the vibrant talents of the students in professor of music at Queens College from 1961 to 1983. Joel Mandelbaum (b. 1932) the Queens College Choir and Vocal Ensemble. A Weisgall’s God is due praise (Ki lo noeh) is a musical 3 The Village – Act 1, Finale (1995) 4:53 somewhat larger selection of works was performed in April setting of one of the hymns traditionally sung by Leo Kraft (1922–2014) 2015 at Merkin Hall in NYC, and all were recorded in the Ashkenazi Jews at the conclusion of the Passover Seder. -
Brian Schober, Organ
Contemporary Works for Organ Sunday, February 23, 2020 4:00 pm Church of the Heavenly Rest, New York City Brian Schober, organ Program Three Biblical Masques (1960) Miriam Gideon i Haman ii Esther iii Mordecai Chorale Variations on “Aus tiefer Not schrei ich zu dir” (2019) ** Andrew Ardizzoia Misericordia (2014) John Anthony Lennon Elegy (1998) Steven Christopher Sacco Aaron’s Jubilee (1997) Richard Brooks Prelude for Organ (2002) Nancy Van De Vate (Elegy for Departed Friends) Variations on St. Elizabeth (2017) Thomas L. Read MicroSuite (2009) * Joseph Dangerfield The Wide Night Sky (2001) Jody Rockmaker Toccatas and Fantasias (1986-88) Brian Schober ** world premiere * New York premiere NOTES and NOTES FROM THE COMPOSERS – In concert order The American composer Miriam Gideon (1906-1996) grew up in Boston and, from age 10, New York. Gideon began music lessons after her family moved to New York, studying piano with her uncle, Henry Gideon, and later with Hans Barth and Felix Fox. Gideon graduated from Boston University in 1926 with a BA in French and mathematics, after which she studied composition privately with Lazare Saminsky (1931-1934) and Roger Sessions (1935-1943). Gideon later received an MA in literature from Columbia University (1946), as well as a doctorate in sacred music from the Jewish Theological Seminary (1981). During her career she taught composition at Brooklyn College, City College, Jewish Theological Seminary and Manhattan School of Music. She was only the second female composer to be inducted into the American Academy and Institute of Arts and Letters (1975). In 1946, the eminent composer Hugo Weisgall, the chairman of the faculty at the Jewish Theological Seminary's Cantors Institute and Seminary College of Jewish Music (now the H. -
Ournal of Synagogue Music J September 2018 Vol
ournal of Synagogue Music J September 2018 Vol. 43 No.1 September 2018 Volume 43 Number 1 [To navigate any item, either click on the article name or use the bookmarks on the left] ETHNOMUSICOLOGICAL RESEARCH The Talmudic Debate about Hallel Judith Hauptman ............................................................................................................. 3 “It Took a Jew”: The Mendelssohns and the Bachs Nina Lazar Sobelman .................................................................................................... 13 Samuel Naumbourg: The Scholarly Parisian Cantor/Composer Who Rediscovered Salamone Rossi and Introduced Synagogue Music to the French Operatic Style Coreen Duffy ................................................................................................................ 31 How a Conservative Congregation’s Innovative Friday Night Service in Buenos Aires Led to the “BJ Experience” in New York Gastón Bogomolni ........................................................................................................ 52 A Song at Twilight: Options for A Transformed Cantorate Joseph A. Levine ........................................................................................................... 75 N’GINAH L’MA’ASEH [Click anywhere on its first page of music to access a particular audio file] Two High Holiday Transitional Passages: Max Wohlberg’s Emet ki atah hu yots’ram; and Abba Yosef Weisgal’s V’atah hu melekh…ein kitsvah (sung by Jennie Chabon) ............................................................................................. -
Weisgall Linernts 9425.Indd
