Et Orchestre
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A União Entre Técnica E Musicalidade Na Metodologia De Ensino Do Piano Da Professora Isabelle Vengerova
A união entre técnica e musicalidade na metodologia de ensino do piano da professora Isabelle Vengerova Tarcísio Gomes Filho Universidade do Estado do Rio Grande do Norte (UERN) [email protected] Resumo: Este artigo consiste em um recorte da pesquisa sobre técnica pianística, orientada pelo Prof. Dr. Maurícy Martin, durante o curso de mestrado em música na Universidade Estadual de Campinas – UNICAMP. A abordagem metodológica, em relação aos movimentos utilizados na execução, tem como fundamentação os conceitos originados da escola pianística da professora Isabelle Afanasievna Vengerova (1877-1956), complementados pelo estudo de outros autores e da mecânica das mãos. Em um segundo estágio, a aplicação da técnica ocorreu em peças do repertório tradicional, com o objetivo de criar um modelo de estudo aplicável a outros repertórios. Uma dos principais resultados alcançados com a pesquisa foi a criação de um material de cunho didático e informativo voltado a alunos e professores de piano. A conclusão aponta os benefícios adquiridos por esta prática de execução e sugere aplicação em outras peças. Introdução O objetivo desta pesquisa foi gerar um material de cunho didático e informativo, sobre técnica pianística, voltado a alunos e professores de piano, além de divulgar as concepções sobre técnica pensadas pela professora Isabelle Afanasievna Vengerova (1877- 1956)1. Desenvolvemos um trabalho alicerçado na maior gama possível de conhecimentos dos meios físicos e anatômicos diretamente ligados à execução do instrumento e por conseqüência deste processo, a busca da sonoridade que implica no gesto em função do som a ser adquirido e do fraseado desejado. As idéias aqui apontadas foram fundamentadas na escola pianística da pedagoga russa Isabelle Vengerova2 e complementados pelo levantamento bibliográfico de outros autores e pelo estudo da mecânica das mãos por meio da anatomia e fisiologia3. -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Gala Concert Montreal Museum of Fine Arts
BOURGIE HALL GALA CONCERT MONTREAL MUSEUM OF FINE ARTS FEATURING WORLD PREMIERES BY OCTOBER KEIKO DEVAUX, YOTAM HABER 8 P.M. (ET) & YITZHAK YEDID SPECIAL LIVESTREAM LE NOUVEL ENSEMBLE MODERNE LORRAINE VAILLANCOURT, MEDICI.TV CONDUCTOR FACEBOOK.COM/AZRIELIMUSIC ABOUT THE AZRIELI FOUNDATION Inspired by the values and vision of our founder, David J. Azrieli z”l, the mission of the Azrieli Foundation is to improve the lives of present and future generations through Education, Research, Healthcare and the Arts. We are passionate about the promise and importance of a rigorous yet creative approach to philanthropy. We believe that strategic leadership, collaboration and forward thinking are key to bold discoveries. In addition to making philanthropic investments across our priority areas, the Foundation operates a number of programs, including the Azrieli Music Prizes, the Holocaust Survivor Memoirs Program, the Azrieli Fellows Program, the Azrieli Science Grants Program and the Azrieli Prize in Architecture. Our vision is to remember the past, heal the present and enhance the future of the Jewish people and all humanity. To learn more: www.azrielifoundation.org A Message from SHARON AZRIELI We are thrilled to celebrate with you the third Israeli-born Yitzhak Yedid’s Kadosh Kadosh and shaping cultural identity and educating present Azrieli Music Prizes Gala Concert. Cursed unites contemporary Western music and future generations. The questions, “What is and ancient Mizrahi songs across twenty-four Jewish music?” and “What is Canadian music?” What a remarkable adventure the Prizes musical scenes. Together, they showcase a ask composers to amplify and honour stories have had since we fêted our 2018 Laureates. -
The Chinese Translation of Russian Literature Sinica Leidensia
