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Themenkatalog »Musik Verfolgter Und Exilierter Komponisten«
THEMENKATALOG »Musik verfolgter und exilierter Komponisten« 1. Alphabetisches Verzeichnis Babin, Victor Capriccio (1949) 12’30 3.3.3.3–4.3.3.1–timp–harp–strings 1908–1972 for orchestra Concerto No.2 (1956) 24’ 2(II=picc).2.2.2(II=dbn)–4.2.3.1–timp.perc(3)–strings for two pianos and orchestra Blech, Leo Das war ich 50’ 2S,A,T,Bar; 2(II=picc).2.corA.2.2–4.2.0.1–timp.perc–harp–strings 1871–1958 (That Was Me) (1902) Rural idyll in one act Libretto by Richard Batka after Johann Hutt (G) Strauß, Johann – Liebeswalzer 3’ 2(picc).1.2(bcl).1–3.2.0.0–timp.perc–harp–strings Blech, Leo / for coloratura soprano and orchestra Sandberg, Herbert Bloch, Ernest Concerto Symphonique (1947–48) 38’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(3):cyms/tam-t/BD/SD 1880–1959 for piano and orchestra –cel–strings String Quartet No.2 (1945) 35’ Suite Symphonique (1944) 20’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc:cyms/BD–strings Violin Concerto (1937–38) 35’ 3(III=picc).2.corA.2.bcl.2.dbn–4.3.3.1–timp.perc(2):cyms/tgl/BD/SD– harp–cel–strings Braunfels, Walter 3 Chinesische Gesänge op.19 (1914) 16’ 3(III=picc).2(II=corA).3.2–4.2.3.1–timp.perc–harp–cel–strings; 1882–1954 for high voice and orchestra reduced orchestraion by Axel Langmann: 1(=picc).1(=corA).1.1– Text: from Hans Bethge’s »Chinese Flute« (G) 2.1.1.0–timp.perc(1)–cel(=harmonium)–strings(2.2.2.2.1) 3 Goethe-Lieder op.29 (1916/17) 10’ for voice and piano Text: (G) 2 Lieder nach Hans Carossa op.44 (1932) 4’ for voice and piano Text: (G) Cello Concerto op.49 (c1933) 25’ 2.2(II=corA).2.2–4.2.0.0–timp–strings -
October 30, 2018
October 30, 2018: (Full-page version) Close Window “Music is the social act of communication among people, a gesture of friendship, the strongest there is.” —Malcolm Arnold Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Franck The Breezes (A Symphonic Poem) National Orchestra of Belgium/Cluytens EMI Classics 13207 Awake! 00:13 Buy Now! Vivaldi Trio in G minor for Winds, RV 103 Camerata of Cologne Harmonia Mundi 77018 054727701825 00:23 Buy Now! Brahms Piano Trio No. 1 in B, Op. 8 Trio Fontenay Teldec 9031-76036 090317603629 01:01 Buy Now! Warlock Capriol Suite English Sinfonia/Dilkes EMI 62529 077776252926 01:12 Buy Now! Respighi The Birds Orpheus Chamber Orchestra DG 437 533 N/A 01:32 Buy Now! Mozart String Quartet No. 17 in B flat, K. 458 "Hunt" Alban Berg Quartet Teldec 72480 090317248028 02:00 Buy Now! Handel Flute Sonata in A minor Bruggen/Bylsma/van Asperen Sony 60100 074646010020 Symphony No. 9 in E minor, Op. 95 "From the 02:12 Buy Now! Dvorak Houston Symphony/Eschenbach Virgin 91476 075679147622 New World" 03:00 Buy Now! Boccherini Cello Concerto No. 3 in G Bylsma/Tafelmusik/Lamon DHM 7867 054727786723 03:17 Buy Now! Schumann Manfred Overture, Op. 115 Royal Concertgebouw/Haitink Philips 411 104 028941110428 03:30 Buy Now! Franck Violin Sonata in A Mintz/Bronfman DG 415 683 028941568328 First Suite in E flat, Op. 28 No. 1 (for military 03:59 Buy Now! Holst Central Band of the RAF/Banks EMI 49608 077774960823 band) 04:11 Buy Now! Mozart Symphony No. -
Wolfgang Amadeus Mozart
Saturday, September 8 1979 Arts Guild Fair, Central Park, Northfield Overture to the Magic Flute (Wolfgang Amadeus Mozart) Finlandia (Jean Sibelius) London Suite (Eric Coates) Country Gardens (Percy Grainger) Berceuse and FInale- Firebird (Igor Stravinsky) Dance Rhythms (Wallingford Riegger) Simple Gifts (Aaron Copland) Hoedown (Aaron Copland) August 23, 1986 Carleton College Concert Hall Carneval Overture (Antonin Dvorak) Valse Triste (Jan Sibelius) Konzertstuck for Four Horns and Orchestra Wedding Day at Troldhaugen (Edvard Grieg) Highlights from Showboat (Jerome Kern/Oscar Hammerstein) Why Do I Love You? Can’t Help Lovin Dat Man You Are Love - soloist- Myrna Johnson The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) August 28, 