DOCSLIB.ORG

Handel: First Discovery Music Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Handel: First Discovery Music Free FREE HANDEL: FIRST DISCOVERY MUSIC PDF Mildred Clary,Penelope Stanley-Baker,Charlotte Voake | 26 pages | 01 May 2002 | Moonlight Publishing Ltd | 9781851033225 | English | London, United Kingdom What is the oldest known piece of music? - HISTORY George Frideric Handel 23 February — 14 April composed works including 42 operas; 25 oratorios; more than cantatastrios and duets ; numerous arias ; chamber music ; a large number of ecclesiastical pieces; odes and serenatas ; 18 concerti grossi; and 12 organ concertos. From Wikipedia, the free encyclopedia. Wikipedia list article. Main article: List of operas by George Frideric Handel. Further information: Handel's coronation anthems and Chandos Handel: First Discovery Music. Further information: Handel organ concertos Op. Main articles: Concerti Grossi, Op. Further information: Handel flute sonatasHandel solo sonatas published by Walshand XV Handel solo sonatas published by Chrysander. In Sadie, Stanley ; Tyrrell, John eds. London: Macmillan. Proceedings of the Royal Musical Association. George Frideric Handel. The Alchemist Alceste. Cecilia's Day. Oboe Handel: First Discovery Music No. Water Music Music for Handel: First Discovery Music Royal Fireworks. Organ concertos, Op. Hidden categories: Webarchive template wayback links Articles with short description Short description is different from Wikidata Use dmy dates from June Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. Friedrich Christian Feustkingafter G. Teatro San Giovanni GrisostomoVenice. Queen's TheatreLondon. Il pastor fido. Giacomo Rossi, after Guarini. The version is 8a. The revised versions are designated 8c. The prologue Terpsicore added to the final version is 8b. Nicola Francesco Haymafter Philippe Quinault. Giacomo Rossi, after Handel: First Discovery Music. King's TheatreLondon. Rossi or Haym? Paolo Antonio Rolli, after Silvio Stampiglia. Rolli, after Francesco Silvani La costanza in trionfo. Haym, after Agostin Piovene and Nicholas Pradon. Haym, after Antonio Salvi, after Handel: First Discovery Music Corneille. Haym, after Metastasio. Haym, adapted from Carlo Sigismondo Capece. After J. After Capece, after Ludovico Ariosto 's Orlando furioso. Pasticciocomposed in Music entirely by Handel. Overture published in HG volume 48 p. After Salvi, after Ariosto's Orlando Furioso. After Ariosto's Orlando Furioso. Adapted from Apostolo Zeno 's Faramondo. Pasticcio, composed in Theatre in Lincoln's Inn FieldsLondon. After Stampiglia's Imeneo. Instrumental music for the revival of Ben Jonson's play The Alchemist. An arrangement, by an anonymous composer, of music from Handel's opera Rodrigo. Three songs and a trio written as part of a private arrangement of John Milton's masque Comus. A masque which was written for an unproduced play by Tobias Smollett. Music composed between December and January Drury Lane TheatreLondon. Sung by Mrs. Music composed in London, Il trionfo del Tempo e del Disinganno. Carlo Sigismondo Capece. Brockes Passion. Hamburg Cathedral possibly. Barthold Heinrich Brockes. Based on Alexander Pope 's work. Based on Alexander Pope's work. Sheldonian TheatreOxford. L'Allegro, il Handel: First Discovery Music ed il Moderato. Based on John Milton 's work. Joseph and his Brethren. Judas Maccabaeus. The Choice of Hercules. The Triumph of Time and Truth. Aci, Galatea e Polifemo. Acis and Galatea masque. Cannonsnear London. Parnasso in Festa. Ode for the Birthday of Queen Anne. Alexander's Feast. Ode for St. Copied for Francesco Ruspoli Allor ch'io dissi addio. Aure soavi e lieti. Variant insertion in "Cecilia, volgi un sguardo" 89for performances of Alexander's Feast HWV 75, including Handel: First Discovery Music for the castrato Domenico Annibali. Clori, Tirsi e Fileno or Cor fedele in vano speri. Rome, on or before 14 January Cardinal Pamphili 's palazzo. Del bell'idolo mio. Libretto by Cardinal Benedetto Pamphili. Possibly composed in Hanover, It appeared in the cantata HWV Italy, July — September [3]. O lucenti, o sereni occhi. Ero e Leandro or Qual ti riveggio, oh Dio. Tra le fiamme Il consiglio. Un' alma innamorata. Slow middle section formed the basis for the final chorus of "Alcina" HWV 34 in The 2nd movement, "Nodi voi" can be found later in the Opus 1 sonatas and also in the concerti grossi as well as various operas and oratorios. All the First Discovery in Music (Abrsm) Books in Order | Toppsta The history of music is as old as humanity itself. When Handel: First Discovery Music comes to specific songs, however, the