Cover Art WEISGALL A MESSAGE FROM THE MILKEN ARCHIVE FOUNDER Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry. While much of this music had become a vital force in American and world culture, even more music of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990. The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire. Lowell Milken A MESSAGE FROM THE ARTISTIC DIRECTOR The quality, quantity, and amazing diversity of sacred as well as secular music written for or inspired by Jewish life in America is one of the least acknowledged achievements of modern Western culture. -
Psalm of the Distant Dove 4 Choral Etudes a Garden Eastward T'kiatot : Rituals for Rosh Hashana
CREDITS Elie Siegmeister (1909-1991) Lady of the Lake (excerpts) Hugo Weisgall (1912-1997) Esther (excerpts) Psalm of the Distant Dove 4 Choral Etudes A Garden Eastward T'kiatot : Rituals for Rosh Hashana Ursula Mamlok Cantata based on Psalm 1 Miriam Gideon (1906-1996) Ma Tovu Adonai Malakh (Psalm 93) Ralph Shapey Psalm II Heinrich Schalit (1886-1976) The 23rd Psalm Robert Strassburg (1915-2003) Psalm 117 Chelm : Scenes 2-5 Zavel Zilberts (1881-1949) Psalm 137 (Al Naharot Bavel) Havdala Di Khanike Likht El melekh yoshev Rahamana d'anei Jacob Druckman Psalm 93 Yehudi Wyner Ma Tovu Shiru Ladonai (Psalm 96) The Mirror The Mirror (Suite) : I. Demon"s Welcome Passover Offering Tants un Maysele Samuel Adler El Melekh Yoshev Sim Shalom Sh' ma Yisra' el Hashkivenu Nuptial Scene The Binding (excerpt) To Celebrate a Miracle The Flames of Freedom 5 Sephardic Choruses Ahavat Olam Bar'khu V'ahavta and Mi Khamokha Symphony n° 5 "We are the Echoes" Ernst Toch (1887-1964) Jephta (Symphony n° 5) Cantata of the Bitter Herbs, Op. 65 Genesis Suite : VI. The Covenant (The Rainbow) (recon. P. Russ) Cantata of the Bitter Herbs, Op. 65 : Psalm 126 David Diamond (1915-2005) Ahava - Brotherhood Mizmor L'David : Music for Prayer The Gates of Justice Gates of Justice, IIIa : Open the Gates (excerpt) Morton Gould (1913-1996) Hamma' ariv aravim Ofer Ben-Amots Celestial Dialogues Shtetl Songs Psalm 81 Hashkivenu - Song of the Angels Douglas Moore (1893-1969) Vay' khullu Roy Harris (1898-1979) Mi khamokha Jack Gottlieb Three Candle Blessings Love Songs for Sabbath (excerpts) Set Me As a Seal Shout for Joy Psalmistry (excerpts) (rev. -
View with Chen Yi
UNIERSITY OF CINCINNATI August 6, 2008 Date:___________________ LEI WENG I, 555555555555555555555555555555555555555555555555555555555, hereby submit this work as part of the requirements for the degree of: Doctor of Music Arts in: Piano Performance It is entitled: Influences of Chinese Traditional Cultures on Chinese Composers in the United States since the 1980s, as Exemplified in Their Piano Works This work and its defense approved by: Chair: Prof.___ _Frank___ _W_einstock______________________ Dr__. _Joel__ _Hof__fman_______________________ Prof.___ _Michael_____ Chertock______________________ _______________________________ _______________________________ Influences of Chinese Traditional Cultures on Chinese Composers in the United States since the 1980s, as Exemplified in Their Piano Works A Doctoral Document Submitted to the Division of Graduate Studies and Research of the University of Cincinnati In Partial Fulfillment of the Requirement for the Degree of Doctoral of Music Arts In the Division of Keyboard Studies of the College-Conservatory of Music July 5, 2008 By Lei Weng School of Music, University of Northern Colorado Campus Box 28, Frasier Hall Greeley, CO 80639 B.M. Central Conservatory of Music, 1998 M.M. University of Cincinnati, 2001 Advisor: Frank Weinstock, Professor Reader: Joel Hoffman, Ph.D. Reader: Michael Chertock, Professor ABSTRACT After decades of isolation from the world and the end of China’s Cultural Revolution in 1976, many Chinese composers have come to the United States to study and since then established themselves as some of the most distinguished and promising composers in the world. Despite of their different educational and social backgrounds, they all strive to express their cultural identities and to search for compositional inspirations from Chinese traditional cultures. -
HUGO WEISGALL the STRONGER, Opera in One Act (1952) with Johanna Meier, Soprano