The Chinese Translation of Russian Literature Sinica Leidensia Edited by Barend J. ter Haar In co-operation with P. K. Bol, D. R. Knechtges, E. S. Rawski, W. L. Idema, E. Zürcher †, H. T. Zurndorfer VOLUME 90 The Chinese Translation of Russian Literature Three Studies By Mark Gamsa LEIDEN • BOSTON 2008 Cover illustration: Samovar and teacups. After an idea by Ursula Stadler Gamsa. This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Gamsa, Mark, 1970– The Chinese translation of Russian literature : three studies / by Mark Gamsa. p. cm. — (Sinica leidensia ; v. 90) Includes bibliographical references and index. ISBN 978-90-04-16844-2 (hardback : alk. paper) 1. Russian literature—20th century—Translations into Chinese—History and criticism. 2. Translating and interpreting—China—History—20th century. 3. Savinkov, B. V. (Boris Viktorovich), 1879–1925—Criticism and interpretation. 4. Artsybashev, M. P. (Mikhail Petrovich), 1878–1927—Criticism and interpretation. 5. Andreev, L. N. (Leonid Nikolaevich), 1871–1919—Criticism and interpretation. 6. Lu Xun, 1881–1936—Criticism and interpretation. I. Title. PG2985.G36 2008 495.1’8029171—dc22 2008027646 ISSN 0169-9563 ISBN 978 90 04 16844 2 Copyright 2008 by Koninklijke Brill NV, Leiden, The Netherlands. Koninklijke Brill NV incorporates the imprints Brill, Hotei Publishing, IDC Publishers, Martinus Nijhoff Publishers and VSP. All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Koninklijke Brill NV provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910, Danvers, MA 01923, USA. -
Myscena.Org Sm26-3 EN P02 ADS Classica Sm23-5 BI Pxx 2020-11-03 8:23 AM Page 1
SUBSCRIBE @ mySCENA.org sm26-3_EN_p02_ADS_classica_sm23-5_BI_pXX 2020-11-03 8:23 AM Page 1 From Beethoven to Bowie encore edition December 12 to 20 2020 indoor 15 concerts festivalclassica.com sm26-3_EN_p03_ADS_Ofra_LMMC_sm23-5_BI_pXX 2020-11-03 1:18 AM Page 1 e/th 129 saison/season 2020 /2021 Automne / Fall BLAKE POULIOT 15 nov. 2020 / Nov.ANNULÉ 15, 2020 violon / violin CANCELLED NEW ORFORD STRING QUARTET 6 déc. 2020 / Dec. 6, 2020 avec / with JAMES EHNES violon et alto / violin and viola CHARLES RICHARD HAMELIN Blake Pouliot James Ehnes Charles Richard Hamelin ©Jeff Fasano ©Benjamin Ealovega ©Elizabeth Delage piano COMPLET SOLD OUT LMMC 1980, rue Sherbrooke O. , Bureau 260 , Montréal H3H 1E8 514 932-6796 www.lmmc.ca [email protected] New Orford String Quartet©Sian Richards sm26-3_EN_p04_ADS_udm_OCM_effendi_sm23-5_BI_pXX 2020-11-03 8:28 AM Page 1 SEASON PRESENTER ORCHESTRE CLASSIQUE DE MONTRÉAL IN THE ABSENCE OF A LIVE CONCERT, GET THE LATEST 2019-2020 ALBUMS QUEBEC PREMIER FROM THE EFFENDI COLLECTION CHAMBER OPERA FOR OPTIMAL HOME LISTENING effendirecords.com NOV 20 & 21, 2020, 7:30 PM RAFAEL ZALDIVAR GENTIANE MG TRIO YVES LÉVEILLÉ HANDEL’S CONSECRATIONS WONDERLAND PHARE MESSIAH DEC 8, 2020, 7:30 PM Online broadcast: $15 SIMON LEGAULT AUGUSTE QUARTET SUPER NOVA 4 LIMINAL SPACES EXALTA CALMA 514 487-5190 | ORCHESTRE.CA THE FACULTY IS HERE FOR YOUR GOALS. musique.umontreal.ca sm26-3_EN_p05_ADS_LSM_subs_sm23-5_BI_pXX 2020-11-03 2:32 PM Page 1 ABONNEZ-VOUS! SUBSCRIBE NOW! Included English Translation Supplément de traduction française inclus -
SHARON AZRIELI PEREZ Soprano [email protected] 514-295-0682
SHARON AZRIELI PEREZ Soprano [email protected] 514-295-0682 BACKGROUND BIOGRAPHY Sharon Azrieli Perez’s rich spinto soprano has been heard to great acclaim across the globe, from New York to Tokyo, and from Tel Aviv to her native Montreal. From her debut as Juliette in Roméo et Juliette to recent portrayals of Verdi heroines Aida and Leonora, (Il Trovatore) Azrieli Perez has been deemed “utterly charming” (Sarasota Herald Tribune) and praised for her “exceedingly beautiful voice, full of feeling” (Ha’aretz). In recent years, aside from her growing repertoire of great French heroines; Sharon has, under the tutelage of Bill Schuman in New York, been hailed as the next true Verdiana. She received glowing reviews for her Verdi Requiem, and for her Aida: “Sharon Azrieli Perez sang the title role with an amazing voice that expressed the very essence of love, anguish and self-sacrifice” (Ontario Arts Review). Leading operatic roles have included Juliette in Roméo et Juliette and Mimi in La Bohème for the Canadian Opera Company; Susanna in Le Nozze di Figaro with Sarasota Opera; Nedda in I Pagliacci with the New York Opera Festival; Elvira in Don Giovanni with Vermont Opera Festival; and Liu in Turandot with the New Israel Opera. Of her Laurette in Le Docteur Miracle with L’Opéra Français de New York, Andrew Porter of The New Yorker hailed her as a “mistress of merry inflections, piquant phrasing and pointed words.” In 1994, she had the great honour of covering Mirella Freni as Adrienne Lecouvreur with L’Opéra Bastille in Paris. Sharon has been heard extensively around the world, performing with many symphony orchestras including the Jerusalem Symphony, the Tokyo Symphony, the McGill Chamber Orchestra, the Haifa Symphony Orchestra, the National Orchestra of Canada. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE CONTRIBUTIONS OF ELVINA TRUMAN PEARCE TO PIANO PEDAGOGY A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By TODD VAN KEKERIX Norman, Oklahoma 2020 THE CONTRIBUTIONS OF ELVINA TRUMAN PEARCE TO PIANO PEDAGOGY A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY THE COMMITTEE CONSISTING OF Dr. Barbara Fast, Chair Dr. Jane Magrath Dr. Jeongwon Ham Dr. Sanna Pederson Dr. Catalin Teodoriu © Copyright by TODD VAN KEKERIX 2020 All Rights Reserved. ACKNOWLEDGMENTS I want to express my heartfelt appreciation and gratitude to the people who have supported the pursuit of my doctoral studies. The completion of this degree would have been nearly impossible without the guidance and encouragement from all of the people mentioned here, and more. Foremost to Barbara Fast, my committee chair: Thank you for your unwavering support and leadership while I was undertaking this study and for sharing your wisdom, experience and heart throughout my doctoral studies. Your tenacity and spirit have truly inspired me to become a better teacher. Secondly, to my academic committee including current and past members. Dr. Jane Magrath: Thank you for your pedagogical wisdom and guidance throughout my degree. I admire your dedication to your students. Dr. Jeongwon Ham: Thank you for piano repertoire expertise and superb piano instruction. To Dr. Sanna Pederson: Thank you for making me decide on a topic. To Dr. Frank Riddick, Dr. Caleb Fulton, and Dr. Catalin Teodoriu: Thank you for the time and energy that each of you gave for this document and beyond. -
11-30-2018 Trittico Eve.Indd
GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Friday, November 30, 2018 7:30–11:20 PM The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 83rd Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Friday, November 30, 2018, 7:30–11:20PM 2018–19 SEASON The 77th Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor Bertrand de Billy in order of -
An Exploration of the Early Training and Song Juvenilia of Samuel Barber
THE FORMATIVE YEARS: AN EXPLORATION OF THE EARLY TRAINING AND SONG JUVENILIA OF SAMUEL BARBER Derek T. Chester, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Jennifer Lane, Major Professor Stephen Dubberly, Committee Member Elvia Puccinelli, Committee Member Jeffrey Snider, Chair of the Division of Vocal Studies James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Chester, Derek T. The Formative Years: An Exploration of the Early Training and Song Juvenilia of Samuel Barber. Doctor of Musical Arts (Performance), May 2013, 112 pp., 32 musical examples, bibliography, 56 titles. In the art of song composition, American composer Samuel Barber was the perfect storm. Barber spent years studying under superb instruction and became adept as a pianist, singer, composer, and in literature and languages. The songs that Barber composed during those years of instruction, many of which have been posthumously published, are waypoints on his journey to compositional maturity. These early songs display his natural inclinations, his self-determination, his growth through trial and error, and the slow flowering of a musical vision, meticulously cultivated by the educational opportunities provided to him by his family and his many devoted mentors. Using existing well-known and recently uncovered biographical data, as well as both published and unpublished song juvenilia and mature songs, this dissertation examines the importance of Barber’s earliest musical and academic training in relationship to his development as a song composer. Copyright 2013 by Derek T. Chester ii ACKNOWLEDGMENTS I sang my first Samuel Barber song at the age of eighteen. -
LGBTQ+ Artists Represented Int the Performing Arts Special Collections