oldest known examples are relatively more recent. The earliest fragment of musical notation is found on a 4,year-old Sumerian clay tablet, which includes instructions and tunings for a hymn honoring the Handel: First Discovery Music Lipit-Ishtar. The clay tablets containing the tune were excavated in the s from the ruins of the city of Ugarit in Syria. Along with a near-complete set of musical notations, they also include specific instructions for how to play the song on a type of nine- stringed lyre. The well-preserved inscriptions on Seikilos Epitaph have allowed modern musicians and scholars to recreate its plaintive melodies note-for-note. David Creese of the University of Newcastle performed it using an eight-stringed instrument played with a mallet, and ancient music researcher Michael Levy has recorded a version strummed on a lyre. One of the most popular interpretations came inwhen Syrian composer Malek Jandali performed the ancient hymn with a full orchestra. But if you see something that doesn't look right, click here to contact us! Twice a week we compile our most fascinating features and deliver them straight to you. Live TV. This Day In History. History at Home. What is the oldest known piece Handel: First Discovery Music literature? George Frideric Handel | Biography, Compositions, & Facts | Britannica He wrote the most famous of all oratorios, Messiahand is also known for such occasional pieces as Water Music and Music for the Royal Fireworks George Frideric Handel, a German-born English composer of the late Baroque Handel: First Discovery Music, was known particularly for his operas, oratorios, and instrumental compositions. He wrote the most famous of all oratorios, Messiah George Frideric Handel showed a marked gift for music at an early age, becoming a skilled keyboard player by age 9. Although his father did not like the idea of his son pursuing a career in music, Handel followed his musical inclination, later becoming well known for his compositions. Handel was the son of a barber-surgeon. He showed a marked gift for music and became a pupil in Halle of the composer Friedrich W. Zachow, learning the principles of keyboard performance and composition from him. His father died when Handel was 11, but his education had been provided for, and in he enrolled as a law student at the University of Halle. He also became organist of the Reformed Calvinist Cathedral in Halle, but he served for only one year before going north to Hamburg Handel: First Discovery Music, where greater opportunities awaited him. In Hamburg, Handel joined the violin section of the opera orchestra. He also took over some of the duties of harpsichordistand early in he presided over the premiere in Hamburg Handel: First Discovery Music his first opera, Almira. Handel spent the years —10 traveling in Italy, where he met many of the greatest Italian musicians of the day, including Arcangelo Corelli and Alessandro Scarlatti and his son Domenico. He composed many works in Italy, including two operas, numerous Italian solo cantatas Handel: First Discovery Music compositionsIl trionfo del tempo e del disinganno and another oratorio, the serenata Aci, Galatea Handel: First Discovery Music Polifemoand some Latin i. His opera Agrippina enjoyed a sensational success at its premiere in Venice in His fame had spread throughout Italy, and his mastery of the Italian opera style now made him an international figure. In he Handel: First Discovery Music appointed Kapellmeister to the elector of Hanoverthe future King George I of Englandand later that year Handel journeyed to England. In his opera Rinaldo was performed in London and was greeted so enthusiastically that Handel sensed the possibility of continuing popularity and prosperity in England. In he went back to London for the production of his operas Handel: First Discovery Music pastor fido and Teseo Recognized by prominent members of both the English aristocracy and the intelligentsia, Handel was in no hurry to return Handel: First Discovery Music Hanover. In Handel became director of music to the duke of Chandosfor whom he composed the 11 Chandos Anthems and the English masque Acis and Galateaamong other works. Another masque, Haman and Mordecaiwas to be the effective starting point for the English oratorio. Except for a few visits to the European continent, Handel spent the rest of his life in England. In February he became a British subject, which enabled him to be appointed a composer of the Chapel Royal. Among those of the s were FloridanteOttoneGiulio CesareRodelindaand Scipione It went into decline for a variety of reasons, one of them being