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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Université De Montréal Par Justin Bernard Faculté De Musique Thèse
Université de Montréal Notes de programme. Une histoire, des pratiques et de nouveaux usages numériques par Justin Bernard Faculté de musique Thèse présentée en vue de l’obtention du grade de doctorat en musique, option musicologie Avril 2019 © Justin Bernard, 2019 RÉSUMÉ Depuis leur émergence au milieu du XIXe siècle, les notes de programme, contenant des informations parfois détaillées sur les œuvres qui s’apprêtent à être jouées, n’ont eu de cesse de s’adresser au public de concerts. Les besoins sont multiples, voire même divergents : donner des outils de compréhension intelligibles aux novices, qui découvrent la musique de compositeurs du passé ou de compositeurs actuels, et en même temps susciter la curiosité d’auditeurs déjà initiés, qui approfondissent ainsi leurs connaissances et leur culture personnelle. Il en va des notes de programme comme d’autres outils de vulgarisation musicale, partagés entre la volonté de rendre la musique classique accessible à tous et le devoir de rigueur musicologique auquel les connaisseurs sont en droit de s’attendre. Dans cette thèse, nous allions la théorie à la pratique. Outre les résultats d’une enquête réalisée en octobre 2017 dans le cadre de trois concerts produits par l’Orchestre symphonique de Montréal (ci-après, OSM) et qui porte notamment sur l’appréciation des notes de programme, nous présentons une série de courtes vidéos de vulgarisation que nous avons préparée pour l’OSM, au cours de la saison 2015-2016. La réalisation de ces nouveaux outils numériques s’appuie sur l’analyse d’un vaste corpus de notes de programme dont nous avons dégagé les tendances et les cas plus particuliers. -
Foreign Books in Romantic-Period London Diego Saglia
51 The International “Commerce of Genius”: Foreign Books in Romantic-Period London Diego Saglia This essay addresses the question of the presence and availability of foreign books in London between the eighteenth and nineteenth centuries. After considering the difficulties related to obtaining foreign volumes from pri - vate libraries, such as that of Holland House, it turns to examine the role played by periodicals in reviewing foreign titles and advertising the lists and catalogues of those booksellers who stocked and sold foreign works. Focusing on some of the most successful among them (such as Boosey, Treuttel and Würtz, Deboffe and Dulau), the essay sketches out a map of their businesses in London, the languages they covered, their different groups of customers, as well as the commercial and political risks to which they were exposed. As this preliminary investigation makes clear, this mul - tifaceted phenomenon has not yet been the object of detailed explorations and reconstructions. Accordingly, this essay traces the outline of, and ad - vocates, a comprehensive study of the history of the trade in foreign pub - lications in London and Britain at the turn of the nineteenth century. By filling a major gap in our knowledge of the history of the book, this recon - struction may also offer invaluable new insights into the international co- ordinates of the literary field in the Romantic era, and particularly in the years after Waterloo, when the cross-currents of an international “com - merce of genius” (as the Literary Gazette called it in 1817) became an in - trinsic feature of an increasingly cosmopolitan cultural milieu. -
Pica4 2007 Final Editto Publish
PICA, 4 (2007) Page 69 CONTRIBUTORS Allan Atlas ([email protected]) recently published ‘Ladies in the Wheatstone Ledgers: The Gendered Concertina, 1835-1871’, Royal Musical Association Research Chronicle, 39 (2006), and ‘The Victorian Concertina: Some Issues Relating to Performance’, Nineteenth-Century Music Review, iii/2 (2006); both items are now online at www.concertina.com/atlas. Les Branchett ([email protected]) is the author of Conquering the English Concertina: A Comprehensive Guide to the English Concertina (Gloucester: Sherborne House Publications, 2002); his essay, ‘A Note on Salvation Army Concertina Bands’, appeared in PICA, 2 (2006). Stephen Chambers ([email protected] ) is a collector and researcher of early free- reed instruments, especially those from the 1820s/30s. His groundbreaking paper ‘An Annotated Catalogue of Historic European Free-Reed Instruments. .’ (based on the instruments from his own collection that were exhibited at the Symposium ‘Harmonium und Handharmonika’, held at Stiftung Kloster Michaelstein in November 1999) contains much new research and fresh thinking. He is also interested in Louis Lachenal and the leading firm of concertina makers that he founded, and he has so far published two articles on that subject: ‘Louis Lachenal: “Engineer” and Concertina Manufacturer (Part 1)’, The Free-Reed Journal, 1 (1999), and ‘Some Notes on Lachenal Concertina Production and Serial Numbers’, PICA, 1 (2004), both available online at www.concertina.com/chambers. Sarah Graves is a highly respected player of the English concertina; she lives in Essex (UK). Randall C. Merris ([email protected]) is an economist at the International Monetary Fund and an amateur concertinist. He has been an economist at the Federal Reserve Bank of Chicago, has taught economics and finance at the Kellogg Graduate School of Management, Northwestern University, and has provided technical assistance on economic policy and financial reform in many countries. -
