DOCSLIB.ORG

Werner Thärichen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Werner Thärichen Werner Thärichen photo © Ilse Buhs OPERAS 1 OPERAS 1 OPERAS Anaximanders Ende 1958 20 min Chamber opera in one act A,buffoT,lyrBar; 1.picc.1.1.1-1.1.1.0-timp.perc-pft-trautonium(on tape)-strings 9790202521816 Libretto World Premiere: 03 Oct 1958 Berlin, Germany Unknown Availability: This work is available from Boosey & Hawkes for the world OPERAS 2 OPERAS 2 FULL ORCHESTRA Die Orchesterversammlung op. 42 22 min Batrachomyomachia op. 55 for orchestra Der Pauker-Krieg 2(II=picc).2.corA.2.bcl.2.dbn-4.3.3.1-timp.3perc-hp-strings 32 min for two solo timpanists, voice, chamber choir and orchestra World Premiere: 03 Jul 1965 2.3.3.3-4.3.3.1-hp-strings Berlin, Germany unknown; Berliner Philharmonisches Orchester 9790202512852 Timpani (part) Conductor: Werner Thärichen World Premiere: 25 Sep 1977 Availability: This work is available from Boosey & Hawkes for the world Berlin, Germany unknown; Berliner Philharm. Orchester Scherzo op. 37 Conductor: Herbert von Karajan 10 min Availability: This work is available from Boosey & Hawkes for the world 2(II=picc).2.2.2-4.3.3.1-timp.perc-strings Oboenkonzert op. 46 World Premiere: 01 Jan 1961 24 min Radio, Brüssel, Belgium timp.4perc-hp-4vlc-2db unknown; unknown Conductor: Edouard v. Remoortel 9790202509982 Pocket or Study Score Availability: This work is available from Boosey & Hawkes for the world World Premiere: 30 Aug 1967 Berlin, Germany Tilman op. 50a Lothar Koch, oboe; Berliner Philharmonisches Orchester Vorspiel für Orchester Conductor: Carl Melles 11 min Availability: This work is available from Boosey & Hawkes for the world for orchestra Orchesterstück op. 23 2.3(III=corA).2.bcl.2.dbn-4.3.3.1-3perc-strings 18 min World Premiere: 20 Nov 1970 for orchestra Hof, Germany 2(II=picc).2(II=corA).2.2-4.3.3.1-timp.perc-strings unknown; Hofer Symphoniker Conductor: Werner Thärichen World Premiere: 15 Oct 1956 Availability: This work is available from Boosey & Hawkes for the world Bremen, Germany unknown; Philharmonisches Staatsorchester Conductor: Heinz Wallberg Availability: This work is available from Boosey & Hawkes for the world FULL ORCHESTRA 3 FULL ORCHESTRA 3 Vorspiel für Orchester op. 35 9 min for orchestra 2(II=picc).2.2.2-4.3.3.1-timp.perc(2)-strings World Premiere: 27 Nov 1957 Flensburg, Germany unknown; unknown Conductor: Heinrich Steiner Availability: This work is available from Boosey & Hawkes for the world FULL ORCHESTRA 4 FULL ORCHESTRA 4 CHAMBER ORCHESTRA Divertimento op. 57 11 min for string orchestra string orchestra Availability: This work is available from Boosey & Hawkes for the world CHAMBER ORCHESTRA 5 CHAMBER ORCHESTRA 5 SOLO INSTRUMENT(S) AND ORCHESTRA Concerto for trombone, marimba and orchestra op. 53 1971 24 min Cello Concerto op. 41 2.2.2.2-4.3.3.1-timp.3perc-cel.pft-strings 22 min for cello and orchestra World Premiere: 28 Feb 1974 2(II=picc).1.corA.1.bcl.2.dbn-2.2.1.0-timp.perc-hp-strings Bochum, Germany Johann Doms, Werner Thärichen, trombone; Bochumer Symphoniker Conductor: Othmar M.F.Maga World Premiere: 03 Mar 1966 Frankfurt a. M., Germany Availability: This work is available from Boosey & Hawkes for the world Tibor de Machula, cello; Rundfunkorchester des Hessischen Rundfunks Conductor: Eugen Jochum Flute Concerto op. 29 Availability: This work is available from Boosey & Hawkes for the world 26 min for flute and string orchestra Clarinet Concerto op. 51 flute-string orchestra 23 min 9790202507803 Flute, Piano for clarinet and orchestra 0.0.2.0-4.3.3.1-timp.perc-pft-strings World Premiere: 14 Jun 1953 Berlin, Germany Aurele Nicolet, flute; Berliner Philharmonisches Orchester World Premiere: 25 Sep 1972 Dortmund, Germany Conductor: Sergiu Celibidache Karl Leister, clarinet; unknown Availability: This work is available from Boosey & Hawkes for the world Conductor: Werner Thärichen Konzert für Schlagzeug und Orchester op. 66 Availability: This work is available from Boosey & Hawkes for the world Concerto for Percussion and Orchestra Concerto for Timpani and Orchestra op. 34 1988 26 min 1954 22 min 2.2.2.2-2.2.1.0-str 9790202505335 Timpani, Piano 9790202505366 Pocket or Study Score Availability: This work is available from Boosey & Hawkes for the world World Premiere: 23 Dec 1954 Piano Concerto No.1 op. 39 Karlsruhe, Germany Heinz Haedler, timpani; unknown 24 min Conductor: Otto Matzerath for piano and orchestra 2(II=picc).2(II=corA).2.