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INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
Songs for Strings 138Mm138mm 6,5
Audio Inlay Outerpage Code: AIS00001 outside 170 gsm glossy artpaper Scale 1:1 Bleed (min. 3mm) Design Area (Logos and text have to be placed at least 3mm inside of cutting line.) Cutting line Folding line CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Outerpage MAGENTA Customer AVIE 151mm YELLOW Catalogue No. AV 2391 BLACK 6,5 Job Title: Donald Fraser – Songs for Strings 138mm138mm 6,5 Gramophone lauded his recent orchestration of Elgar’s Piano Quintet on AVIE (AV2362), declaring ‘Fraser’s richly upholstered orchestration works a treat yet also manages to be astutely appreciative of English Symphony Orchestra · English Chamber Orchestra Donald Fraser SONGS FOR STRINGS the simmering passion and sense of loss’. Here the arranger frames both well-loved and lesser-known English Symphony Orchestra · English Chamber Orchestra Donald Fraser SONGS FOR STRINGS compositions by Elgar and others on the lush, pellucid canvas of a string orchestra. Songs for Strings Arranged and conducted by Donald Fraser 1 The Queen’s Hall after an improvisation by Edward Elgar 4.02 2 Time Stands Still John Dowland 3.31 3 Ground in C minor Henry Purcell 3.29 4 Crucifixus Antonio Lotti 3.15 5 Fugue in G minor Nicola Antonio Porpora 3.22 6 Largo Antonio Vivaldi 3.57 118mm 7 Lord Lovat’s Lament David Fraser 4.28 8 Nuages gris (Grey Clouds) Franz Liszt 3.53 9 Canon Alexander Scriabin 3.56 10 Valse (in the manner of Borodin) Maurice Ravel 3.04 11–13 3 Songs Edward Elgar: Pleading · A Child Asleep · Queen Mary’s Lute Song 13.40 14 Epilogue for Strings Donald -
SIR EDWARD ELGAR (1857-1934) AMANDA ROOCROFT KONRAD JARNOT REINILD MEES Complete Songs for Voice and Piano Vol
28610ElgarMeesbooklet 12-11-2009 12:11 Pagina 1 CHANNEL CLASSICS CCS SA 28610 SIR EDWARD ELGAR (1857-1934) AMANDA ROOCROFT KONRAD JARNOT REINILD MEES Complete Songs for voice and piano vol. 2 28610ElgarMeesbooklet 12-11-2009 12:11 Pagina 2 As we noted in the first volume of this survey publishers of the day. A Soldier’s Song, styled of Elgar’s songs, like most composers his first as ‘Op 5’ dates from 1884 and although it was attempts at composition were with anthems sung at the Worcester Glee Club in March that and small chamber and piano pieces, though year it had to wait for publication until 1890 unlike many young composers of his day, when it appeared in The Magazine of Music – strangely Elgar wrote few songs until his and 1903, when renamed A War Song, Boosey various love affairs from his mid-twenties on- took it on, doubtless with the public’s wards. Elgar’s early life as a composer was one preoccupation with the Boer War in mind. of constantly hawking salon music and Another American, Colonel John Hay popular short pieces round publishers – a provided the words for Through the Long situation that gradually changed in the 1890s Days, which dated ‘Gigglewycke (his friend as his early works for chorus and orchestra Charles William Buck’s Yorkshire home) on were heard. But it took Elgar a long time to 10 Aug 1885 was sung in London at a St become established, the Enigma Variations James’s Hall ballad concert in February 1887 only appearing when he was 41. -
M G Kratz, Dante in Contemporary Irish Poetry, 10 10 2012