UDC 786.2/781.68 Aisi the FIFTH PIANO CONCERTO by PROKOFIEV: COMPOSITINAL and PERFORMING INNOVATIONS
UDC 786.2/781.68 Aisi THE FIFTH PIANO CONCERTO BY PROKOFIEV: COMPOSITINAL AND PERFORMING INNOVATIONS The article is dedicated to considering compositional and performing innovations in the piano works of S. Prokofiev on the example of the fifth piano concerto. The phenomenon of the "new piano" in the context of piano instrumentalism, technique and technology of composition. It identifies the aspects of rethinking the romantic interpretation of the piano in favor of the natural-percussive. Keywords: piano concerto, instrumentalism, percussive nature of the piano, performing style. Prokofiev is one of the most outstanding composers-pianists of the XX century who boldly "exploded" both the canons of the composer’s and pianistic mastery of his time but managed to create his own coherent system of expressive means in both these areas of music. The five piano concertos by Prokofiev (created at the beginning and the middle of his career – 1912-1932) clearly reflect the most recognizable and the key for the composer's creativity artistic features of the author’s personality. Having dissociated himself in the strongest terms from the romantic tradition of the concert genre, Prokofiev created his new style – in terms of piano instrumentalism, technique and technology composition. All the five piano concertos "fit" just in the 20 years of Prokofiev’s life (after 1932 the composer did not write pianos, not counting begun in 1952 and unfinished double concert with the alleged dedication to S. Richter and A. Vedernikov). The first concert (1911-1912) – the most compact, light, known as "football" for expressed clarity of rhythm and percussion of the piano sound. -
Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley
A Place for Music: John Nash, Regent Street and the Philharmonic Society of London Leanne Langley On 6 February 1813 a bold and imaginative group of music professionals, thirty in number, established the Philharmonic Society of London. Many had competed directly against each other in the heady commercial environment of late eighteenth-century London – setting up orchestras, promoting concerts, performing and publishing music, selling instruments, teaching. Their avowed aim in the new century, radical enough, was to collaborate rather than compete, creating one select organization with an instrumental focus, self-governing and self- financed, that would put love of music above individual gain. Among their remarkable early rules were these: that low and high sectional positions be of equal rank in their orchestra and shared by rotation, that no Society member be paid for playing at the group’s concerts, that large musical works featuring a single soloist be forbidden at the concerts, and that the Soci- ety’s managers be democratically elected every year. Even the group’s chosen name stressed devotion to a harmonious body, coining an English usage – phil-harmonic – that would later mean simply ‘orchestra’ the world over. At the start it was agreed that the Society’s chief vehicle should be a single series of eight public instrumental concerts of the highest quality, mounted during the London season, February or March to June, each year. By cooperation among their fee-paying members, they hoped to achieve not only exciting performances but, crucially, artistic continuity and a steady momentum for fine music that had been impossible before, notably in the era of the high-profile Professional Concert of 1785-93 and rival Salomon-Haydn Concert of 1791-2, 1794 and Opera Concert of 1795. -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
A New History of the Carillon
A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars. -
Melodic Identity and Tune Resemblance Karen E. Mcaulay
1 ABSTRACTS (grouped by session) Session 1: Melodic Identity and Tune Resemblance Karen E. McAulay (Royal Conservatoire of Scotland, Glasgow) ‘All the right notes, but not necessarily in the right order’*: Musical Resemblances over the Border The appealing Northumbrian pipe-tune, “I saw my love come passing by me”, appears in at least three nineteenth century sources, and again in Cock’s Tutor for the Northumbrian Half-Long Bagpipes. The latest two of these are shorter, whilst the first two elaborate the tune with variations. Nonetheless, the resemblances are clear; their kinship is indisputable. However, there are two much earlier appearances of similar tunes in publications north of the border. A century older, each has a different title, and although the shapes of these tunes are undeniably similar, they are certainly neither identical forerunners to one another, nor to “I saw my love”. Indeed, one source was linked in 1925 to a totally different tune. Notwithstanding this earlier identification, I dispute the similarity, and propose that there is some kind of link between “I saw my love” and her earlier Scottish cousins. Whilst the Tune Archive enabled me to trace the iterations of the Border tunes, it failed to flag up these Scottish tunes as potential relatives, partly because their rhythmic notation means the Theme Code index failed to pick up the same strong beats. I propose to demonstrate the methodology I have adopted to attempt to prove my hypothesis. If I’m right, it suggests that before I saw my love come passing by me, she had enjoyed a bit of a shadowy Celtic past. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.