(II=bcl).1.dbn-2.2.1.0-timp.3perc-strings World Premiere: 29 Dec 1961 Berlin, Germany Alfred Brendel, piano; Berliner Philharmonisches Orchester Conductor: Herbert v. Karajan Availability: This work is available from Boosey & Hawkes for the world SOLO INSTRUMENT(S) AND ORCHESTRA 6 SOLO INSTRUMENT(S) AND ORCHESTRA 6 Piano Concerto No.2 op. 44 24 min for piano and orchestra 3.1.corA.2.bcl.1.dbn-4.0.0.0-timp-strings World Premiere: 07 Nov 1965 Venedig, Italy Takahiro Sonoda, piano; unknown Conductor: Sergiu Celibidache Availability: This work is available from Boosey & Hawkes for the world Violin Concerto op. 36 25 min for violin and orchestra 2(II=picc).1.corA.1.bcl.1-2.2.1.0-timp.2perc-strings 9790202505779 Violin, Piano World Premiere: 19 Feb 1956 Stuttgart, Germany Helmut Heller, violin; Orchester des Staatstheaters Conductor: Lovro von Matacic Availability: This work is available from Boosey & Hawkes for the world SOLO INSTRUMENT(S) AND ORCHESTRA 7 SOLO INSTRUMENT(S) AND ORCHESTRA 7 VOICE(S) AND ORCHESTRA Concerto for voice and orchestra op. 38 22 min for mezzo soprano and orchestra mezzo soprano solo-2.2.corA.2.bcl.1.dbn-4.3.3.1-timp.perc-hp-strings World Premiere: 14 Jan 1959 Flensburg, Germany Alice Oelke, mezzo-soprano; unknown Conductor: Heinrich Steiner Availability: This work is available from Boosey & Hawkes for the world VOICE(S) AND ORCHESTRA 8 VOICE(S) AND ORCHESTRA 8 CHORUS AND ORCHESTRA Der allmächtige Vater (139. Psalm) 1968 35 min for solo alto, chorus, orchestra and electronics 3.2.corA.2.bcl.2.dbn-4.3.4.0-perc(1).timp-str __Tech Requirements__ This work requires additional technological components and/or amplification, for more information please contact <[email protected]> Availability: This work is available from Boosey & Hawkes for the world CHORUS AND ORCHESTRA 9 CHORUS AND ORCHESTRA 9 ENSEMBLE AND CHAMBER WITHOUT VOICE(S) Hommage à 12 op. 54 11 min Bläsermusik op. 43 for 12 celli 12 min 12 vlc 4tpt.4trbn.tuba World Premiere: 20 May 1976 World Premiere: 02 Jun 1964 Berlin, Germany Schwetzingen, Germany unknown; Philharmonische Cellisten unknown; Bläser des Berliner Philharmonischen Orchesters Conductor: unknown Conductor: unknown Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world Konzert für Schlagzeug und Orchester* op. 66 Divertimento for wind octet op. 58 Version for flute, percussion and piano 11 min Concerto for Percussion and Orchestra for wind octet 1988 26 min 9790202523193 Flute, Percussion, Piano 0.2.2.2-2.0.0.0 Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world Musik für Percussions-Orchester op. 59 Duo for flute and oboe 11 min 9790202510292 Flute, Oboe for percussion orchestra Availability: This work is available from Boosey & Hawkes for the world 11 percussionists Expressionen op. 60 World Premiere: 27 Jun 1980 7 min Lübeck, Germany unknown; unknown for four trumpets and four trombones Conductor: E.R. Barthel 4tpt.4trbn Availability: This work is available from Boosey & Hawkes for the world World Premiere: 01 Jan 1980 Tokyo, Japan Oktett op. 40 unknown; Bläser des Berliner Philharmonischen Orchesters 20 min Conductor: unknown cl.bn.hn-string quintet Availability: This work is available from Boosey & Hawkes for the world World Premiere: 01 Oct 1960 Berliner Festwochen, Berlin, Germany unknown; Philharmonisches Oktett Conductor: unknown Availability: This work is available from Boosey & Hawkes for the world ENSEMBLE AND CHAMBER WITHOUT VOICE(S) 10 ENSEMBLE AND CHAMBER WITHOUT VOICE(S) 10 Percussion Trio op. 52 9790202511077 3 Percussion instruments Availability: This work is available from Boosey & Hawkes for the world String Quartet No.1 op. 31 9790202508534 String Quartet (Study Score) Availability: This work is available from Boosey & Hawkes for the world ENSEMBLE AND CHAMBER WITHOUT VOICE(S) 11 ENSEMBLE AND CHAMBER WITHOUT VOICE(S) 11 PIANO(S) Piano Sonata op. 28 9790202505816 Piano Availability: This work is available from Boosey & Hawkes for the world PIANO(S) 12 PIANO(S) 12 INSTRUMENTAL Hommage à 12 op. 54 11 min for 12 celli 12 vlc World Premiere: 20 May 1976 Berlin, Germany unknown; Philharmonische Cellisten Conductor: unknown Availability: This work is available from Boosey & Hawkes for the world Klangstufen op. 49 for violin and piano 9790202511039 Violin, Piano Availability: This work is available from Boosey & Hawkes for the world Pauker-Training 9790202512777 Timpani, Percussion Availability: This work is available from Boosey & Hawkes for the world Skizzen op. 53a 6 min for solo trombone, seven tutti trombones and percussion INSTRUMENTAL 13 INSTRUMENTAL 13 VOCAL World Premiere: 13 Dec 1971 Berlin, Germany Johann Doms, trombone; unknown Conductor: unknown VOCAL 14 VOCAL 14.
Recommended publications
  • Das Buch Vom Buch