“O poet guiding me”: Dante and Contemporary Irish Poetry Inauguraldissertation zur Erlangung der Doktorwürde der Neuphilologischen Fakultät der Ruprecht-Karls-Universität Heidelberg von Maren Gisa Kratz Diese Arbeit wurde im August 2011 eingereicht, die Disputation fand am 15. Mai 2012 statt. Acknowledgements I would like to express my sincere gratitude to my Doktorvater Prof. Dr. Peter Paul Schnierer, who encouraged and supported this dissertation throughout, and inspired my interest in poetry in the first place. Thank you to my Zweitgutachter Prof. Dr. Christof Weiand for his advice regarding matters of Italian studies. I am immensely grateful to Adam Crothers, who not only proof-read the entire work, but continuously inspired, motivated and supported me in every way. Thank you from the bottom of my heart. Thank you to my parents Hildegard and Reinhard, without whose emotional and financial support I could not have done this. I am grateful to my father for his advice on apocalyptic matters. A special thank you to Harry Clifton for very pleasant, interesting and helpful pub meetings. Another special thank you goes to Valeria Cavalli, for assisting me in academic and quotidian matters during my research visit in Dublin, as well as enriching it socially and culturally. For inspiring conversations, I would like to thank Gerald Dawe, Malcolm Guite (thank you for the music, too, of course!), Robin Kirkpatrick and Isabel Wagner. For friendly and helpful email replies, Leontia Flynn and Bernard O’Donoghue. Thank you to Eleanor Chatburn for the publication of my article in Durham University’s Postgraduate English , and to the lovely people at the Centre for Irish Studies in Prague for a great conference and the inclusion of my paper in the conference publication. -
Vol. 13, No. 1 March 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Gavotte • Salut d'Amour • MotElgar d'Amour Society • Bizarrerie • O Happ Eyes • My Love Dwelt in a Northern Land • Froissart • Spani Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • Theournal Snow • Fly, Singing Bird • From the Bav Highlands • The Light of Life • King Olaf • Imperial March • T Banner of St George • Te Deum and Benedictus • Caractacu Variations on an Original Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson de Matin • Three Characteristic Pieces • The Dream of Gerontius • Serenade Lyrique • Pomp Circumstance • Cockaigne (In London Town) • Concert Alleg Grania and Diarmid • May Song • Dream Children • Coronati Ode • Weary Wind of the West • Skizze • Offertoire • The Apo • In The South (Alassio) • Introduction and Allegro • Evening Scene • In Smyrna • The Kingdom • Wand of Youth • How Ca the Evening • Pleading • Go, Song of Mine • Elegy • Violin Concerto in B minor • Romance • Symphony No 2 • O Heark Thou • Coronation March • Crown of India • Great is the Lor Cantique • The Music Makers • Falstaff • Carissima • Sospiri Birthright • The Windlass • Death on the Hills • Give Unto th • Carillon • Polonia • Une Voix dans le Desert • The Starlight Express • Le Drapeau Belge • TheMARCH Spirit 2003of England Vol. 13, • TheNo.1 Fr of the Fleet • The Sanguine Fan • Violin Sonata in E minor • Q t t i E i Pi Q i t t i A i C ll C The Elgar Society Founded 1951 President Richard Hickox, CBE Vice-Presidents Professor-Emeritus Ian Parrott Sir David Willcocks, CBE, MC Dr Percy Young Diana McVeagh Dr Vernon Handley Michael Kennedy, CBE Dr Jerrold Northrop Moore Michael Pope Lady Barbirolli, OBE E. -
Elizabeth Barrett Browning's Life As Reflected by Her