HUGO WEISGALL THE STRONGER, opera in one act (1952) with Johanna Meier, soprano FANCIES AND INVENTIONS for baritone and five instruments (1970) with Julian Patrick The Aeolian Chamber Players conducted by The Composer THE STRONGER was written in the late spring and summer of 1952 expressly for the Hilltop Opera Company of Baltimore, a small, professional cooperative group which I had helped organize and directed for a number of seasons. From the first I regarded this piece as an experiment, a ,kind of operatic exercise. My primary task was to find ways to translate Strindberg's psychological monodrama, with its rapid, constantly changing moods and its almost total lack of sustained moments, into musical terms. The chief problem was that the music had to function alternately as background and foreground—at times pure atmosphere, then shifting between characterizing the protagonist, Estelle, and picturing the physical movements of the wordless Lisa. Also I sought somehow to balance the two roles more equally. Rather than conform to the traditional theatrical interpretation in which "the star" plays the silent role and comes out on top, I tried to leave open the question as to which of the two women is really "the stronger". Finally, because of our limited production resources (and not without Schoenberg's highly complex Erwartung in mind as a model not to be followed) I tried to achieve my objectives as simply and economically as possible. Hence the small physical set up—an orchestra of eight (although with considerable doubling in the woods), and the deliberate use of very limited and highly stylized musical material. -
Historymusicdepartment1 1
THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne 2015 John Knowles Paine Concert Hall. Photo by Shannon Cannavino. Cover photos by Kris Snibbe [Harvard News Office], HMFH Architects, Inc., Harvard College Libraries, Rose Lincoln [Harvard News Office] THE HARVARD UNIVERSITY DEPARTMENT OF MUSIC 1991 TO 2011 Compiled and Edited by Lesley Bannatyne Department of Music Harvard University Cambridge, Massachusetts 2015 Photographs in this volume were provided by the Department of Music unless otherwise noted. Articles are reprinted from the Department’s newsletters, Harvard Crimson and Harvard Gazette. © 2015 President and Fellows of Harvard University 2nd printing January 2017 All rights reserved. CONTENTS Preface vii Chapter One: The Chairs 1 Chapter Two: Undergraduate Studies 11 Chapter Three: Graduate Studies 23 Chapter Four: Musicology 33 Chapter Five: Ethnomusicology 51 Chapter Six: Theory 67 Chapter Seven: Composition 77 Chapter Eight: Performance 97 Chapter Nine: Conferences, Symposia, Colloquia, Lectures 111 Chapter Ten: Concert Highlights 119 Chapter Eleven: Eda Kuhn Loeb Music Library 127 Chapter Twelve: The Building 143 Appendices 151 Index 307 Music Department, 1992 Music Department picnic, late 1990s Appendices i. Music Department Faculty 151 ii. Biographical Sketches of Senior Professors, Lecturers & Preceptors 165 iii. Donors 175 iv. Teaching Fellows 179 v. Curriculum 183 vi. Fromm Commissions 207 vii. Recipients of the PhD degree 211 viii. Faculty Positions Held by Former Graduate Students 217 ix. Recipients of Department Awards and Fellowships 221 x Recipients of the AB degree and Honors Theses 227 xi. Visiting Committees 239 xii. Conferences, Colloquia, Symposia, Lectures 241 xiii. Concerts and Special Events 255 xiv. -
Agathe Backer Grøndahl (1847-1907): "A Perfectly Plain Woman?" Camilla Hambro on June 9, 1889, When One of His Fa- Strument
Volume 7, Issue 1 The Kapralova Society Journal Spring 2009 A Journal of Women in Music Agathe Backer Grøndahl (1847-1907): "A perfectly plain woman?" Camilla Hambro On June 9, 1889, when one of his fa- strument. Perhaps you will hear me at vourite authors, Henrik Ibsen, made his the Philharmonic. I am to play Bee- breakthrough in London, George Bernard thoven’s E flat concerto there.2 Shaw made certain to attend a very inter- esting Doll’s House dinner at the Novelty Playing the piano was a very common Theatre. Also present was the Norwegian pastime for young women of the bourgeoi- pianist, composer, and piano teacher sie, such as Nora in Ibsen's