    Das Buch Vom Buch

    Einband_komplett_dtp3.qxd 24.10.2006 7:14 Uhr Seite 1 „Eine opulente Geschichte des Buches. [...] Die Neuedition Beginnend bei den ersten Schriftzeichen, bei Tontafel und Papyrusrolle, verfolgen die Marion Janzin Marion Janzin Joachim Güntner Das Buch vom Buch vergegenwärtigt 5000 Jahre in wurde mit einer Vielzahl sorgfältig reproduzierter Abbil- Autoren den Wandel des Buches bis zu den digitalen Publikationen unserer Tage. Sie führen Joachim Güntner einer Gesamtschau, die vielfältige Aspekte umgreift: dungen versehen, die teilweise doppelseitig herausragende den Leser in die Welt der illuminierten Handschriften des Mittelalters, erläutern die Tech- den Wandel nicht nur der Buchformen und Materialien, Buchpublikationen der letzten Jahrtausende vorstellen. [...] niken von Holzschnitt und Kupferstich, Gutenbergs Druckkunst und die wundersamen der Herstellung, des Schmucks und der Verbreitung, Man ist als Leser dankbar, wenn sich aus der Flut der Pub- Erfindungen seiner Nachfolger, die Rotationspresse ebenso wie den Computersatz. Typo- Das Buch sondern auch den Wandel unserer Einstellung zum Buch. likationen überhaupt noch einzelne Inseln erheben, deren Träger der Überlieferung, Gegenstand von Verehrung graphie, Einbandkunst und Buchformen werden im Detail beschrieben. Buchgeschichte ist Das Buch vom Buch Aufmachung wie Inhalt zur näheren Betrachtung reizt. Das vom Buch und Verfolgung, Mittel der Unterhaltung, Belehrung und Kulturgeschichte. Von Buchverehrung und Bibliotheken ist zu lesen, von der Last des Buch vom Buch zählt zweifellos zu diesen verführerischen 5000 Jahre Aufklärung, politische Waffe, Ratgeber und Kunstwerk — Eilanden.“ Raubdrucks und der Zensur, von Honoraren, Schriftstellerei und »Lesesucht«. Die reich all dies ist das Buch gewesen oder ist es noch. Andreas Platthaus in „Frankfurter Allgemeine Zeitung“ (Juli 1996) illustrierte Darstellung bietet eine allgemeine und umfassende Geschichte des Buches.
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt

    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
  • Fritz Wunderlich Greatest Successes & Rarities

    Fritz Wunderlich Greatest Successes & Rarities

    Labelcopy Fritz Wunderlich Greatest Successes & Rarities 3. Welch ein grau’nvolles Bild / Fliehe, Verräter CD1 Elisabeth Grümmer (Donna Anna) 4. Nur ihrem Frieden weih‘ ich mein Leben FRITZ WUNDERLICH Die zentrale Partie: Tamino 5. O seht, gnäd’ger Herr, dort die allerliebsten Masken / Mög‘ Gott zu unserm Werke uns Kraft und Mut verleih’n (1756 – 1791) Wolfgang Amadeus Mozart Karl Kohn (Leporello), Hermann Prey (Don Giovanni), Elisabeth DIE ZAUBERFLÖTE – as Tamino – Grümmer (Donna Anna), Hildegard Hillebrecht (Donna Elvira) 1. Dies Bildnis ist bezaubernd schön Berliner Symphoniker / Hans Zanotelli - 3-5: 1960 2. Zum Ziele führt dich diese Bahn / Die Weisheitslehre dieser Knaben ZAIDE – as Gomez – Drei Wiener Sängerknaben 6. Ja, nun lass das Schicksal wüten 7. Kannst, Geliebter, du vergeben 3. Wo willst du, kühner Fremdling, hin? / O ew’ge Nacht 8. Wack’rer Freund, voll tiefer Scham Eberhard Wächter (Sprecher) 9. O selige Wonne 4. Wie stark ist nicht dein Zauberton Maria Stader (Zaide), Horst Günter (Allazim) - Sinfonieorchester des 5. Soll ich dich, Teurer, nicht mehr seh’n? Süddeutschen Rundfunks / Alfons Rischner - 6-9: 1956 Lieselotte Fölser (Pamina), Gottlob Frick (Sarastro) DIE GÄRTNERIN AUS LIEBE – as Graf von Belfiore – 6. Der, welcher wandelt diese Straße 10. Welch ein Glück 7. Tamino mein, o welch ein Glück! 11. Nein! Geh ich fort? / Im Park hier gibt es eigenart’ge Grotten Lieselotte Fölser (Pamina), Robert Charlesbois, Alois Pernerstorfer Gustav Grefe (Nardo / Roberto) (Geharnischte) - Chor der Wiener Staatsoper - Wiener Philharmoniker/ Orchester der Württembergischen Staatsoper / Josef Dünnwald Joseph Keilberth - 1-7: 1960 (Live, Salzburger Festspiele) 10,11: 1956 (Live, Ludwigsburg, Barocktheater des Schlosses) 8.
  • The Little Match Girl, Choral Music by Gordon Getty

    The Little Match Girl, Choral Music by Gordon Getty

    FOR IMMEDIATE RELEASE NEW PENTATONE CLASSICS CD: THE LITTLE MATCH GIRL CHORAL WORKS BY GORDON GETTY A new recording of choral music by composer Gordon Getty, The Little Match Girl, has just been released on the PentaTone Classics label (PTC 5186 480). Four of Getty’s choral works are performed by the Münchner Rundfunkorchester (Munich Radio Orchestra) and Chor des Bayerischen Rundfunks (Bavarian Radio Choir), with soloists Nikolai Schukoff, Melody Moore and Lester Lynch. The world premiere recordings of The Little Match Girl, after the story by Hans Christian Andersen, and A Prayer for My Daughter, based on the Yeats poem, are coupled with Poor Peter, with text by the composer (a premiere recording of this arrangement), and Joan and the Bells, Getty’s cantata for soprano, baritone, chorus and orchestra. Contents of the CD PentaTone Classics (PTC 5186 480) THE LITTLE MATCH GIRL COMPOSER GORDON GETTY (b. 1933) 2 Nikolai Schukoff, tenor Melody Moore, soprano Lester Lynch, baritone Chor des Bayerischen Rundfunks Chorus Masters: Jörn Hinnerk Andresen (tracks 1-5) and Robert Blank (6-8) Münchner Rundfunkorchester Conducted by Asher Fisch (1-5) and Ulf Schirmer (6-8) A PRAYER FOR MY DAUGHTER* (TRACK 1) For Chorus and Orchestra Text by William Butler Yeats POOR PETER* (TRACKS 2-4) For Tenor, Chorus and Orchestra Text by Gordon Getty THE LITTLE MATCH GIRL* (TRACK 5) For Chorus and Orchestra Text by Hans Christian Andersen (English translation by H. B. Paull) From the short story The Little Match Girl JOAN AND THE BELLS (TRACKS 6-8) Cantata for Soprano, Baritone, Chorus and Orchestra Text by Gordon Getty Total playing time = 66:59 * World Premiere Recording About Gordon Getty (Composer) The music of the American composer Gordon Getty has been widely performed in North America and Europe in such prestigious venues as New York’s Carnegie Hall and Lincoln Center, London’s Royal Festival Hall, Vienna’s Brahmssaal, and Moscow’s Tchaikovsky Hall and Bolshoi Theatre, as well as at the Aspen, Spoleto, and Bad Kissingen festivals.
  • Abstract Hodnet, Andrew Arthur

