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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
The Most Common Orchestral Excerpts for the Horn: a Discussion of Performance Practice
The most common orchestral excerpts for the horn: a discussion of performance practice by Shannon L. Armer Submitted in partial fulfillment of the requirements for the degree Master of Music in the Faculty of Humanities University of Pretoria Supervisor: Dr. J. deC Hinch Pretoria January 2006 © University of Pretoria ii ABSTRACT This study describes in detail the preparation that must be done by aspiring orchestral horn players in order to be sufficiently ready for an orchestral audition. The general physical and mental preparation, through to the very specific elements that require attention when practicing and learning a list of orchestral excerpts that will be performed for an audition committee, is investigated. This study provides both the necessary tools and the insight borne of a number of years of orchestral experience that will enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery thereof. Ten musical examples are included in order to illustrate the type of additional information that a player must gain so as to develop an in-depth knowledge of an excerpt. Three lists are presented within the text of this study: 1) a list of excerpts that are most commonly found at auditions, 2) a list of those excerpts that are often included and 3) other excerpts that have been requested but are not as commonly found. Also included is advice regarding the audition procedure itself, a discussion of the music required for auditions, and a guide to the orchestral excerpt books in which these passages can be found. -
A Survey and Guide to the Most Frequently Programmed Lieder In
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States Joseph Christopher Turner Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Turner, Joseph Christopher, "A survey and guide to the most frequently programmed Lieder in the undergraduate studios of selected major music institutions in the United States" (2010). LSU Doctoral Dissertations. 3319. https://digitalcommons.lsu.edu/gradschool_dissertations/3319 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SURVEY AND GUIDE TO THE MOST FREQUENTLY PROGRAMMED LIEDER IN THE UNDERGRADUATE STUDIOS OF SELECTED MAJOR MUSIC INSTITUTIONS IN THE UNITED STATES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts by Joseph Christopher Turner B.M., Mississippi College, 1994 M.M., Mississippi College, 1998 August 2010 i © Copyright 2010 Joseph Christopher Turner All rights reserved. ii DEDICATION To my parents iii ACKNOWLEDGEMENTS There are so many without whom this project would not have been possible. I wish to thank the following individuals for their support and encouragement: Prof. -
Tbeatthe HEAT!
THE SUNDAY STAR, Washington, D. C. SPMMT, «. TURNTABLE TALK E-4 MAKC* IMS | NEWS OF MUSIC Here Are New Sounds Mozart Cycle Billed JjfH At 4 For Speeding Guests RHBB plC' -• ww*lfe*' By JAMES G. DEANE ! work Is familiar In a version By Dirksen, Lywen Up InStamford. Conn., when for concert orchestra arranged he Is not out in the West In- with the composer’s approval By DAT THORPE States for an average of $16.43. dies or some other exotic spot by Gordon Jacobs, a pupil. The Certainly the most unusual Those interested in entering the contest should write Helen with a microphone and tape original Is no less Ingratiating. musical event for which the - N' Havener, National Federation recorder, there is a man named All told, there are really II Mocart anniversary will be Clubs, of Music 445 West Emory Cook who has a pen- pieces on the disc, which the responsible this year Is the Twenty-third street. New York chant fer miking recordings Eastman Symphonic Wind cycle of Mozart violin 11. N. Y. nobody else would think of. ' Ensemble performs with gus- and keyboard sonatas to be The other contest is the Merriweather Post Award of For posterity, Mr. Cook has to. The recorded sound is a ' played this spring and fall by ! SSOO cash and a S6OO scholar- magnetically enshrined the i model. Richard Dirksen and Werner ship ** * * SOPRANO WITH ARMY the Phillips Gal- to the Juilliard School of sound of ocean waves, earth- at Music. The National Sym- NEW BCHUBERTIAN BAND—Evelyn Sachs, who fcry quakes. -
Richard Strauss