the impatience of the English with a form of entertainment in an unintelligible language sung by artists of whose morals they Handel: First Discovery Music. But despite the vagaries of public taste, Handel went on composing operas untilby which time he had written more than 40 such works. As the popularity of opera declined in England, oratorio became increasingly popular. Handel first capitalized on this genre in with Deborah and Athalia. Handel also continued to comanage an Italian opera company in London despite Handel: First Discovery Music difficulties. Throughout his London career he had suffered competition not only from rival composers but also from rival opera houses in a London that could barely support even one Italian opera in addition to its English theatres. Finally, inhis Handel: First Discovery Music went bankrupt and he himself suffered what appears to have been a mild stroke.
Load more

Recommended publications
  • George Frideric Handel German Baroque Era Composer (1685-1759)
    Hey Kids, Meet George Frideric Handel German Baroque Era Composer (1685-1759) George Frideric Handel was born on February 23, 1685 in the North German province of Saxony, in the same year as Baroque composer Johann Sebastian Bach. George's father wanted him to be a lawyer, though music had captivated his attention. His mother, in contrast, supported his interest in music, and he was allowed to take keyboard and music composition lessons. His aunt gave him a harpsichord for his seventh birthday which Handel played whenever he had the chance. In 1702 Handel followed his father's wishes and began his study of law at the University of Halle. After his father's death in the following year, he returned to music and accepted a position as the organist at the Protestant Cathedral. In the next year he moved to Hamburg and accepted a position as a violinist and harpsichordist at the opera house. It was there that Handel's first operas were written and produced. In 1710, Handel accepted the position of Kapellmeister to George, Elector of Hanover, who was soon to be King George I of Great Britain. In 1712 he settled in England where Queen Anne gave him a yearly income. In the summer of 1717, Handel premiered one of his greatest works, Water Music, in a concert on the River Thames. The concert was performed by 50 musicians playing from a barge positioned closely to the royal barge from which the King listened. It was said that King George I enjoyed it so much that he requested the musicians to play the suite three times during the trip! By 1740, Handel completed his most memorable work - the Messiah.
    [Show full text]
  • The Music the Music-To-Go Trio Wedding Guide Go Trio Wedding
    The MusicMusic----ToToToTo----GoGo Trio Wedding Guide Processionals Trumpet Voluntary.................................................................................Clarke Wedding March.....................................................................................Wagner Jesu, Joy of Man’s Desiring...................................................................... Bach Te Deum Prelude.......................................................................... Charpentier Canon ................................................................................................. Pachelbel Air from Water Music............................................................................. Handel Sleepers Awake.......................................................................................... Bach Sheep May Safely Graze........................................................................... Bach Air on the G String................................................................................... Bach Winter (Largo) from The Four Seasons ..................................................Vivaldi MidMid----CeremonyCeremony Music Meditations, Candle Lightings, Presentations etc. Ave Maria.............................................................................................Schubert Ave Maria...................................................................................Bach-Gounod Arioso......................................................................................................... Bach Meditation from Thaïs ......................................................................Massenet
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • Handel's Oratorios and the Culture of Sentiment By
    Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera.
    [Show full text]
  • HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
    CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses.