    Abstract Hodnet, Andrew Arthur

    ABSTRACT HODNET, ANDREW ARTHUR. The Othering of the Landsknechte. (Under the direction of Dr. Verena Kasper-Marienberg). This thesis offers a socio-cultural analysis of early modern German media to explore the public perception of the Landsknechte, mercenaries that were both valued and feared for their viciousness, and their indifference displayed towards the political motivations of their clients. Despite their ubiquity on European battlefields, and their role in repulsing the 1529 Ottoman invasion of Austria, by 1530 the Landsknechte and their families were perceived as thoroughly dishonorable by central Reformation society and were legally excluded from most urban centers. This study engages with a critical assessment of contemporary songs, religious pamphlets, broadsheets, political treatises, autobiographic sources, and belletristic representations of the Landsknechte to explore the paradoxical relationship that they maintained with the state actors that relied on their employment. Through engaging with the cultural genres present in these depictions, the othering of the Landsknechte stems from their origin as the militaristic arm of Emperor Maximilian I’s attempted centralization of the Holy Roman Empire, continuing with the economic challenge the mercenary lifestyle posed to traditional social structures, and ending with their inextricable association between with the increasingly destructive and intrusive military-fiscal state. © Copyright 2018 by Andrew Arthur Hodnet All Rights Reserved The Othering of the Landsknechte by Andrew Arthur Hodnet A thesis submitted to the Graduate Faculty of North Carolina State University in partial fulfillment of the requirements for the degree of Master of Arts History Raleigh, North Carolina 2018 APPROVED BY: _______________________________ _______________________________ Dr. Verena Kasper-Marienberg Dr.
  • Staged Treasures

    Staged Treasures

    Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio
  • Download Biography

    Download Biography

    HAYDN RAWSTRON LIMITED Kammersänger EIKE WILM SCHULTE was surrounded by music from the beginning as both parents were passionate choral singers. The young Schulte began serious piano studies aged 7, before a singing career crystalized, a decade later. At the age of 17, Schulte made his preparatory studies for the Cologne Music Conservatorium in Schloss Morsbroich in Leverkusen and in the Salzburg Mozarteum. At the time, the entrance age for the Cologne Conservatorium was 21 and so he required special permission to enter the Conservatorium as a nineteen year old. His studies lasted 4 years, in the final year of which he was engaged by General Manager Grisha Barfuss for a beginner’s company contract with the Deutsche Oper am Rhein, Düsseldorf’s renowned opera company. His first role in Düsseldorf was Sid in Benjamin Britten’s Albert Herring. In the German system, a young singer’s ambition is however to achieve a ‘Fach’-contract, a contract Eike Wilm Schulte guaranteeing him a certain repertoire, with which he can develop his vocal potential. Schulte was offered Baritone such a contract two year later, with the opera company of the city of Bielefeld where, in the following three years, he was given the opportunity to perform almost all the principal roles of a lyric baritone’s standard repertoire, from Papageno to Germont. After a successful audition for the Hessen State Opera Company, he moved from Bielefeld to Wiesbaden where, under the guidance of Musical Directors, Heinz Wallberg and later Siegfried Köhler, he was able to expand his repertoire by a total of 75 additional roles.
  • 14 November 2008 Page 1 of 19 SATURDAY 08 NOVEMBER 2008 05:59AM BIZET, Transcr