1986 Fairbault Junior High Auditorium- 7:30 pm Carneval Overture (Antonin Dvorak) Valse Triste (jan Sibelius) Konzertstuck for Four Horns and Orchestra Prelude to Act III of Lohengrin First Movement from Violin Concerto no. 3 in G, K216 (W.A. mozart) The Moldau from Ma Vlast (Bedrich Smetana) American Salute (Morton Gould) Saturday, May 14, 1994 United Methodist Church, Northfield- 2:30pm Northfield Cello Choir (Directed by Stephen Peckley): Pilgrim’s Chorus (Richard Wagner) Sarabande and Two Gavottes (J.S. Bach) Red Rose Rag (Traditional) Suite for Strings in Olden Style from Holberg’s Time, Op.40 (Edvard Grieg) Prelude: Allegro Vivace Sarabande: Andante Rigaudon: Allegro Con Brio Geraldine Casper- violin solo Paul Tarabek- viola solo Concerto in D Major for Cello and Orchestra (Josef Haydn) -
Audition Requirements
Master of Music Audition Requirements Woodwinds Voice Flute Oboe Strings Clarinet Violin Saxophone Viola Bassoon Cello Double Bass Brass Guitar Horn Trumpet Conducting Tenor Trombone Choral Bass Trombone Instrumental (Wind) Tuba Instrumental (Orchestral) Percussion Piano Master of Music applicants with areas of specialization in Composition, Jazz Composition, Music Education, Musicology, and Piano Pedagogy can find entrance requirements in the School of Music Graduate Student Handbook. Flute Faculty: Dr. Suyeon Ko; Email: [email protected] • Mozart: Concerto in G Major or D Major, K. 313 or K. 314 (Movements I and II) • A 19th- or 20th-century French work from Flute Music by French Composers or equivalent • An unaccompanied 20th- or 21st-century work • Five orchestral excerpts from Baxtresser, Orchestral Excerpts for Flute, or equivalent • Sight reading Oboe Faculty: Emily Hart; Email: [email protected] • Choose two from the following: ◦ Saint-Saëns or Poulenc sonata (Movement I) ◦ Mozart or Haydn concerto (Movement III) ◦ Any Telemann or Vivaldi concerto or sonata (Movements I and II) ◦ Britten Six Metamorphoses (any three movements) • Choose two of the following orchestral excerpts (all excerpts may be found in the Rothwell books, Difficult Passages, published by Boosey and Hawkes): ◦ Brahms: Violin Concerto (slow movement excerpt) ◦ Rossini: La Scala di Seta (slow and fast excerpts) ◦ Beethoven: Symphony No. 3 (excerpts from Movements III and IV) ◦ Prokofiev: Symphony No. 1 (excerpts from Movements III and IV) • Sight reading Clarinet Faculty: Eric Ginsberg; Email: [email protected] • Choose two movements from one of the following: ◦ Mozart: Concerto in A Major, K. 622 ◦ Weber: Concerto No. 1 in F Minor, Op. -
Richard Lert Papers 0210
http://oac.cdlib.org/findaid/ark:/13030/kt638nf3ww No online items Finding Aid of the Richard Lert papers 0210 Finding aid prepared by Rebecca Hirsch The processing of this collection and the creation of this finding aid was funded by the generous support of the National Historic Publications and Records Commission. USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California, 90089-0189 213-740-5900 [email protected] June 2010 Finding Aid of the Richard Lert 0210 1 papers 0210 Title: Richard Lert papers Collection number: 0210 Contributing Institution: USC Libraries Special Collections Language of Material: English Physical Description: 58.51 Linear feet70 boxes Date (inclusive): 1900-1981 Abstract: This collection consists of Richard Lert's video and audio recordings of performances, rehearsals and lectures, personal papers and his music score library. Lert was born in Vienna and trained as an orchestral conductor in Germany. He moved to the United States in 1932 with his family and was the conductor of the Pasadena Symphony Orchestra from 1932 until his retirement in 1972. creator: Lert, Richard, 1885-1980 Biographical Note Richard Lert was born September 19, 1885, in Vienna, Austria. He trained as an orchestral conductor under Arthur Nikisch and began his career in Darmstadt, Germany, where he met and married his wife, Vicki Baum, in 1916. They had two sons. Lert held posts in Frankfurt, Kiel and Hannover before becoming the music director of the Berlin National Opera. Lert and his family moved to Los Angeles in 1932, where he became the music director of the Pasadena Symphony Orchestra. -
