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2019 Mowglis Call
The Mowglis Call 2019 2019/2020 Mowglis Reunions Date City Description Location 12/7/19 ............ New York, NY ......................Climbing ...........Central Rock Gym - Manhattan 12/8/19 ............ Boston, MA ..........................Climbing ..........Central Rock Gym - Watertown 3/8/20 .............. Washington D.C. ................Reunion .......................... The Harmon Household 3/14/20 ............ Philadelphia, PA .................Climbing ...........................................PRG - Fishtown 4/3/20 .............. New York, NY ......................Reunion .............................................Explorers Club 5/8/20 .............. Fairfield, CT..........................Reunion .................................... Tweedy Household 5/9/20 .............. Boston, MA ..........................Reunion ............................... Cambridge Boat Club 5/29–5/31 ...... Hebron, NH ..........................Work Weekend ...........................................Mowglis 8/7–8/9 ............ Hebron, NH ..........................Crew Weekend ...........................................Mowglis 9/18–9/20 ...... Hebron, NH ..........................Work Weekend ...........................................Mowglis Nick Robbins, Director ...................................................nickrobbins@mowglis.org Tommy Greenwell, Assistant Director [email protected] James Hart, Director of Alumni Relations [email protected] Holly Taylor, Registrar ...............................................................holly@mowglis.org -
Jgiiszletter 93024-0240 November 1993 V01
P.O. Box 240 Ojai, Calif. Jgiiszletter 93024-0240 November 1993 V01. 12 No. 11 a sports car; and one who acts like me or like you; who has girls, Re O.R white girls, colored girls, Chinese and Hawaiian and German and Many people have written or called me to ask whether I know French, you know? They don’t have that in the movies, so I anything about the condition of Oscar Peterson. don’t go . I have a funny feeling all day after I’ve seen a As you may have heard, Oscar suffered a stroke a few movie with the same white problems. You know, full of girls months ago at the Blue Note in New York. He told me later with long hair and where everybody’s having a lot of fun, and We that he felt his left hand going numb. Ray Brown said to him don’t have any fun. You don’t see any Negroes. It makes me after a set, "You sound as if you can’t feel the keys." feel funny . ' "I can’t," Oscar said. He went home to Canada for medical When the book was published, Miles was at the peak of his ‘aatment and approached the problem of recovering as he does power and talent and fame, one of the great artists of jazz, and erything: with will. he could have all the girls he wanted, including French: he had A few days before these three issues went to press, I spoke been through a love affair with Juliette Greco. -
Francisco António D´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal
Francisco António d´Almeida and the Serenata Genre in Early and Mid Eigtheenth-Century Portugal. The music manuscript CIC 12 from the National Library of Portugal contains thirteen arias by Francisco António d´Almeida (1702-1755?), one of the most important Portuguese composers of the first half of the 18th century. Five of them have been identified as being part of the serenata Gl´Incanti d´Alcina of 1730. There are also eight arias from another serenata, Il vaticinio di Pallade e di Mercurio, staged a year later, in 1731. To study the libretti which were the sources of the identification of these arias and then the music present in the CIC 12 manuscript is of fundamental importance in understanding the serenata genre during the reign of King D. João V of Portugal. Consequently, this paper intends to enlarge our knowledge of the formal and stylistic structure of d´Almeida´s serenate and also to give an overview of the performing practices and the courtly and aristocratic significance associated with this genre. Particularly in the field of the study of Portuguese dramatic music of this period, the understanding of the serenata is of primary importance, since it was the principal musical event performed on courtly occasions. Its study gives us today a rich picture of the characteristics of musical life in the court of D. João V, and helps us simultaneously to understand the differences, in this period, between the genre of the serenata and major genres such as opera and cantata. The term serenata, as applied to 17th and 18th century Italy, means a cantata-like work performed in courtly or aristocratic surroundings to celebrate dynastic occasions or political events, or, as in Portugal, anniversaries and name-days of the Royal Family. -