Richard Strauss Meister der Inszenierung Bearbeitet von Daniel Ender 1. Auflage 2014. Buch. 349 S. Hardcover ISBN 978 3 205 79550 6 Format (B x L): 13,5 x 21 cm Weitere Fachgebiete > Musik, Darstellende Künste, Film > Musikwissenschaft Allgemein > Einzelne Komponisten und Musiker Zu Inhaltsverzeichnis schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. Daniel Ender Richard Strauss Meister der Inszenierung BÖHLAU VERLAG WIEN · KÖLN · WEIMAR Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung: Richard Strauss, 1929 (© ullstein bild – Laszlo Willinger) © 2014 by Böhlau Verlag Ges.m.b.H & Co. KG, Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Umschlaggestaltung: Michael Haderer, Wien Layout: Bettina Waringer, Wien Korrektorat: Katharina Krones, Wien Druck und Bindung: CPI Moravia Gedruckt auf chlor- und säurefreiem Papier ISBN 978-3-205-79550-6 Inhalt Ein öffentliches Leben. Zur Einleitung Ein Kind seiner Zeit . 9 Die inszenierte Biographie . 18 Selbst- und Fremdbilder . 23 1. Vom Epigonen zum Genie „Ein sogenannter Charakter“. Umwelt und Familie. 33 „Nicht von hervorstechender Originalität“. Der Weg in die Öffentlichkeit . .42 „Zum Zukunftsmusiker gestempelt“. -
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. -
Richard Strauss Symphonia Domestica, Op. 53
Richard Strauss (1864 - 1949) Symphonia domestica, op. 53 Movimenti: 1. Introduzione e sviluppo dei tre gruppi di temi principali Temi del marito: (a) gemächlich (comodo); (b) träumerisch (sognante); (c) feurig (focoso) Temi della moglie: (a) lebhaft und heiter (vivace e giocondo); (b) grazioso Tema del figlio: ruhig (tranquillo) 2. Scherzo Felicità dei genitori, giochi infantili, ninnananna (la pendola suona le sette di sera) 3. Adagio Lavori e propositi, scena d'amore, sogni e preoccupazioni (la pendola suona le sette del mattino) 4. Finale Risveglio e allegra baruffa (doppia fuga), riconciliazione e conclusione gioiosa Organico: ottavino, 3 flauti, 2 oboi, oboe d'amore, corno inglese, clarinetto in mi bemolle, 3 clarinetti, clarinetto basso, 4 fagotti, controfagotto, 4 sassofoni (soprano, contralto, baritono e basso), 8 corni, 4 trombe, 3 tromboni, tuba, timpani, tamburo, cassa, triangolo, piatti, tamburello, glockenspiel, 2 arpe e archi Composizione: Berlino-Charlottenburg, 31 Dicembre 1903 Prima esecuzione: New York, Carnegie Hall, 21 marzo 1904 Edizione: Bote & Bock, Berlino, 1904 Dedica: alla mia cara moglie ed a nostro figlio Guida all'ascolto 1 Nell'arco dell'intensa e poliedrica attività compositiva di Strauss la Symphonia domestica si colloca tra i due poemi sinfonici Ein Heldenleben (Vita d'eroe) e Eine Alpensinfonie (Sinfonia delle Alpi). Il musicista cominciò a scrivere la «Domestica» nel 1902, poco dopo l'andata in scena della sua seconda opera Feuersnot (Fuochi di San Giovanni) e la terminò nel 1903, dirigendola per la prima volta al Carnegie Hall di New York il 21 marzo 1904. Sin d'allora questo poema sinfonico suscitò discussioni e riserve da parte della critica per il suo acceso e scoperto carattere autobiografico. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
Fritz Mauthner Der Neue Ahasver
Fritz Mauthner Der neue Ahasver Ein Roman aus Jung-Berlin 1. KAPITEL Der Eisenbahnzug kam über die Moldaubrücke da- her. Schon rafften die Reisenden ihr Handgepäck zu- sammen, da hielt der Zug plötzlich, kaum eine Minute vor der Einfahrt in den Bahnhof des alten Prag. Die vier Insassen eines Coupés zweiter Klasse kamen in Bewe- gung. »Es geschieht gewiß ein Unglück,« rief in harter böh- mischer Aussprache ein kahlköpfiger alter Herr. »Das beste ist, wir öffnen die Tür und springen hinaus.« Sein Gegenüber gab sich Mühe, den ängstlichen Mann zu beruhigen. Die Bahnverwaltung wäre in die- sen Tagen außerordentlich vorsichtig. Unaufhörlich gingen große Züge mit Soldaten und Kriegsbedarf nach dem Norden, und da müßte man froh sein, wenn die Privatleute überhaupt noch befördert würden. Der — 2 — Krieg wäre kein Spaß. Und wenn in dem bevorste- henden Kriege niemanden ein größeres Unglück trä- fe, als einige Minuten zu spät am Ziele anzukommen, so könnten Preußen und Österreicher leichteren Mutes ins Feld rücken. In diesem Augenblicke nahte vom Bahnhof wieder ein Militärzug, wie deren heute so viele vorüberge- flogen waren. Gleich hinter der Lokomotive hatte in einem Lastwagen die Musikbande Platz genommen und wiederholte eben zum fünften Mal den letzten Vers des »Gott erhalte«. In unabsehbarer Reihe folgten Wagen aller Gattungen und aller Klassen, gefüllt mit schreienden, singenden, lärmenden Soldaten. Trotz- dem nur zwei Regimenter vertreten waren, hörte man doch fast alle Sprachen der Monarchie durcheinan- der tönen. Niemand sang das Lied mit, -
Festival Richard Strauss
RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival.