DOCSLIB.ORG

Senior Recital

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Senior Recital DEPARTMENT OF MUSIC & THEATRE Edward Elgar was an English composer whose orchestral works are heard regularly in halls around the world. Among his most notable works are the Enigma Variations, his oratorio The Dream of Gerontius, and the Pomp and Circumstance Marches. Elgar’s compositional style draws heavily on the Romantic composers that came before him, while incorporating a distinctly British sound. Sea Pictures, Op. 37 is Elgar’s only song cycle for voice and orchestra. Written immediately after the Enigma Variations, the cycle features five poems all by different authors. Each poem details the author’s feelings about the ocean: its beauty, its enticement, its perils. Senior Recital Antonín Dvořák was a Czech composer of the Romantic era. He displayed Samantha Schmitz a talent for music that was nurtured throughout his formative years. Later work brought him in contact with Johannes Brahms, with whom he formed a long-lasting friendship. Dvořák’s abundant travels supplied him with a mezzo-soprano wide variety of musical inspiration which he incorporated into works for various ensembles. His style combines folk melodies with rich, romantic harmonies. Jodi Goble piano This recital is given in partial fulfillment of a Bachelor of Music Degree in Vocal Music Education. Samantha is a student of Professor Mary Creswell. March 6, 2020 7:30 pm Martha-Ellen Tye Recital Hall Program La Chevelure (The tresses) He told me: “Last night, I dreamed. I had your tresses around my neck. Sweeter than roses Henry Purcell I had your tresses like a dark chain from Pausanias (1659-1695) Around my neck and on my breast.” “I caressed them and they were my own; And we were thus forever joined, By the same tresses, lips on lips, Feldeinsamkeit Johannes Brahms As two laurels often have but one root.” Der Schmied (1833-1897) “And gradually, it seemed to me, Von ewiger Liebe So much were our limbs entwined, That I became yourself, Or that you entered into me, like my dream.” When he had finished, Ahimè! dove trascorsi! Christoph Willibald von Gluck He gently laid his hands upon my shoulders, … Che farò senza Euridice (1714-1787) And he looked at me with a glance so tender, from Orfeo ed Euridice That I cast down my eyes and trembled. INTERMISSION Trois chansons de Bilitis Claude Debussy La flûte de Pan (1862-1918) Le Tombeau des Naïades (The tomb of the Naiads) La chevelure Le tombeau des naïades Along the woods covered with frost, I wandered; My hair before my mouth blossomed with tiny icicles, And my sandals were heavy with soiled clods of snow. He says to me: “What are you looking for?” Selections from Sea Pictures, Op. 37 Edward Elgar I follow the trace of the Satyr. His little hoofprints alternate like holes in a white coat. Sea Slumber Song (1857-1934) Where corals lie He tells me: “The Satyrs are dead. The Swimmer The Satyrs and also the Nymphs. In thirty years there has been no winter as terrible as this. The spoor which you see is that of a buck. But let us stay here, on the site of their tomb.” Songs my mother taught me Antonín Dvořák And with the iron of his hatchet, he broke the ice of the spring (1841-1904) where once the Naiads were laughing. He took large frozen pieces, and holding them towards the pale sky, He gazed through them. Translation by Edith Braun Program Notes and Translations Claude Debussy ranks among the most influential composers of the late 19th and early 20th centuries. The French composer began by studying piano but found his vocation in composition. His innovative style was met with disapproval from many of his professors. This style incorporates artificial scales, cadence avoidance, and rhythmic freedom. A composer of the middle Baroque era, Henry Purcell is most famous for Debussy is the quintessential Impressionist composer, though like his his more than 100 songs and his opera Dido and Aeneas. As a court contemporary Ravel, he disliked this label and never used it himself. musician, Purcell worked for three different kings over twenty-five years. During this time, he composed chamber works, incidental music, anthems, Written in 1901, the Trois Chansons des Bilitis set selections from Pierre and art-songs. Often, Purcell would write one or two pieces for a particular Louÿs’ erotic poems Les Chansons de Bilitis. The poems follow Bilitis, a theatrical production. He did so for Pausanius, Betrayer of His Country. nymph on the island of Sappho, through her relationship with her lover Lykas. Debussy’s impressionistic