drama. It was Agathe Backer Grøndahl. After the event, considered appropriate and important to Shaw gave an account of her participation know how to play, and performing was a in a kind of "hidden theatre" at the party, good way of getting noticed at parties like backstage among the props, and the the one Backer Grøndahl and Shaw at- meaning and interpretation of her tended. However, it was important not to go performance in relation to musical genres too far: a young woman could be seductive and gender expectations. but not too sexual; she had to play well but He entitled it "An Angry Critic and Very Special points of interest: not too well, and she could not appear to Quiet Lady," and published it in his weekly be too mannish or put too much emotion column, where he described Backer Grøn- into her performance. -
THE Essenceo F
Acknowledgments Recording, Editing and Mixing: Paul Kozel Producer: Paul Kozel Engineer and Producer Paul Kozel is a Professor at the City College of New York and is the founder and director of Sonic Arts Center (http://sonic.arts.ccny.cuny.edu/). In addition, Paul is a professional audio engineer, producer, composer/arranger, and sound designer. Production Assistance Provided by: David Sanford, Sarah Clarke, Peter Susser, Regina Heer Mastering: Scott Hull, Masterdisk THE OF Special Thanks: Michael Leavitt, Robert Yekovich Essence Paul Suits’ music is available at [email protected] WORKS WRITTEN FOR ERIC BARTLETT Hugo Weisgall is published by Theodore Presser Peter Susser’s music is available at [email protected] David Sanford’s work is available at http://oxingalemusic.com Cello Cover Photo: Ken Nahoum Recorded in January 2012, 2013, and 2014 at The City College of New York, Recital Hall Major support for this project provided by the Aaron Copland Fund for Music and the Alice M. Ditson Fund. WWW.ALBANYRECORDS.COM TROY1526 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 Music by Paul Suits | Hugo Weisgall | Peter Susser | David Sanford © 2014 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Composers and Their Music PAUL SUITS Pianist and Composer Paul Suits was born in 1955 in California. He studied piano at New York’s Mannes College of Music with Edward Aldwell, Richard Goode and Murray Perahia and was awarded Bachelor and Master of Music degrees. -
American Opera, Operetta & Musical
J & J LUBRANO MUSIC ANTIQUARIANS AMERICAN OPERA, OPERETTA & MUSICAL THEATRE 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 E-mail [email protected] www.lubranomusic.com ORDERING INFORMATION You may place orders from this list: - By e-mail to [email protected] - By telephone to 516-922-2192 - Through our secure website at www.lubranomusic.com v ILLUSTRATIONS of all items are available on our website at www.lubranomusic.com v 1. ARGENTO, Dominick 1927- The Aspern Papers Opera in two acts Libretto by the composer based on the Henry James novella. n.p.: Boosey & Hawkes [PN VSB-157], [1991]. Folio. Original publisher's wrappers illustrated with a photograph by Phil Schexnyder. [i] (title), [i] (copyright), [i] (commission, notes on first performance, named cast list), [i] (synopsis of scenes), [i] (characters and setting), [i] (synopsis), [i] (instrumentation), [i] (blank), 236 pp. First Edition. "In writing the libretto for his opera The Aspern Papers (1988), Argento moved Henry James’s setting from Venice to the shores of Lake Como in order to recreate the ambience of 19th-century operatic life as experienced by the artists who resided there… [Argento's] harmony teacher, Nicolas Nabokov, urged him to focus on composition, and through this influence as well as contact with the Baltimore composer Hugo Weisgall, Argento’s pronounced gift for vocal writing was furthered... While [his] vocal music is often described as eclectic, several characteristics recur as unifying hallmarks. The theme of self-discovery permeates his entire output. Further, Argento claims his compositional technique exists only in so far as it allows him to effectively communicate text and subtext, resulting in a uniquely intimate relationship between the text and his music." Virginia Saya and R.