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The Stockholm Philharmonic Orchestra
HansSchmidt-lsserstedt and the StockholmPhilharmonic Orchestra (1957) TheStockholm Philharmonic Orchestra - ALL RECORDINGSMARKED WITH ARE STEREO BIS-CD-421A AAD Totalplayingtime: 71'05 van BEETHOVEN,Ludwig (1770-1827) 23'33 tr SymphonyNo.9 in D minor,Op.125 ("Choral'/, Fourth Movemenl Gutenbuts) 2'.43 l Bars1-91. Conductor.Paavo Berglund Liveconcert at the StockholmConcert Hall 25thMarch 19BB Fadiorecording on tape:Radio Stockholm 1',44 2. Bars92' 163. Conductor:Antal Dor6t Liveconcerl at the StockholmConcert Hall 15thSeptember 1976 Privaterecording on tape.SFO B 276lll 1',56 3 Bars164 '236. Soloist:Sigurd Bjorling, bass Conduclor.Antal Dordti '16th Liveconcert at theStockholm Concert Hall December 1967 Privaterecording on tape.SFO 362 Recordingengineer. Borje Cronstrand 2',27 4 Bars237 '33O' Soloists.Aase Nordmo'Lovberg, soprano, Harriet Selin' mezzo-soprano BagnarUlfung, tenor, Sigurd Biorling' bass Muiit<alisxaSallskapet (chorus master: Johannes Norrby) Conductor.Hans Schmidt-lsserstedt Liveconcert at the StockholmConcert Hall, 19th May 1960 Privaterecording on tape SFO87 Recordingengineer' Borje Cronstrand Bars331 -431 1IAA Soloist:Gosta Bdckelin. tenor MusikaliskaSdllskapet (chorus-master: Johannes Norrbv) Conductor:Paul Kletzki Liveconcert at the StockholmConcerl Hall, ist Octoberi95B Radiorecording on tape:RR Ma 58/849 -597 Bars431 2'24 MusikaliskaSallskapet (chorus-master: Johannes Norroy,l Conductor:Ferenc Fricsay Llverecording at the StockholmConcert Hall,271h February 1957 Radiorecording on tape:RR Ma 571199 Bars595-646 3',05 -
No. 8/ 4Th Year 15Th – 30Th of April 2011 Politics Economics Culture
Embassy of Romania in the United Kingdom of Great Britain and Northern Ireland ____________________________________________________________________________________________ No. 8/ 4th Year 15th – 30th of April 2011 Politics 1. Ceremony is held as Regele Ferdinand frigate leaves on mission 2. Romanian and Moldovan Presidents agree on quickly drawing up action plan for implementing strategic partnership 3. President Aliyev: There is very good cooperation context on natural gas with Romania 4. President Basescu met King Abdullah II in Amman 5. Romania maintains target of accessing euro area in 2015 6. ForMin Baconschi to visit London to prepare President Basescu's official visit 7. ForMin Baconschi, Minister Davutoglu discussed options for boosting bilateral cooperation 8. Iraq's gates are open to Romanian companies 9. Foreign Affairs Minister Baconschi signs convention on avoiding double taxation 10. Qatar Crown Prince professes to Minister Baconschi his resolution to consolidate economic relations with Romania 11. Romania prepares technical aspects of accommodating Tunisian immigrants from Italy 12. Swedish companies are interesting by Constanta-Istanbul submarine power cable 13. British Ambassador to Bucharest: Well qualified work force is an advantage of Romania but it needs fiscal and legislative predictability 14. The Ambassador of Romania attended the Royal wedding ceremonies at Westminster Abbey Economics 1. Romania FDI inflow rises to EUR294M in Jan-Feb 2. BCR expecting Romanian economy to advance 3.9 pct in 2012 3. Centre of Excellence in Research in Targu Mures, with IBM expertise 4. Den Braven Romania sales increase 25 percent in first quarter 5. Thirty companies showcasing Romania's export offers at Sharjah 2011 General Exhibition 6. -
KONSERTTIELÄMÄ HELSINGISSÄ SOTAVUOSINA 1939–1944 Musiikkielämän Tarjonta, Haasteet Ja Merkitys Poikkeusoloissa
KONSERTTIELÄMÄ HELSINGISSÄ SOTAVUOSINA 1939–1944 Musiikkielämän tarjonta, haasteet ja merkitys poikkeusoloissa Susanna Lehtinen Pro gradu -tutkielma Musiikkitiede Filosofian, historian ja taiteiden tutkimuksen osasto Humanistinen tiedekunta Helsingin yliopisto Lokakuu 2020 Tiedekunta/Osasto – Fakultet/Sektion – Faculty Humanistinen tiedekunta / Filosofian, historian ja taiteiden tutkimuksen osasto Tekijä – Författare – Author Susanna Lehtinen Työn nimi – Arbetets titel – Title Konserttielämä Helsingissä sotavuosina 1939–1944. Musiikkielämän tarjonta, haasteet ja merkitys poikkeusoloissa. Oppiaine – Läroämne – Subject Musiikkitiede Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu -tutkielma Lokakuu 2020 117 + Liitteet Tiivistelmä – Referat – Abstract Tässä tutkimuksessa kartoitetaan elävä taidemusiikin konserttitoiminta Helsingissä sotavuosina 1939–1944 eli talvisodan, välirauhan ja jatkosodan ajalta. Tällaista kattavaa musiikkikentän kartoitusta tuolta ajalta ei ole aiemmin tehty. Olennainen tutkimuskysymys on sota-ajan aiheuttamien haasteiden kartoitus. Tutkimalla sotavuosien musiikkielämän ohjelmistopolitiikkaa ja vastaanottoa haetaan vastauksia siihen, miten sota-aika on heijastunut konserteissa ja niiden ohjelmistoissa ja miten merkitykselliseksi yleisö on elävän musiikkielämän kokenut. Tutkimuksen viitekehys on historiallinen. Aineisto on kerätty arkistotutkimuksen menetelmin ja useita eri lähteitä vertailemalla on pyritty mahdollisimman kattavaan kokonaisuuteen. Tutkittava -
6013 Missa Solemnis
(LYRCD 6013) MISSA SOLEMNIS & Egmont Overture Ludwig van Beethoven AMA DEUS ENSEMBLE Valentin Radu, Artistic Director and Conductor Sarah Davis, Soprano Jody Kidwell, Mezzo-Soprano Timothy Bentch, Tenor Ed Bara, Bass PROGRAM NOTES: EGMONT, OP. 84, is a set of incidental music pieces for the 1787 play of the same name by Goethe. It consists of an overture and nine separate subsequent pieces for soprano and full orchestra. Beethoven wrote it between October 1809 and June 1810, and it was premiered on 15 June 1810. The overture, powerful and expressive, is one of the last works of his middle period; it has become as famous a composition as the Coriolan Overture, and is in a similar style to the Fifth Symphony which he completed two years earlier. When in 1809 the Burgtheater of Vienna asked Beethoven, a great admirer of Goethe, to compose incidental music for a revival of the play, he accepted with enthusiasm. It recalled themes close to his own political preoccupations, already expressed in his opera Leonore (renamed Fidelio, in the definitive 1814 version) and in his overture Coriolan (in 1807). 1 MISSA SOLEMNIS, OP. 123 “The Missa Solemnis is the greatest work I have composed so far.” Even allowing for the facts that Beethoven was telling this to a publisher and that in1822 he had not yet composed the Ninth Symphony and the last string quartets, his declaration must be taken seriously nevertheless. The Mass is Beethoven’s largest and longest composition (not counting the opera Fidelio), and yet at times also one of his most intimate and personal. -
PROKOFIEV Hannu Lintu Piano Concertos Nos
Olli Mustonen Finnish Radio Symphony Orchestra PROKOFIEV Hannu Lintu Piano Concertos Nos. 2 & 5 SERGEI PROKOFIEV (1891–1953) Piano Concerto No. 2 in G minor, Op. 16 33:55 1 I Andantino 11:57 2 II Scherzo. Vivace 2:59 3 III Intermezzo. Allegro moderato 7:04 4 IV Finale. Allegro tempestoso 11:55 Piano Concerto No. 5 in G major, Op. 55 23:43 5 I Allegro con brio 5:15 6 II Moderato ben accentuato 4:02 7 III Toccata. Allegro con fuoco 1:58 8 IV Larghetto 6:27 9 V Vivo 6:01 OLLI MUSTONEN, piano Finnish Radio Symphony Orchestra HANNU LINTU, conductor 3 Prokofiev Piano Concertos Nos. 2 and 5 Honestly frank, or just plain rude? Prokofiev was renowned for his uncompromisingly direct behaviour. On one occasion he berated a famous singer saying – within the hearing of her many admirers – that she understood nothing of his music. Seeing her eyes brim, he mercilessly sharpened his tongue and humiliated her still further: ‘All of you women take refuge in tears instead of listening to what one has to say and learning how to correct your faults.’ One of Prokofiev’s long-suffering friends in France, fellow Russian émigré Nicolas Nabokov, sought to explain the composer’s boorishness by saying ‘Prokofiev, by nature, cannot tell a lie. He cannot even say the most conventional lie, such as “This is a charming piece”, when he believes the piece has no charm. […] On the contrary he would say exactly what he thought of it and discuss at great length its faults and its qualities and give valuable suggestions as to how to improve the piece.’ Nabokov said that for anyone with the resilience to withstand Prokofiev’s gruff manner and biting sarcasm he was an invaluable friend. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Sibelius Society
UNITED KINGDOM SIBELIUS SOCIETY www.sibeliussociety.info NEWSLETTER No. 84 ISSN 1-473-4206 United Kingdom Sibelius Society Newsletter - Issue 84 (January 2019) - CONTENTS - Page 1. Editorial ........................................................................................... 4 2. An Honour for our President by S H P Steadman ..................... 5 3. The Music of What isby Angela Burton ...................................... 7 4. The Seventh Symphonyby Edward Clark ................................... 11 5. Two forthcoming Society concerts by Edward Clark ............... 12 6. Delights and Revelations from Maestro Records by Edward Clark ............................................................................ 13 7. Music You Might Like by Simon Coombs .................................... 20 8. Desert Island Sibelius by Peter Frankland .................................. 25 9. Eugene Ormandy by David Lowe ................................................. 34 10. The Third Symphony and an enduring friendship by Edward Clark ............................................................................. 38 11. Interesting Sibelians on Record by Edward Clark ...................... 42 12. Concert Reviews ............................................................................. 47 13. The Power and the Gloryby Edward Clark ................................ 47 14. A debut Concert by Edward Clark ............................................... 51 15. Music from WW1 by Edward Clark ............................................ 53 16. A -