ELIZABETH BARRETT BROWNING’S LIFE AS REFLECTED BY HER SELECTED POEMS THESIS Submitted to the Board of Examiner In Partial Fulfillment requirement for Literary Degree at English Literature Department by SITI HAMIDA AI 150349 ADAB AND HUMANITIES FACULTY THE STATE ISLAMIC UNIVERSITY SULTHAN THAHA SAIFUDDIN JAMBI 2019 MOTTO Meaning: “I only complain of my suffering and my grief to Allah, and I know from Allah that which you do not know.” (Qs. Yusuf: 86)1 Artinya: “Hanya kepada Allah aku mengadukan kesusahan dan kesedihanku. Dan aku mengetahui dari Allah apa yang tidak kamu ketahui.” (Qs. Yusuf: 86)2 1 Abdullah Yusuf Ali, (1934) “The Meaning of Glorious Qur’an Text Translation and Commentary”, p. 245 2 Abdullah Yusuf Ali, p. 245 DEDICATION In the name of Allah SWT most gracious merciful and the prophet Muhammad SAW, the inspiration of Muslim’s life. I would like to dedicate this thesis to: My beloved father (Kholis), thank you for your sacrifice, love, support, care and pray. Without your pray, I cannot finish my study. My beloved mother (Darmiana), thank you for your patient to educate me so far, for your sacrifice, your love, support, pray and all of that you are given to me. For my sisters, Reni Asnita and Liana Astri. My brother, Irawanto. And for my niece, Naifa Zahrani. Thanks for all the affections, attentions, happiness, and laugh which colored my day. I do love you all! Then, to Mr. Firdiansyah, MA and Mr. H. Mislan, M.Pd as my supervisions, thank you for your patient as long as you guided me to finish my thesis, for your helping and supporting. -
Alaris Capture Pro Software
The Elgar Society JOURNAL ► MAY 1994 CONTENTS Page Editorial 199 Articles Elgar and William Wolstenholme 200 Elgar - Fr James Holdroyd 207 Elgar and Peter Warlock 212 Annual General Meeting and Constitution Amendment 216 Elgar’s Broadwood Piano 217 Elgar’s Top Ten 220 Birthplace News 221 "Gerontius" Launch 222 Random Ramblings... 224 Concert Diary 229 Record Reviews 232 Branch Reports 242 Letters 244 Subscriptions Back Cover The Eklitor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. The cover portrait is reproduced by kind permission of RADIO TIMES ELGAR SOCIETY JOURNAL ISSN 0143-1269 r rhe Elgar Society Journal 115 MONKHAMS AVENUE. WOODFORD GREEN, ESSEX IG8 OER 081- 506 0912 EDITORIAL Vol.8, No.5 May 1994 It was sixty years ago on 23 February last that Elgar died. Such anniversaries often give rise to reassessments of the status of composers or other creative artists. To judge by the number of new articles, books and recordings there has been no diminution in Elgar’s reputation since the Fiftieth anniversary in 1984. For Bayan Northcott, writing in The Independent on 1 January, this constant flow of material creates a problem of emphasis : "What, by now, do we not know about Elgar?... Granted, he was bom into a Victorian culture that placed an exceptional value on memory, on the souvenir, on storing up golden moments; granted his canny instinct for self-projection seems to have attracted a steady stream of friends with diaries and cameras ever at the ready. But as the memoirs, picture-books and editions of letters have tumbled from the press, they have at least been matched by earnest psychological studies of his contradictory character; by socio-economic investigations of his upwardly mobile urges and professional rivalries; by politico- cultural diagnoses of his career as bard of a dying imperialism. -
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Annual American Exhibition [Of] Water Colors and Drawings