    [Show full text]
  • Il Delirio Amoroso
    95496 Handel in Italy CD1 George Frideric Handel 1685–1759 Da quel giorno fatale (Il delirio amoroso) HWV99 1 Introduzione 4’43 2 Recitativo: Da quel giorno fatale 1’04 3 Aria: Un pensiero voli in ciel 8’35 4 Recitativo: Ma fermati pensier 1’12 5 Aria: Per te lasciai la luce 7’26 6 Recitativo: Non ti bastava ingrato 0’57 7 Aria: Lascia omai le brune vele 4’51 8 Recitativo: Ma siamo giunti in Lete 0’21 9 Entrée 1’55 10 Minuet e Arietta: In queste amene piagge serene 2’46 11 Recitativo: Sì disse Clori 0’22 12 Minuet 0’41 Ditemi, o piante HWV107 13 Recitativo: Ditemi, o piante 1’02 14 Aria: Il candore tolse al giglio 5’36 15 Recitativo: Ma la beltà del volto 0’44 16 Aria: Per formar sì vaga e bella pastorella 2’55 Care selve, aure grate HWV88 17 Recitativo: Care selve, aure grate 0’40 18 Aria: Ridite a Clori 2’51 19 Recitativo: Se cangiarsi potesse 0’40 20 Aria: Non ha forza nel mio petto 2’31 Allor ch’io dissi addio HWV80 21 Recitativo: Allor ch’io dissi addio 1’04 22 Aria: Son qual cerva ferita che fugge 2’47 23 Recitativo: Anzi se nacque il mio amoroso desio 0’49 24 Aria: Il dolce foco mio 3’08 Stefanie True soprano Contrasto Armonico Diego Nadra oboe · Nico Chaves recorder Joanna Huszcza · Enrique Gómez-Cabrero Fernandez · Antina Hugosson · James Hewitt violins Toni Arregui viola · Marta Semkiw cello & continuo · Chen Goldsobel double bass Marco Vitale harpsichord & conductor CD2 Un’alma innamorata HWV173 1 Recitativo: Un’alma innamorata 0’36 2 Aria: Quel povero core 7’11 3 Recitativo: E pur benché egli veda 0’24 4 Aria: Io godo, rido
    [Show full text]
  • Suffering and Social Conscience in the Passion Genre from JS Bach's
    Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike.
    [Show full text]
  • The Italian Girl in Algiers
    Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music
    [Show full text]
  • Handel Arias
    ALICE COOTE THE ENGLISH CONCERT HARRY BICKET HANDEL ARIAS HERCULES·ARIODANTE·ALCINA RADAMISTO·GIULIO CESARE IN EGITTO GEORGE FRIDERIC HANDEL A portrait attributed to Balthasar Denner (1685–1749) 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 Sung texts and translation page 10 FRANÇAIS page 16 DEUTSCH Seite 20 3 GEORGE FRIDERIC HANDEL (1685–1759) Radamisto HWV12a (1720) 1 Quando mai, spietata sorte Act 2 Scene 1 .................. [3'08] Alcina HWV34 (1735) 2 Mi lusinga il dolce affetto Act 2 Scene 3 .................... [7'45] 3 Verdi prati Act 2 Scene 12 ................................. [4'50] 4 Stà nell’Ircana Act 3 Scene 3 .............................. [6'00] Hercules HWV60 (1745) 5 There in myrtle shades reclined Act 1 Scene 2 ............. [3'55] 6 Cease, ruler of the day, to rise Act 2 Scene 6 ............... [5'35] 7 Where shall I fly? Act 3 Scene 3 ............................ [6'45] Giulio Cesare in Egitto HWV17 (1724) 8 Cara speme, questo core Act 1 Scene 8 .................... [5'55] Ariodante HWV33 (1735) 9 Con l’ali di costanza Act 1 Scene 8 ......................... [5'42] bl Scherza infida! Act 2 Scene 3 ............................. [11'41] bm Dopo notte Act 3 Scene 9 .................................. [7'15] ALICE COOTE mezzo-soprano THE ENGLISH CONCERT HARRY BICKET conductor 4 Radamisto Handel diplomatically dedicated to King George) is an ‘Since the introduction of Italian operas here our men are adaptation, probably by the Royal Academy’s cellist/house grown insensibly more and more effeminate, and whereas poet Nicola Francesco Haym, of Domenico Lalli’s L’amor they used to go from a good comedy warmed by the fire of tirannico, o Zenobia, based in turn on the play L’amour love and a good tragedy fired with the spirit of glory, they sit tyrannique by Georges de Scudéry.