Coro Do Teatro Nacional De São Carlos
D A Luísa Taveira Patrick Dickie (Companhia Nacional de Bailado) (Teatro Nacional de São Carlos) Companhia Nacional de Bailado — Coro do Teatro Nacional de São Carlos — Escola Superior de Teatro e Cinema Orquestra Gulbenkian — Orquestra Metropolitana de Lisboa — Orquestra Sinfónica Juvenil Orquestra Sinfónica Portuguesa — Orquestra de Sopros e Percussão do Conservatório Regional de Artes do Montijo André Baleiro — Airam Hernández — Christopher Bochmann — Cristiana Oliveira — Cristina Carvalhal Dinis Sousa — Domenico Longo — Joana Carneiro — Laryssa Savchenko — Lorenzo Decaro — Luís Rodrigues Maria Luísa de Freitas — Mário Laginha — Mary Elizabeth Williams — Nuno Silva — Pedro Amaral Pedro Meireles — Pedro Neves — Sara Braga Simões | 2 FESTIVAL AO LARGO MILLENNIUM BCP Fernando Pessoa escreveu que todos vivemos tal como sonhamos – sozinhos. À afirmação imaterial e poética im- põe-se a pergunta terrena e material: e enquanto vivemos e sonhamos, não choramos, não cantamos, não amamos e não acreditamos em comunidade? Uma das mais poderosas formas de bem-estar e de reconciliação é a partilha comunitária da Música, de uma simples melodia, não sozinhos, mas cercados por milhares de vozes. Claro que existe essa barreira, quase indecifrável, que divide as emoções de massa da verdadeira consciência estética, mas a prova está nos resultados, esses bem decifrá- veis: perdemo-nos na multidão ou, no meio dela, nos descobrimos como indivíduos unidos, mesmo comungando das nossas diferenças? Porque acreditamos que a etimologia não engana e que comunhão e comunidade são da mesma família, porque acreditamos que certas formas públicas de abraçarmos as diversas fatias da cultura são vitais para que essa mesma cultura possa sobreviver, o Festival ao Largo regressa na sua já 8ª edição. -
European Music Manuscripts Before 1820
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 Primary Source Media EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Six: Manuscripts, Catalogue No.s 1242 - 2212 First published in 2000 by Primary Source Media Primary Source Media is an imprint of the Gale Cengage Learning. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. CENGAGE LEARNING LIBRARY PRIMARY SOURCE MEDIA REFERENCE EMEA GALE CENGAGE LEARNING Cheriton House 12 Lunar Drive North Way Woodbridge Andover SP10 5BE Connecticut 06525 United Kingdom USA http://gale.cengage.co.uk/ www.gale.cengage.com CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 3 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro. -
Producción, Recepción Y Dramaturgia De La Ópera Italiana En El Contexto Europeo Del Siglo XVIII
TESIS DOCTORAL Título Producción, recepción y dramaturgia de la ópera italiana en el contexto europeo del siglo XVIII Autor/es Gian Giacomo Stiffoni Director/es Pablo Lorenzo Rodríguez Fernández y José María Domínguez Rodríguez Facultad Facultad de Letras y de la Educación Titulación Departamento Ciencias Humanas Curso Académico 2014-2015 Tesis presentada como compendio de publicaciones. La edición en abierto de la misma NO incluye las partes afectadas por cesión de derechos Producción, recepción y dramaturgia de la ópera italiana en el contexto europeo del siglo XVIII, tesis doctoral de Gian Giacomo Stiffoni, dirigida por Pablo Lorenzo Rodríguez Fernández y José María Domínguez Rodríguez (publicada por la Universidad de La Rioja), se difunde bajo una Licencia Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. Permisos que vayan más allá de lo cubierto por esta licencia pueden solicitarse a los titulares del copyright. © El autor © Universidad de La Rioja, Servicio de Publicaciones, 2015 publicaciones.unirioja.es E-mail: [email protected] UNIVERSIDAD DE LA RIOJA Producción, recepción y dramaturgia de la ópera italiana en el contexto europeo del siglo XVIII Tesis doctoral por compedio de publicaciones presentada por: GIAN GIACOMO STIFFONI Realizada bajo la dirección de los Prof.es Dr.es PABLO L. RODRÍGUEZ y JOSÉ MARÍA DOMÍNGUEZ LOGROÑO, 2014 Departamento de Ciencias Humanas UNIVERSIDAD DE LA RIOJA 2014 I Agradecimientos Esta tesis como compendio de publicaciones debe su origen y culminación a la generosidad de Pablo L. Rodríguez. Su amistad, sus consejos y estímulo han sido fundamentales para que este trabajo pudiera salir a luz. Agradezco asimismo la indispensable ayuda que me ha ofrecido José María Domínguez así como el estimulante intercambio de ideas durante el trabajo dedicado a la fase final de esta tesis. -
Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings. -
De Almeida (C
2 CDs Francisco António DE ALMEIDA (c. 1702-c. 1755) Il Trionfo d’Amore Ana Quintans • Carlos Mena Joana Seara • Fernando Guimarães Cátia Moreso • João Fernandes Voces Caelestes Os Músicos do Tejo Marcos Magalhães cD 1 57:18 cD 2 54:00 Francisco António Parte Prima Parte Seconda Introduzione 1 Recitativo: Bendate a Arsindo i lumi, ministri 0:45 DE ALMEIDA 1 Allegro 3:04 (Mirenio, Arsindo) (c. 1702-c. 1755) 2 Andante 4:09 2 Aria: Ove mi conducesti, perfido ingrato amore 4:25 3 Allegro staccato 1:41 (Arsindo) 3 Recitativo: Non accusare amore 0:34 Il Trionfo d’Amore 4 coro: Numi eccelsi, in sì bel giorno 1:28 (Adraste, Arsindo, Giano, Nerina) Scherzo pastorale a sei voci in two parts, with instruments, 5 Accompagnato: Si sospendan le vittime 4 Recitativo: Divinità del cielo 1:15 to be sung at the Ribeira Palace, Lisbon on 27th December 1729 e gl’incensi 0:49 (Nerina) Libretto by an unknown author • The scene is a pastoral settlement in Numidia (Termosia) 5 Recitativo: Forsennata, ove corri? 1:09 6 Aria: Bel piacer è la vendetta 4:14 (Giano, Nerina) WoRLD PRemIèRe RecoRDINg (Termosia) 6 Recitativo: Oh sfortunati amanti 0:12 7 Recitativo: Da qual insania trasportato, Arsindo 0:40 (Mirenio, Adraste, Termosia, Arsindo, Giano) 7 Nerina, betrothed to Adraste, in love with Arsindo ................. Ana Quintans, Soprano (Mirenio) Aria: Orride e dispietate Furie 4:32 8 Aria: Si cinga il perfido con nodi orribili 4:32 (Giano) Arsindo, Nerina’s secret lover ........................................... carlos mena, counter-tenor (Mirenio) 8 Recitativo: Mi muore in sen la speme 1:10 Termosia, in love with Arsindo ................................................... -
2006-09-06 Katalog CD
CHESKY RECORDS 2006 CATALOGUE 1 6.9.2006 kat.číslo umělec titul formát CD 002 Earl Wild / The Royal Philharmonic, Conductor- Jascha Horenstein Rachmaninoff: Piano Concerto No. 2 / Isle of the Dead CD CD 003 The Royal Philharmonic, Conductor- Sir John Barbirolli Sibelius: Symphony No. 2 in D major, Opus 43 CD CD 006 The Royal Philharmonic , Conductor- Fritz Reiner / René Leibowitz Brahms: Symphony No. 4 in E minor / Beethoven: Egmont Overture CD CD 007 The Royal Philharmonic, Conductor- Charles Munch Bizet: Symphony in C / Tchaikovsky: Francesca da Rimini CD CD 012 Itzhak Perlman Tchaikovsky: Concerto in D for Violin and Orchestra, Op. 35 CD Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23 / CD 013 Earl Wild / The Royal Philharmonic, Conductor- Anatole Fistoulari Dohnany: Variations on a Nursery Song, Op. 25 / Capriccio in F CD Minor Mozart: Symphony No. 41 in C, K.551 "Jupiter," Symphony No. 35 CD 016 The Royal Philharmonic Orchestra CD in D, K.385 "Haffner" / Haydn: Symphony No. 104 in D, "London" Beethoven: Symphony No. 5 in C Minor, Op. 67 / Symphony No. 2 CD 017 The Royal Philharmonic, Conductor- René Leibowitz CD in D, Op. 36 / Leonore Overture No. 3, Op. 72b New Philharmonia Orchestra / The Royal Philharmonic, Conductor- CD 018 Respighi: Roman Festival / Fountains of Rome / Pines of Rome CD Massimo Freccia / Rudolf Kempe The Royal Philharmonic / Beecham Choral Society / London Symphony CD 019 Wagner: Bacchanale from Tannhauser / Brahms: Symphony No. 1 CD Orchestra, Conductor- Jascha Horenstein Dvorak: Symphony No. 9 in E Minor, Op. 95 "From the New World" CD 031 The Royal Philharmonic, Conductor- Jascha Horenstein CD / Wagner: The Flying Dutchman Overture, Siegfried-Idyll CD 032 Earl Wild Plays His Transcriptions Of Gershwin CD The RCA Symphony / The Royal Philharmonic / The National Strauss: Der Rosenkavalier Suite / Ravel: Bolero / Tchaikovsky: CD 035 CD Philharmonic Orchestra, Conductor- Charles Gerhardt Romeo and Juliet Overture - Fantasy Gina Bachauer / London Symphony Orchestra / The Royal Philharmonic, Brahms: Piano Concerto No. -