compositional techniques aid the sensual “Sweeter than roses” is one of just two pieces written by Purcell for and dream-like nature of the pieces. Pausanius. In it, Purcell provides many opportunities for text painting through tone color changes and written rhythmic figures. His writing leaves the listener with no doubt that love has won. Johannes Brahms was a German composer of symphonies, concerti, chamber music, piano works, and more than 200 songs. Considered by his La Flûte de Pan (The flute of Pan) contemporaries to be both a traditionalist and an innovator, Brahms was heavily influenced by the structure of the Classical era and pushed the For the day of the Hyacinths, envelope with Romantic melodies and harmonies. His dedication to text, He gave me a syrinx made combined with his lush arrangements, have allowed his music to remain Of well-cut reeds, atop the standard repertoire. Joined with the white wax That is sweet on my lips like honey. He teaches me to play, while I sit on his knees; But I tremble just a little. He plays it after me, so softly That I can hardly hear him. We have nothing to say, Feldeinsamkeit So close we sit to each other; But our songs want to give question and answer, I rest at peace in tall green grass And gradually our lips And gaze steadily aloft, Join on the flute. Surrounded by unceasing crickets, It is late; Wondrously interwoven with blue sky. Now the chant of the green frogs The lovely white clouds go drifting by Is starting with the night. Through the deep blue, like lovely silent dreams; My mother will never believe I feel as if I have long been dead, That I stayed out so long Drifting happily with them through eternal space. In search of my lost belt. Christoph Willibald von Gluck was not born into a musical family. Quite to the contrary, he studied mathematics in Prague. Gluck’s love for Der Schmied music, particularly opera, eventually overwhelmed his desire to pursue mathematics, and he moved to Italy. It was there that he wrote his first I hear my sweetheart, opera and became acquainted with the Italian operatic model. He is swinging his hammer, remembered most for revolutionizing opera between the Baroque and it sounds, it resounds, Classical eras. In placing more attention on storyline complexity and it peals out afar character emphasis, his music supported the libretto in a more direct, less like ringing bells stylized way. His first opera of this style wasOrfeo ed Euridice. through alleys and square. “Che farò senza Euridice” is taken from Act III of Orfeo ed Euridice. In this At the black forge aria, Orfeo gives in to Euridice’s pleading and turns, only to realize that he my love is sitting, has killed his beloved once and for all. In his grief, he calls to Euridice, with but if I go past, no response. Gluck’s choice of setting the piece in C Major provides an the bellows start blowing, underlying sense of hope and undying love through an unimaginable the flames flare up feeling of grief. and blaze all around him. Che farò senza Euridice Alas! Where have I traversed? Von ewiger Liebe Where has a delirium of love thrust me? Bride! Euridice! Wife! Dark, how dark in forest and field! Ah, she lives no more; I call her in vain. Evening already, and the world is silent. Wretched me – I lose her Nowhere a light and nowhere smoke, once again and forever! And even the lark is silent now too. Oh law! Oh death! Out of the village there comes a lad, Oh cruel memory! Escorting his sweetheart home, I do not have help; He leads her past the willow-copse, Counsel does not come forth for me! Talking so much and of so many things: I see only ‘If you suffer sorrow and suffer shame, (oh savage sight!) Shame for what others think of me, the sad aspect Then let our love be severed as swiftly, of my horrible state. As swiftly as once we two were plighted. Be satisfied, wicked fate: Let us depart in rain and depart in wind, I am without hope! As swiftly as once we two were plighted.’ The girl speaks, the girl says: What will I do without my Euridice? ‘Our love cannot be severed! Where will I go without my beloved? Steel is strong, and so is iron, Euridice! Oh God! Answer! Our love is even stronger still: I am still your faithful one. Iron and steel can both be reforged, Where will I go without my beloved? But our love, who shall change it? Euridice… Ah, no more help, Iron and steel can be melted down, no more hope for me comes forth Our love must endure forever!’ from earth, nor from heaven! What will I do without my Euridice? Translations by Richard Stokes Translation by Martha Gerhart.