    [Show full text]
  • 572587Bk Handel EU 572587Bk Handel EU 25/08/2011 11:06 Page 1
    572587bk Handel EU_572587bk Handel EU 25/08/2011 11:06 Page 1 Dorothea Craxton Leif Meyer, Harpsichord and Organ Dorothea Craxton graduated from the Staatliche Musikhochschule in Cologne with the Artistsʼ Diploma and continued Leif Meyer took his organ diploma with Hans Fagius at the Royal Danish Academy of Music and studied harpsichord her studies with Anna Reynolds and Barbara Schlick. She has appeared as a soprano in numerous oratorio and with Karen Englund and Lars Ulrik Mortensen. He has participated in master-classes with Harald Vogel, Hans-Ola concert performances of early music, as well as contemporary music premières and in chamber music. She gives Ericsson, Christophe Rousset, and others. Leif Meyer has appeared in Denmark and elsewhere with ensembles such HANDEL regular Lieder recitals and in recent years has given particular attention to the work of women composers of the as Ars Nova Copenhagen, Leipziger Kammerorchester, and The Harp Consort. He has numerous recordings to his romantic period, especially Clara Schumann and, in collaboration with the pianist Babette Dorn, the published and credit. unpublished songs of Fanny Hensel. In 2009 her recordings of the complete Clara Schumann Songs and the first Nine German Arias • Gloria Violin: Fredrik From: Mathias Stautinger, 1756 / Hanna Ydmark: Joannes Georgius Hellmer, 18th century volume of Fanny Henselʼs Songs were released by Naxos. She first joined the Immortal Bach Ensemble, conducted Cello: Clive Morris, 1988 • Violone: Robert Knudsen, 2000 by Morten Schuldt-Jensen, in 2004, recording some highly acclaimed CDs for Naxos. She has received invitations to Harpsichord: Matthias Kramer, 2001 • Organ: Henk Klop, 2002 Dorothea Craxton, Soprano festivals such as the Rheingau Musik Festival, the Festspiele Mecklenburg Vorpommern, the Handel Festspiele in Pitch: aʼ = 415 Hz • Temperament: Neidhardt, 1729 Halle and the Europa Bach Festival in Paris.
    [Show full text]
  • Richard and Mildred Crooks Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt3z09q52j No online items Guide to the Richard and Mildred Crooks Collection Andrea Castillo and Nancy Lorimer Stanford Archive of Recorded Sound Stanford University Libraries Braun Music Center 541 Lasuen Mall Stanford, CA 94305-3076 Phone: (650) 723-9312 Fax: (650) 725-1145 Email: [email protected] URL: http://www-sul.stanford.edu/depts/ars/ #169; 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Guide to the Richard and Mildred ARS-0004 1 Crooks Collection Guide to the Richard and Mildred Crooks Collection Collection number: ARS-0004 Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California Processed by: Andrea Castillo and Nancy Lorimer Date Completed: May 2006 Encoded by: Ray Heigemeir #169; 2006 The Board of Trustees of the Leland Stanford Junior University. All rights reserved. Descriptive Summary Title: Richard and Mildred Crooks Collection Dates: 1913-1984 Collection number: ARS-0004 Creator: Richard and Mildred Crooks Collection Size: 9 linear ft. Repository: Stanford Archive of Recorded Sound Stanford University Libraries Stanford, California 94305-3076 Abstract: Materials documenting virtually every stage of Crooks career. Languages: Languages represented in the collection: English Access Collection is open for research. Listening appointments may require 24 hours notice. Contact the Archive Operations Manager. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation RIchard and Mildred Crooks Collection, ARS-0004. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif.
    [Show full text]
  • Georg Friedrich Händel (1685-1759)
    Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella
    [Show full text]