AnnualAmericanExhibition[of]WaterColorsandDrawings ArtInstituteofChicago HE ART INSTITUTE OF CHICAGO T THE NEW YORK) PUBLIC LIBRARY CATALOGUE OF THE NINETEENTH ANNUAL TIL»EN ' "' OATIONS EXHIBITION OF I907 WATER-COLORS, PASTELS AND MINIATURES BY AMERICAN ARTISTS MAY 7 TO JUNE 16 THCMTimiTIVIC1 1907 . or-crueflQQ PRINTED FOR THE aKt institute CHICAGO, 1907 V yHE ART INSTITUTE OF CHICAGO CATALOGUE OF THE NINETEENTH ANNUAL EXHIBITION OF WATER-COLORS, PASTELS AND MINIATURES BY AMERICAN ARTISTS MAY 7 TO JUNE 16 TtlC-AHTINSTITVTE- 1907 PRINTED FOR THE ART INSTITUTE CHICAGO, 1907 I HE N i_ VOKK fuel:-; lil^ary Trustees of t^i6Art,|j|8tilutJe of Chicago ~T9o6:t EDWARD R. AYHR CHARLES L. HUTCHINSON SAMUEL E. BARRETT BRYAN LATHROP ADOLPHUS C. BARTLETT PRANK G. LOGAN JOHN C. BLACK R. HALL MCCORMICK CHADNCEY J. BLAIR STANLEY MCCORMICK CLARENCE BUCKINGHAM JOHN J. MITCHELL DANIEL H. BURNHAM SAMUEL M. NICKERSON CHARLES DEE RING MARTIN A. RYERSON HENRY H. GETTY HOWARD VAN D. SHAW JOHN J. GI.ESSNKR ALBERT A. SPRAGUE Ex Officio FRED A. BUSSE, EDWIN G. FOREMAN, Mayor President South Park Commissioner! WALTER H. WILSON, WILLIAM BEST, Comptroller Auditor South Park Commissioners Officers CHARLBS L. HUTCHINSON, MARTIN A. RYERSON, President Vice-President BRNBST A. HAMILL, WILLIAM A. ANGELL, Treasurer Auditor WILLIAM M. R. FRENCH, NEWTON H. CARPENTER, Director Secretary Executive Committee CHARLES L. HUTCHINSON JOHN C. BLACK ALBERT A. SPRAGUE MARTIN A. RYERSON FRANK G. LOGAN HOWARD VAN D. SHAW CLARENCE BUCKINGHAM Art Committee CHARLES L. HUTCHINSON bryan lathrop MARTIN A. RYERSON r. hall Mccormick HOWARD VAN D. SHAW prederic c. bartlett THE ART INSTITUTE OF CHICAGO was incorporated May 24, 1879, for the "founding and maintenance of schools of art and design, the formation and exhibition of collections of objects of art, and the cultivation and extension of the arts of design by any appropriate means." The Museum building upon the Lake Front, first occupied in 1893, is open to the public every week day from 9 to 5, Sundays from I to 5. -
Sir Edward ELGAR Classics Wand of Youth Suites Nursery Suite Dream Children
Sir Edward ELGAR Classics Wand of Youth Suites Nursery Suite Dream Children Ulster Orchestra Bryden Thomson Bournemouth Sinfonietta Norman Del Mar CHAN 10422 X 17 CCHANHAN 110422X0422X BBooklet.inddooklet.indd 116-176-17 227/3/077/3/07 114:18:504:18:50 Cadenza Archive Sir Edward Elgar (1857 –1934) Wand of Youth Suite No. 1, Op. 1a 21:06 1 Overture 1:42 2 Serenade 1:59 3 Minuet 2:06 4 Sun Dance 3:04 5 Fairy Pipers 3:50 6 Slumber Scene 4:27 7 Fairies and Giants 3:31 Wand of Youth Suite No. 2, Op. 1b 18:06 8 March 4:58 9 The Little Bells 2:45 10 Moths and Butterfl ies 1:59 11 Fountain Dance 2:49 12 The Tame Bear 2:46 13 Wild Bears 2:25 Sir Edward Elgar 3 CCHANHAN 110422X0422X BBooklet.inddooklet.indd 22-3-3 227/3/077/3/07 114:18:414:18:41 Elgar: Wand of Youth Suites etc Nursery Suite 25:41 A love of children and their intimate world young Edward devised some suitable music, 14 Aubade 6:06 was something Elgar never lost. His œuvre later copying it into his ‘Shed’ books, and it 15 The Serious Doll 3:08 includes a variety of works happily associated was from this material that the two suites 16 Busy-ness 2:27 with that subject: The Starlight Express, were drawn. the song ‘A Child Asleep’, and the three The First Suite opens appropriately with 17 The Sad Doll 1:49 Suites recorded here. In March 1907 Elgar an Overture which had existed in sketches 18 The Wagon (Passes) 1:45 had visited the United States, where in the from 1879, when Elgar was bandmaster of a 19 The Merry Doll 1:49 course of a six-week tour he conducted hospital band, although he reworked much of 20 Dreaming – Envoy (coda) 8:09 various works to considerable critical the material. -
UNIVERSITÀ DEGLI STUDI DI BERGAMO DOTTORATO DI RICERCA in LETTERATURE EUROAMERICANE XXVIII Ciclo Writing the Nation and Writing