Load more

Recommended publications
  • ≥ Elgar Sea Pictures Polonia Pomp and Circumstance Marches 1–5 Sir Mark Elder Alice Coote Sir Edward Elgar (1857–1934) Sea Pictures, Op.37 1
    ≥ ELGAR SEA PICTURES POLONIA POMP AND CIRCUMSTANCE MARCHES 1–5 SIR MARK ELDER ALICE COOTE SIR EDWARD ELGAR (1857–1934) SEA PICTURES, OP.37 1. Sea Slumber-Song (Roden Noel) .......................................................... 5.15 2. In Haven (C. Alice Elgar) ........................................................................... 1.42 3. Sabbath Morning at Sea (Mrs Browning) ........................................ 5.47 4. Where Corals Lie (Dr Richard Garnett) ............................................. 3.57 5. The Swimmer (Adam Lindsay Gordon) .............................................5.52 ALICE COOTE MEZZO SOPRANO 6. POLONIA, OP.76 ......................................................................................13.16 POMP AND CIRCUMSTANCE MARCHES, OP.39 7. No.1 in D major .............................................................................................. 6.14 8. No.2 in A minor .............................................................................................. 5.14 9. No.3 in C minor ..............................................................................................5.49 10. No.4 in G major ..............................................................................................4.52 11. No.5 in C major .............................................................................................. 6.15 TOTAL TIMING .....................................................................................................64.58 ≥ MUSIC DIRECTOR SIR MARK ELDER CBE LEADER LYN FLETCHER WWW.HALLE.CO.UK
    [Show full text]
  • ONYX4206.Pdf
    EDWARD ELGAR (1857–1934) Sea Pictures Op.37 The Music Makers Op.69 (words by Alfred O’Shaughnessy) 1 Sea Slumber Song 5.13 (words by Roden Noel) 6 Introduction 3.19 2 In Haven (Capri) 1.52 7 We are the music makers 3.56 (words by Alice Elgar) 8 We, in the ages lying 3.59 3 Sabbath Morning at Sea 5.24 (words by Elizabeth Barrett Browning) 9 A breath of our inspiration 4.18 4 Where Corals Lie 3.43 10 They had no vision amazing 7.41 (words by Richard Garnett) 11 But we, with our dreaming 5 The Swimmer 5.50 and singing 3.27 (words by Adam Lindsay Gordon) 12 For we are afar with the dawning 2.25 Kathryn Rudge mezzo-soprano 13 All hail! we cry to Royal Liverpool Philharmonic the corners 9.11 Orchestra & Choir Vasily Petrenko Pomp & Circumstance 14 March No.1 Op.39/1 5.40 Total timing: 66.07 Artist biographies can be found at onyxclassics.com EDWARD ELGAR Nowadays any listener can make their own analysis as the Second Symphony, Violin Sea Pictures Op.37 · The Music Makers Op.69 Concerto and a brief quotation from The Apostles are subtly used by Elgar to point a few words in the text. Otherwise, the most powerful quotations are from The Dream On 5 October 1899, the first performance of Elgar’s song cycle Sea Pictures took place in of Gerontius, the Enigma Variations and his First Symphony. The orchestral introduction Norwich. With the exception of Elizabeth Barrett Browning, all the poets whose texts Elgar begins in F minor before the ‘Enigma’ theme emphasises, as Elgar explained to Newman, set in the works on this album would be considered obscure
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • The Elgar Sketch-Books
    THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career.
    [Show full text]
  • January – February 2018 Concert Diary
    JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts.
    [Show full text]
  • Sea Pictures Falstaff
    ELGAR BARENBOIM SEA PICTURES- ELINA GARANČA FALSTAFF STAATSKAPELLE BERLIN EDWARD ELGAR 1857–1934 Sea Pictures Op.37 Falstaff Op.68 Song cycle for mezzo-soprano and orchestra Symphonic study for orchestra 1 I. Sea Slumber Song 4.41 (after Henry IV and Henry V by William Shakespeare) 2 II. In Haven (Capri) 1.45 6 I. Falstaff and Prince Henry 3.09 3 III. Sabbath Morning at Sea 6.11 7 II. Eastcheap – 2.52 4 IV. Where Corals Lie 3.58 8 Gadshill – The Boar’s Head – 8.56 5 V. The Swimmer 7.06 9 Revelry and Sleep 1.27 10 Dream Interlude: “Jack Falstaff, now Sir John, a boy, and page, to Thomas Mowbray, Duke of Norfolk” 2.32 11 III. Falstaff’s March – 2.49 12 The Return through Gloucestershire 1.27 13 Interlude: Gloucestershire, Shallow’s Orchard 1.49 14 The New King – The Hurried Ride to London 1.03 15 IV. King Henry V’s Progress – 3.21 16 The Repudiation of Falstaff, and his Death 5.48 58.58 Live recordings ELĪNA GARANČA mezzo-soprano (1–5) STAATSKAPELLE BERLIN 2 DANIEL BARENBOIM ea Pictures was written in the summer of 1899, in the weeks One reason for its failure (as the composer’s biographer after the successful premiere of the Enigma Variations had Michael Kennedy pointed out) was the extreme diffi culty of the broughtS Elgar to national prominence. It had been commissioned instrumental writing, unsuited to “the orchestral conditions of for the Norfolk and Norwich triennial festival that October, at those days when very few rehearsals were possible”.