TASIS TODAY Spring 2009
TASIS TODAY Spring 2009 A Magazine for Alumni and Friends of The American School In Switzerland Commemorative Issue signature Dear TASIS Family, CONTENTS The bemused comment often made in passing by 2-11 Looking Back my mother, Mrs. Fleming, about “if and when I die,” Mrs. Fleming’s Obituary seemed credible for a long time. So her final departure Eulogies at Funeral from the “waiting lounge” on January 27th caught • Bill Eichner many by surprise, though of course it should not have. • Christopher MacLehose Yet she was a larger-than-life figure even in her great • Betsy Newell age. The outpouring of condolences from around the • Paul Zazzaro world from students, recent and long ago, has been • Fernando Gonzalez extremely moving, as was the actual funeral at S. • Tom Fleming Abbondio and the Memorial Service in England. We 12 In Addition have here included the beautiful eulogies which were • Bishop Grampa interspersed with magnificent music at her funeral • Lyle Rigg and memorials from other devotees. “The death of a • John Gage person’s body is a sadness, but the death of a person’s • David Jepson soul is a tragedy.” Death is a mystery, but during her • Nola Seta long life Mrs. Fleming’s spirit touched the lives and • Cynthia Whisenant souls of thousands. Surely her legacy and spirit live on in • Michael Ulku-Steiner TASIS as the Board and dedicated Faculty and Staff pick 18 In Memoriam up the gauntlet and head positively into the next fifty Hixon Glore years. From a song in her musical, “It’s up to us” now! Holly Coors In this special commemorative issue of TASIS Today, Albain Ganichot we have also included eulogies of close friends of Mrs. -
European Music Manuscripts Before 1820 Series Two: from the Biblioteca Da Ajuda, Lisbon
EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 First published in 2001 by Primary Source Microfilm. Primary Source Microfilm is an imprint of the Gale Group. Gale Group is a trading name of Gale International Limited. This publication is the copyright of Gale International Limited. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. PRIMARY SOURCE MICROFILM PRIMARY SOURCE MICROFILM 50 Milford Road 12 Lunar Drive Reading Woodbridge Berkshire RG1 8LJ Connecticut 06525 United Kingdom U.S.A. CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro. -
A Ópera Em Portugal: Antecentes E Evolução
SALVINI A Importância das produções operáticas em Língua Portuguesa no processo de aprendizagem do canto Paulina Macedo Ferreira de Sá Machado Orientador Professor Especialista Mário João Alves Relatório de Estágio apresentado à Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ensino da Música, realizada sob a orientação científica do Professor Especialista Mário João Alves, do Instituto Politécnico de Castelo Branco. Janeiro 2020 II Composição do júri Presidente do júri Professora Especialista, Natalia Riabova Professora Adjunta na Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco Vogais Professor Especialista, Mário João da Silva Alves Professor Adjunto Convidado na Escola Superior de Artes Aplicadas do Instituto Politécnico de Castelo Branco Professor Especialista, Rui Pedro Palma Baeta III IV Dedicatória Pais, por apoiarem todos os meus sonhos, por serem os primeiros a acreditar em mim. Manas, por serem o meu refúgio! V VI Agradecimentos À família que, com grande dedicação e amor me acompanhou neste percurso. Ao meu orientador professor Mário Jão Alves, pelo profissionalismo e carinho que sempre demonstrou. Ao Luís, grande amigo e presença constante em todos os momentos, ajudando-me a crescer! À Ana Isabel pela amabilidade e por ter acompanhado todo o processo! À minha professora cooperante Janete Ruiz, por me ter conduzido ao longo do meu Estágio Profissional com a sua experiência e sabedoria. Aos profissionais