Program Notes Program
Program Notes Program Notes by April L. Racana 24 Jun Leonard Bernstein (1918-1990) Overture to "Candide" It has been said that Leonard Bernstein never approached any work the same way twice, and his score for Candide may very well be the epitome of the extent to which he would go to continually rework and revise his compositions. The opening for this show, which has been dubbed both 24 musical and operetta, came on December 1st, 1956 and was based on Jun Voltaire’s eighteenth-century satire, which had been adapted by author Lillian Helman. The first run of the show only lasted 73 performances, however it didn’t take long for the ‘Overture’ to become an orchestral piece on its own, making its debut performance with the New York Philharmonic in January 1957. Over the next thirty years Bernstein continually revised the entire musical numerous times, with varying success in its many transformations. The ‘Overture’ contains a mixture of tunes from the show, including The Best of All Possible Worlds, Oh Happy We, and Glitter and Be Gay. So closely associated with the New York Philharmonic was Bernstein, and so well-loved was this work, that at a memorial concert following Bernstein’s death in 1990, members of the orchestra performed the ‘Overture’ without a conductor as a tribute to the symphony’s Laureate Conductor. Work composed: 1956 World premiere: 26th January, 1957 Instrumentation: piccolo, 2 flutes, 2 oboes, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3,trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, triangle, cymbals, glockenspiel, xylophone), harp, strings 26 Program Notes Program Notes George Gershwin (1898-1937) Rhapsody in Blue Originally titled American Rhapsody, George Gershwin was apparently convinced by his lyricist brother, Ira, that the title needed some re-thinking. -
An Analysis of Honegger's Cello Concerto
AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S -
Chapman Chamber Orchestra 39Th Season Chapman Chamber Orchestra
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-5-2010 Chapman Chamber Orchestra 39th Season Chapman Chamber Orchestra Brett prS ague Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Chapman Chamber Orchestra and Sprague, Brett, "Chapman Chamber Orchestra 39th Season" (2010). Printed Performance Programs (PDF Format). Paper 1405. http://digitalcommons.chapman.edu/music_programs/1405 This Other Concert or Performance is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. CHAPMAN UNIVERSITY COLLEGE OF Conservatory of Music PERFORMING ARTS presents the Spring 2010 Event Highlights ART: The Page .......................................................................................... Feb 1 - Mar 12 Chapman THEATRE: Bus Stop by William Inge, in repertory with Chamber Orchestra Hedda Gabler by Henrik Ibsen ..................................... Mar 12 - 14, 16 - 20 39th Season Student Directed One-Acts .................................. Apr 23 - 25, 29 - 30, May 1 MUSIC: DANIEL ALFRED WACHS University Choirs Post-Tour Concert........................................................ Feb 5 Music Director & Conductor Chapman Chamber Orchestra and -
For Immediate Release the WORLD's OLDEST TEDDY BEAR