    [Show full text]
  • Elgar Sea Slumber Song from Sea Pictures Sheet Music
    Elgar Sea Slumber Song From Sea Pictures Sheet Music Download elgar sea slumber song from sea pictures sheet music pdf now available in our library. We give you 6 pages partial preview of elgar sea slumber song from sea pictures sheet music that you can try for free. This music notes has been read 3521 times and last read at 2021-10-01 06:38:10. In order to continue read the entire sheet music of elgar sea slumber song from sea pictures you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Alto Voice, Cello, Viola, Violin, Voice Solo Ensemble: String Quartet Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Sea Slumber Song Sea Pictures F Minor Sea Slumber Song Sea Pictures F Minor sheet music has been read 2784 times. Sea slumber song sea pictures f minor arrangement is for Advanced level. The music notes has 5 preview and last read at 2021-10-01 03:30:52. [ Read More ] Sea Slumber Song Sea Pictures G Minor Sea Slumber Song Sea Pictures G Minor sheet music has been read 2927 times. Sea slumber song sea pictures g minor arrangement is for Advanced level. The music notes has 5 preview and last read at 2021-09-30 06:28:36. [ Read More ] Slumber Song Of The Infant Jesus Slumber Song Of The Infant Jesus sheet music has been read 3411 times. Slumber song of the infant jesus arrangement is for Intermediate level. The music notes has 3 preview and last read at 2021-10-01 05:14:39.
    [Show full text]
  • GCSE, AS and a Level Music Difficulty Levels Booklet
    GCSE, AS and A level Music Difficulty Levels Booklet Pearson Edexcel Level 1/Level 2 GCSE (9 - 1) in Music (1MU0) Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) First teaching from September 2016 First certification from 2017 (AS) 2018 (GCSE and A level) Issue 1 Contents Introduction 1 Difficulty Levels 3 Piano 3 Violin 48 Cello 71 Flute 90 Oboe 125 Cla rinet 146 Saxophone 179 Trumpet 217 Voic e 240 Voic e (popula r) 301 Guitar (c lassic al) 313 Guitar (popula r) 330 Elec tronic keyboa rd 338 Drum kit 344 Bass Guitar 354 Percussion 358 Introduction This guide relates to the Pearson Edexcel Level 1/Level 2 GCSE (9-1) in Music (1MU0), Pearson Edexcel Level 3 Advanced Subsidiary GCE in Music (8MU0) and Pearson Edexcel Level 3 Advanced GCE in Music (9MU0) qualifications for first teaching from 2016. This guide must be read and used in conjunction with the relevant specifications. The music listed in this guide is designed to help students, teachers, moderators and examiners accurately judge the difficulty level of music submitted for the Performing components of the Pearson Edexcel GCSE, AS and A level Music qualifications. Examples of solo pieces are provided for the most commonly presented instruments across the full range of levels. Using these difficult y levels For GCSE, teachers will need to use the book to determine the difficulty level(s) of piece(s) performed and apply these when marking performances. For AS and A Level, this book can be used as a guide to assist in choosing pieces to perform, as performances are externally marked.