    14 November 2008 Page 1 of 19 SATURDAY 08 NOVEMBER 2008 05:59AM BIZET, Transcr

    Radio 3 Listings for 8 – 14 November 2008 Page 1 of 19 SATURDAY 08 NOVEMBER 2008 05:59AM BIZET, transcr. Rachmaninov Bartók, Béla (1881-1945) Minuet (‘L’Arlesienne’ Suite No.1) SAT 01:00 Through the Night (b00f8126) Minuetto; Air; Marcia delle Bestie; Tambourine – From Nine Howard Shelley (piano) 01:02AM Little Piano Pieces HYPERION CDA66486 Tr 3 Verdi, Giuseppe (1813-1901) Libretto: Arrigo Boito Jan Michiels (piano) (1842-1918) 08:18 Otello 06:06AM Johan Botha (tenor)……………Otello Haydn, Johann Michael (1737-1806) BAX Nuccia Focile (soprano)……….Desdemona Divertimento (MH.299/P.121) in A major for string quartet The Garden of Fand Carlo Guelfi (baritone)………..Iago Marcolini Quartett BBC Philharmonic Orchestra Tiziana Tramonti (mezzo sop)..Emilia Vernon Handley (conductor) Paul Charles Clarke (tenor)…...Cassio 06:22AM CHANDOS CHAN 10362 Tr 3 Alfred Walzer (bass)………….Lodovico Strauss, Richard (1864-1949) Samuel Youn (bass) ………….Montano 3 Ophelia Songs (Op.67) 08:36 Emanuele d’Auguanno (tenor).Roderigo Ailish Tynan (soprano), Llyr Williams (piano) Michael Vier (bass)………….A Herald ERNST NDR Chorus, Cologne Cathedral Girls' Choir, WDR Radio 06:31AM Allegretto (6 Polyphonic Studies) Chorus, Cologne, WDR Symphony Orchestra, Cologne, Mendelssohn, Felix (1809-1847) Ilya Gringolts (violin) Semyon Bychkov (conductor) Symphony No.4 (Op.90) in A major, 'Italian' HYPERION CDA67619 Tr 3 Bergen Philharmonic Orchestra, Heinz Wallberg (conductor) 03:20AM 08:38 Fauré, Gabriel (1845-1924) Fantasy for flute and piano SAT 07:00 Breakfast (b00fd0nv) FREE THOUGHT Lóránt Kovács (flute), Erika Lux (piano) The complete Breakfast playlist is posted on this site after the Vasily Petrenko - How music can transform people’s lives, both programme has been broadcast.
  • Bruckner Symphony Cycles (Not Commercially Available As Recordings) Compiled by John F

    Bruckner Symphony Cycles (Not Commercially Available As Recordings) Compiled by John F

    Bruckner Symphony Cycles (not commercially available as recordings) Compiled by John F. Berky – June 3, 2020 (Updated May 20, 2021) 1910 /11 – Ferdinand Löwe – Wiener Konzertverein Orchester 1] 25.10.10 - Ferdinand Loewe 1] 24.01.11 - Ferdinand Loewe (Graz) 2] 02.11.10 - Martin Spoerr 2] 20.11.10 - Martin Spoerr 2] 29.04.11 - Martin Spoerr (Bamberg) 3] 25.11.10 - Ferdinand Loewe 3] 26.11.10 - Ferdinand Loewe 3] 08.01.11 - Gustav Gutheil 3] 26.01.11- Ferdinand Loewe (Zagreb) 3] 17.04.11 - Ferdinand Loewe (Budapest) 4] 07.01.11 - Hans Maria Wallner 4] 12.02.11 - Martin Spoerr 4] 18.02.11 - Hans Maria Wellner 4] 26.02.11 - Hans Maria Wallner 4] 02.03.11 - Hans Maria Wallner 4] 23.04.11 - Franz Schalk 5] 05.02.11 - Ferdinand Loewe 6] 21.02.11 - Ferdinand Loewe 7] 03.03.11 - Ferdinand Loewe 7] 17.03.11 - Ferdinand Loewe 7] 02.04.11 - Ferdinand Loewe 8] 23.02.11 - Oskar Nedbal 8] 12.03.11 - Ferdinand Loewe 9] 24.03.11 - Ferdinand Loewe 1910/11 – Ferdinand Löwe – Munich Philharmonic 1] 17.10.10 - Ferdinand Loewe 2] 14.11.10 - Ferdinand Loewe 3] 21.11.10 - Ferdinand Loewe (Fassung 1890) 4] 09.01.11 - Ferdinand Loewe (Fassung 1889) 5] 30.01.11 - Ferdinand Loewe 6] 13.02.11 - Ferdinand Loewe 7] 27.02.11 - Ferdinand Loewe 8] 06.03.11 - Ferdinand Loewe (with Psalm 150 -Charles Cahier) 9] 10.04.11 - Ferdinand Loewe (with Te Deum) 1919/20 – Arthur Nikisch – Leipzig Gewandhaus Orchestra 1] 09.10.19 - Artur Nikisch (1.
  • Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source

    Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source

    Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) .
  • Ernest Guiraud, Friends, and Students

    Ernest Guiraud, Friends, and Students

    DUKAS phonic poem.) Guiraud provided the musi- Fanfare, from La Péri cal settings for the spoken dialogue (recita- Paul Dukas (1865–1935) tives), which have been part of the tradition Fanfare, from La Péri* Paul Dukas (1865-1935) is best remem- of Carmen since 1875. Three years earlier, in bered, thanks to the 1940 Disney animat- 1872, Bizet composed incidental music for ed film Fantasia, for The Sorcerer’s Apprentice. Alfred Daudet’s play L’Arlésienne. There were Georges Bizet (1838–1875) Nonetheless, Dukas composed other worthy, 27 separate musical numbers for the play, Pastorale, First movement of L’Arlésienne suite no. 2 though less famous works. La Péri (1911- and Bizet created a suite of some of them 12) is a ballet based upon an ancient Persian for orchestra. After Bizet’s death, Guiraud Claude Debussy (1862–1918) legend. Alexander the Great (Iskender in the concocted a second suite from the remain- Petite suite: En bateau. Cortège. Ballet. original) finds a flower of immortality in ing sections of the incidental music. Like all the clenched hand of a sleeping péri – a fairy. of Bizet, the music is delightful and moving, Jacques Offenbach (1819–1880) The ballet opens with a somber and stately overpowering in its charm and energy, and Intermezzo and Barcarolle, from Les contes d’Hoffmann brass fanfare. This fanfare is the essence of always thrilling to hear. the score, and the ballet ends with a transfig- Ernest Guiraud (1837–1892) ured statement of the opening, played by the muted horns. DEBUSSY First movement, from Caprice pour violin Petite suite Joan Kwuon, violin Carnaval, from Suite d’orchestre BIZET Claude Debussy’s (1862-1918) Petite suite Pastorale, First movement of dates from 1907 and was originally com- Georges Bizet L’Arlésienne suite no.
  • Introduction – the Transformation of the Classics

    Introduction – the Transformation of the Classics

    INTRODUCTION – THE TRANSFORMATION OF THE CLASSICS. PRACTICES, FORMS, AND FUNCTIONS OF EARLY MODERN COMMENTING Karl A.E. Enenkel Recently, a vivid interest in commentaries came into being, as did a sense of the important role commentaries have played in the transmission of the classical heritage, especially in the early modern period.1 Early mod- ern intellectuals rarely read classical authors in a simple and “direct” form, but generally via intermediary paratexts: dedications, prefaces, and other introductory texts; argumenta; indices; illustrations; and above all, all kinds of commentaries – annotationes, notae, commenta, commentaria, com- mentariola, animadversiones, paraphrases, etc. These intermediary texts presented the classical text to modern readers in certain ways that deter- mined and guided the reader’s perception of the text being commented upon. After all, the classical texts were composed in ages so very different from the period ca. 1450–1700. They were not only 1,000–2,000 years old, but they were written in a culture that in many respects had become alien to early modern readers. It was not self-evident to readers from 1450–1700 in what way these texts should be read, interpreted, and used. Take, for example, Martial’s Epigrams, which are full of explicit, partly homoerotic sexuality; they describe sexual practices and positions of lovemaking; they describe oral and anal sex, both heterosexual and homosexual; and many times they address pederasty. As Martial says in the first book of his Epi- grams, his ‘verses cannot please without a cock’ (‘non possunt sine mentula placere’).2 In 1450–1700, however, sexual culture was directed on the one hand by Catholic Church, which – via a long tradition – had restricted not only the representations of sexual practices but the practices themselves 1 Cf.