For Immediate Release 30 August 2006 Contact: Zoë Schoon 020.7752.3121 [email protected] THE WORLD’S OLDEST TEDDY BEAR MUSEUM TO BE SOLD BY PRIVATE TREATY AT CHRISTIE’S SOUTH KENSINGTON The Teddy Bear Museum, Stratford-upon-Avon South Kensington – Christie’s are pleased to present, by private treaty, the sale of the world’s oldest Teddy Bear Museum, based in Stratford-upon-Avon. The award-winning museum was opened by self- confessed teddy bear enthusiast and well known broadcaster Gyles Brandreth and his wife Michele, on 4th July 1988. Since then, this popular little museum has gone from strength to strength in one of England’s most celebrated towns. Stratford-upon-Avon attracts five million tourists annually and visitors to the Teddy Bear Museum have ranged from royalty to Tony Blair’s bear, Lynton, who recently spent his summer holidays at the Museum. The collection, personally put together by Brandreth, numbers a thousand bears and related items. It is to be sold as a going concern, along with the Tudor building (once the property of King Henry VIII) that has been its home for the last 18 years. “The Museum has come of age and it’s now time for us to find new owners for the museum and its unique collection. Our children are all grown-up and my work commitments mean that I simply don’t have the time to give it the care and attention it deserves. We want to find new owners for the Museum who will love it as much as we do and see it go from strength to strength.” Said Gyles Brandreth Highlights of the collection include several early Steiff bears, the earliest being Growler, a much- sought-after Steiff rod-bear, circa 1904. -
Praise for Onjali Q. Rauf's Books from Children `
PRAISE FOR ONJALI Q. RAUF'S` BOOKS FROM CHILDREN ‘I could not put it down once I had got it because it was so fantastic! It is all about bravery and determination’ Dorie, age 10 ‘It made my dad and me laugh and cry and made us want to help more’ Carey, age 7 ‘What! Oh no! I can’t believe it has finished! I wanted to read more!’ Ariana, age 8 ‘I don’t usually like reading. But this made me want to read lots more stories just like it’ Robert, age 8 ‘Your book was so good it made me stop fighting with my sister’ Adam, age 8 ‘We read it at school and everyone agreed it’s the best book ever. We never agree on anything so that was nice’ Ibrahim, age 8 ‘I used to think kids like me couldn’t be in stories. But now I feel like they can and that it’s OK’ Heliana, age 10 PRAISE FOR ONJALI Q. RAUF'S` BOOKS FROM ADULTS ‘A celebration of courage and friendship’ Guardian ‘Utterly delightful’ Mail on Sunday ‘Tearjerking and chuckle-inducing’ Sunday Post ‘A book that everyone should read in this day and age’ Bookseller ‘Fans of Wonder will love this inspiring story’ Week Junior ‘This is a beautiful, open-hearted debut that should help children . realise the power of kindness’ Booktrust AWARDS FOR ONJALI Q. RAUF'S` BOOKS Winner of the Blue Peter Book Award for Best Story 2019 Winner of the Waterstones Children’s Book Prize 2019 Shortlisted for the Branford Boase Award Shortlisted for the Independent Bookshop Week Award for Children’s Book 2019 Shortlisted for the Jhalak Prize Book of the Year 2019 CILIP Carnegie Medal 2019 Nominee Shortlisted for Children’s Fiction Book of the Year 2020 at the British Book Awards ORION CHILDREN’S BOOKS First published in Great Britain in 2020 by Hodder and Stoughton 1 3 5 7 9 10 8 6 4 2 Text copyright © Onjali Q. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
MASSENET and HIS OPERAS Producing at the Average Rate of One Every Two Years
M A S S E N E T AN D HIS O PE RAS l /O BY HENRY FIN T. CK AU THO R O F ” ” Gr ie and His Al y sia W a ner and H W g , g is or ks , ” S uccess in Music and it W How is on , E ta , E tc. NEW YO RK : JO HN LANE CO MPANY MCMX LO NDO N : O HN L NE THE BO DLEY HE D J A , A K N .Y . O MP NY N E W Y O R , , P U B L I S HE R S P R I NTI N G C A , AR LEE IB R H O LD 8 . L RA Y BRIGHAM YO UNG UNlVERS lTW AH PRO VO . UT TO MY W I FE CO NTENTS I MASSENET IN AMER . ICA. H . B O GRAP KET H II I IC S C . P arents and Chi dhoo . At the Conservatoire l d . Ha D a n R m M rri ppy ys 1 o e . a age and Return to r H P a is . C oncert a Successes . In ar Time ll W . A n D - Se sational Sacred rama. M ore Semi religious m W or s . P ro e or and Me r of n i u k f ss be I st t te . P E R NAL R D III SO T AITS AN O P INIO NS . A P en P ic ure er en ne t by Servi es . S sitive ss to Griti m h cis .