LGBTQ+ Artists Represented in the Performing Arts Special Collections in the Library of Congress Music Division Aaron Copland with Samuel Barber and Gian Carlo Menotti, 1945 (Aaron Copland Collection, Box 479 Folder 3) Compiled by Emily Baumgart Archives Processing Technician January 2021 Introduction The artistic community has always had many LGBTQ+ members, including musicians, dancers, choreographers, writers, directors, designers, and other creators. The Music Division holds a wealth of information about these LGBTQ+ artists in its performing arts special collections, which contain musical scores, correspondence, scripts, photographs and other documents of their lives and careers. This survey brings together some of the highlights from these holdings, providing an opportunity to learn more about LGBTQ+ creators and to recognize and celebrate their artistic achievements. The sexual and gender identity of many historical figures has been obscured over time; moreover, it can be difficult to determine how such individuals would identify by today’s terminology, especially when little of their personal life is known. Other figures, however, have disclosed their identity through their private correspondence or other writings. We do not wish to ascribe to any person an identity that they may have disagreed with, but at the same time we recognize that many of the queer community’s accomplishments have been hidden through oppression, prejudice, and forced closeting. By increasing awareness of LGBTQ+ identity in the Music Division’s special collections, we can make relevant primary source materials more readily accessible for students, educators, and scholars to study these creators and their contributions. This survey does not claim to be comprehensive, neither in terms of identifying every LGBTQ+ artist within the Music Division’s special collections nor in terms of identifying every collection in which those artists are represented. -
Hereal and Enchanting 'Dehvieni Non Tardar'"
Sharon Azrieli C.Q, D.MUS., M.M., B.A., AAS, Adv. Cert. BIOGRAPHY Sharon Azrieli’s magnificent soprano has been heard to great acclaim across the globe, from New York to Tokyo, and from Tel Aviv to her native Montreal. From her debut as Juliette (Roméo et Juliette) to recent portrayals of Gioconda (La Gioconda) and Nedda (I Pagliacci), Azrieli has been deemed “utterly charming” (Sarasota Herald Tribune) and praised for her “exceedingly beautiful voice, full of feeling” (Ha’aretz). Sharon made her Metropolitan Opera debut in November 2018, as the “highly credible and vivacious” (Arthur Kaptainis – Montreal Gazette) Sister Dolcina in Puccini’s Suor Angelica. In March 2019, she performed the renowned Berlioz “Les Nuits D’Été” with the MCO. In May 2019, she sang two concerts in Israel, with Ramat Gan Orchestra and Hebrew University Orchestra. June 2019 marked her debut in the role of Marcellina in Le Nozze Di Figaro of Mozart under the direction of Alexander Shelley at the National Arts Center in Ottawa. Leading roles with orchestras in Concert and Oratorio works include: the Montreal Symphony Orchestra under the direction of Kent Nagano, Jerusalem Symphony, One World Symphony, Tokyo Symphony Orchestra, Israel Chamber Orchestra, Haifa Symphony Orchestra,, and McGill Chamber Orchestra, Mid America Orchestra, among many others. Her varied orchestral and sacred work has included Leonard Bernstein’s Kaddish (narrated by Richard Dreyfuss), Dan Forrest’s Jubilate Deo with Tracy Resseguie, as well as the Gabriel Fauré Requiem in D Minor, Op. 48 with Alex Qian, both of which were performed at Carnegie Hall. -
A Dictionary for the Modern Pianist DICTIONARIES for the MODERN MUSICIAN
A Dictionary for the Modern Pianist DICTIONARIES FOR THE MODERN MUSICIAN Series Editor: Jo Nardolillo Contributions to Dictionaries for the Modern Musician series offer both the novice and the advanced artist lists of key terms designed to fully cover the field of study and performance for major instruments and classes of instruments, as well as the workings of musicians in areas from composing to conducting. Focusing primarily on the knowledge required by the contemporary musical student and teacher, performer, and professional, each dictionary is a must-have for any musician’s personal library! All Things Strings: An Illustrated Dictionary by Jo Nardolillo, 2014 A Dictionary for the Modern Singer by Matthew Hoch, 2014 A Dictionary for the Modern Clarinetist by Jane Ellsworth, 2014 A Dictionary for the Modern Trumpet Player by Elisa Koehler, 2015 A Dictionary for the Modern Conductor by Emily Freeman Brown, 2015 A Dictionary for the Modern Pianist by Stephen Siek, 2016 A Dictionary for the Modern Pianist Stephen Siek ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2017 by Rowman & Littlefield All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Siek, Stephen, author.