    [Show full text]
  • British Roots
    Thursday 12 December 2019 7.30–9.30pm Barbican LSO SEASON CONCERT BRITISH ROOTS Tippett Concerto for Double String Orchestra Elgar Sea Pictures Interval PAPPANO Vaughan Williams Symphony No 4 Sir Antonio Pappano conductor Karen Cargill mezzo-soprano Supported by LSO Friends Broadcast live on BBC Radio 3 6pm Barbican LSO Platforms: Guildhall Artists Vaughan Williams Phantasy Quintet Howells Rhapsodic Quintet Portorius Quartet Welcome News On Our Blog Thank you to our media partners: BBC Radio 3, LSO STRING EXPERIENCE SCHEME BELA BARTÓK AND who broadcast the performance live, and THE MIRACULOUS MANDARIN Classic FM, who have recommended the We are delighted to appoint 14 players to concert to their listeners. We also extend this year’s LSO String Experience cohort. Against a turbulent political background, sincere thanks to the LSO Friends for their Since 1992, the scheme has been enabling Bartók wrote his pantomime-ballet The important support of this concert; we are young string players from London’s music Miraculous Mandarin, which a German delighted to have so many Friends and conservatoires to gain experience playing in music journal reported caused ‘waves of supporters in the audience tonight. rehearsals and concerts with the LSO. They moral outrage’ to ‘engulf the city’ when it will join the Orchestra on stage for concerts premiered in Cologne. Ahead of tonight’s performance, the in the New Year. Guildhall School’s Portorius Quartet gave elcome to this evening’s LSO a recital of music by Vaughan Williams WHAT’S NEXT FOR OUR 2018/19 concert at the Barbican. It is a and Howells on the Barbican stage.
    [Show full text]
  • Vol. 14, No. 4 March 2006
    Cockaigne (In London Town) • Concert Allegro • Grania and D • May Song • Dream Children • Coronation Ode • Weary Wind West • Skizze • Offertoire • The Apostles • In The South (Ala Introduction and Allegro • EveningElgar Scene Society • In Smyrna • The Kin • Wand of Youth • How Calmly the Evening • Pleading • Go, S Mine • Elegy • Violin Concerto in B minor • Romance • Sym No.2 • O Hearken Thouournal • Coronation March • Crown of India • G the Lord • Cantique • The Music Makers • Falstaff • Carissima • S • The Birthright • The Windlass • Death on the Hills • Give Un Lord • Carillon • Polonia • Une Voix dans le Desert • The Sta Express • Le Drapeau Belge • The Spirit of England • The Frin the Fleet • The Sanguine Fan • Violin Sonata in E minor • Quartet in E minor • Piano Quintet in A minor • Cello Concer minor • King Arthur • The Wanderer • Empire March • The H Beau Brummel • Severn Suite • Soliloquy • Nursery Suite • A Organ Sonata • Mina • The Spanish Lady • Chantant • Reminisc • Harmony Music • Promenades • Evesham Andante • Ros (That's for Remembrance) • Pastourelle • Virelai • Sevillana Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Am Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Froissart • Spanish Serenade • La Capricieuse • Serenade • The Knight • Sursum Corda • The Snow • Fly, Singing Bird • Fro Bavarian Highlands • The Light of Life • King Olaf • Imperial M The Banner of St George • MARCHTe Deum and 2006 Benedictus Vol.14, No.4 • Caract Variations on an Original Theme (Enigma) • Sea Pictures • Ch d N it Ch d
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Concert History
    Woodstock Music Society Concert History Year Date Main Concerts Other Venues Other events In St Mary Magdalene Church, Woodstock, & Summer trips unless stated elsewhere 1975 December Madrigals for Woodstock Players 1st concert: Music Director: Carol concerts also in Bladon Cath Owen 1976 March Fauré: Requiem May – July Partsongs also in Begbroke December Edwardian Evening & Mayor’s Carols 1977 March HMS Pinafore (excerpts) June Jubilee concert outside Museum (madrigals) December Carols 1978 April Vivaldi: Gloria June Concert for Bladon Church Bladon WMS Orchestra December JS Bach: Magnificat formed 1979 March Concert for Methodist Church July Elizabethan Evening (madrigals, etc.) Kidlington Hall December JS Bach: Christmas Oratorio Pts I-III 1980 April Vivaldi: Gloria & Purcell: Come ye sons of art also in New College Clive Brooks June Handel: Let God arise also in Tackley became Music December JS Bach: Christmas Oratorio also in Charlbury Director 1981 March Brahms: Liebeslieder also in Yarnton Britten: Hymn to St Cecilia June Haydn: Stabat Mater & Concerto Grosso also in Charlbury in B flat Charpentier: Messe de Minuit December Telemann: Concerto in A minor & Concerto in B flat 1982 March Haydn: Symphony No.94 JS Bach: Brandenburg Concerto No.4 Mozart: Coronation Mass December Vaughan Williams: Fantasia on Christmas also in Stanton Neil Sissons Carols Harcourt conductor JS Bach: Concerto for Violin & Oboe Mozart: Symphony No.31 ‘Paris’ 1983 March Handel: Messiah Parts II & III, Water Music also in Tackley Paul Ingram June Madrigals
    [Show full text]