UNIVERSITÀ DEGLI STUDI DI BERGAMO DOTTORATO DI RICERCA IN LETTERATURE EUROAMERICANE XXVIII Ciclo Settore scientifico disciplinare: L-LIN 10 “Letteratura inglese” Edvige Pucciarelli Writing the Nation and Writing the Empire From Ben Jonson’s The Masque of Blackness and The Masque of Beauty to Edward Elgar’s The Crown of India Supervisori Chiarissima Professoressa Angela Locatelli Chiarissima Professoressa Rossana Bonadei Anno Accademico: 2016-2017 Acknowledgments I would like to express my deepest thanks to both my supervisors, Professor Angela Locatelli and Professor Rossana Bonadei. This dissertation was made possible because of their invaluable critical insight and for their incredible effort in reviewing all the written material. Professor Angela Locatelli and Professor Rossana Bonadei offered me steady moral support and encouragement throughout these years allowing me to complete this work. My deepest thanks go to Antonio Silla, the best loving and supportive brother- friend I could have ever wished for, to Professor Paola Tornaghi, to Doctor Erica Dilk and to Maestro Alessandro Buffone for their precious support throughout years of friendship. There have been many other people who have supported me during these last difficult years and I thank each and every one of them. My special thanks go to Professor Geoffrey Charles Hutchings, who started this study making me discover Ben Jonson and the Masque when I was an undergraduate student so many years ago. Table of Contents I The Textual Literary Space As Political Space .......................................................... 4 I.1 A Turning Point in the Study of Literary Space in 20th-Century Literary Theory .. 9 I.1.1 Modern Spatial Theorists: Bakhtin and van Baak ......................................... -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SEA PICTURES. Op.37 BY SIR EDWARD ELGAR: A COMPREHENSIVE GUIDE FOR STUDY AND PERFORMANCE D.M.A. DOCUMENT Presented in partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School o f The Ohio State University by Lynnette Borman, B.M.E., M.M. -
Sir Edward Elgar
ML4IO E4P8 THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES ' 12 Sir Edward Elgar shown by the inscription on the title page of the first " symphony, To Hans Richter, Mus. Doc. True Artist and True Friend." There is one other name that we must esteem as high as Richter's in connection with Elgar, and that is Landon Ronald. Mr. Ronald is probably that greatest exponent of Elgar that has ever lived, up to the present. His work to make Elgar known has been even more untiring that Richter's. His efforts throughout Great Britain have been so per- sistent that his name has become almost a synonym of Elgar. His most striking achievements include the securing of appreciation of Sunday afternoon audiences at Albert Hall for the symphonies, each of which takes up best part of an hour to play, and his hard fight against an apathetic public to rescue the E flat Symphony from oblivion, culminating in the work being described as one of the finest symphonies since Beethoven's day. He has performed the first symphony in Rome and Paris, and given an orchestral concert devoted entirely to Elgar's works at Queen's Hall, London. The interpretations by Landon Ronald of Elgar are remarkable for their insight and wealth of ex- pression, and are generally accepted to be the most authoritative. The full extent of the famous con- ductor's work to make the British public understand the genius in their midst, we are expressly forbidden to mention, but should the facts ever come to light, His Career *3 the world will see yet another example of the self- sacrificing love of true genius for fellow genius.