Ib an Mendoza
IBIZA FORMENTERA NIGHT IBAN MENDOZA SINCE 2007 N&D MAGAZINE | NIGHT • AÑO XI • N°2 | JUNIO/JUNE/GIUGNO 2017 ESPAÑOL ENGLISH ITALIANO • • Showde churrasco cooking MÚSICA EN VIVO, 12 CORTES DE LA ESPECTÁCULOS Y MEJOR CARNE DE PARQUE PARA LOS NIÑOS LATINOAMÉRICA SIN CARTA, SIN NORMAS, SIN LÍMITE! • CARRETERA SANTA GERTRUDIS, KM 0,5 (CA NA PALAVA) • RESERVAS: [email protected] | (+34) 971 50 88 80 LUXURY CAR RENTAL - REAL ESTATE - YACHT CHARTER - PRIVATE JETS - VIP SERVICES IBIZA MARBELLA BARCELONA WWW.RENTTOPLUX.COM • [email protected] +34 672 769 911 • +34 674 511 168 10 WEEDITORIAL YEARS THIS ISLAND 10 10 C.E.O. Founder YEARS YEARS Christian Dori ARE Y U NIGHT R DAY? Hola Amigos de Night&Day, Hello Friends of Night&Day, Ciao Amici di Night&Day, El futurólogo Alvin Toffler The recently passed away futurologist, Il recentemente scomparso recientemente fallecido definió elAlvin Toffler, defined change as the futurologo, Alvin Toffler definiva il cambio como el proceso por el cual el process by which the future invades our cambiamento come il processo col futuro invade nuestras vidas. lives. quale il futuro invade le nostre vite. El futuro ha invadido Ibiza y Formentera. The future has invaded Ibiza and Il futuro ha invaso Ibiza e Formentera. Cada año, grandes y pequeñas novedades Formentera. Every year, small or big news Ogni anno piccole o grandi novità si se suman y trasforman las dos islas. adds up and transforms the two islands. sommano e trasformano le due isole. La novedad más impresionante es sin The most impressive news is definitely the La più imponente novità è sicuramente duda la apertura del nuevo local Hï, opening of the new club Hï, which has taken l'apertura del nuovo locale Hï, ubicato situado donde estaba el antiguo Space, over old Space location, and that you're dove era l'antico Space, di cui parleremo del que vamos a hablar en la revista. -
Neuerwerbungen Musik-Cds Zur Ausleihe Juni 2020
NEUERWERBUNGEN MUSIK-CDS ZUR AUSLEIHE JUNI 2020 NEUERWERBUNGEN MUSIK-CDS ZUR AUSLEIHE JUNI 2020 Inhalt Vokalmusik: Gesang für Einzelstimmen .................................................................... 3 Vokalmusik: Chorgesang .......................................................................................... 3 Vokalmusik: Porträts ................................................................................................. 3 Bühnenwerke. Dramatische Musik ............................................................................ 4 Instrumentalmusik: Einzelinstrumente ...................................................................... 4 Instrumentalmusik: Kammermusik ........................................................................... 4 Instrumentalmusik: Werke für Soloinstrumente und Orchester ................................. 5 Instrumentalmusik: Orchesterwerke ......................................................................... 5 Instrumentalmusik: Porträts ...................................................................................... 5 Außereuropäische Volks- und Kunstmusik. Europäische Volksmusik ......................... 6 Jazz ........................................................................................................................... 6 Rockmusik. Popmusik ............................................................................................... 8 Folkmusic. Song. Chanson ...................................................................................... 12 Thematische -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
B Ach Cantatas for Christmas Gardiner
Bach Cantatas for Christmas Gardiner 1 Bach Cantatas for Christmas Gardiner 2 The Bach Cantata Pilgrimage On Christmas Day 1999 a unique celebration of the new Millennium began in the Herderkirche in Weimar, Germany: the Monteverdi Choir and English Baroque Soloists under the direction of Sir John Eliot Gardiner set out to perform all Johann Sebastian Bach’s surviving church cantatas in the course of the year 2000, the 250th anniversary of Bach’s death. The cantatas were performed on the liturgical feasts for which they were composed, in a year-long musical pilgrimage encompassing some of the most beautiful churches throughout Europe (including many where Bach himself performed) and culminating in three concerts in New York over the Christmas festivities at the end of the millennial year. These recordings of cantatas for the Christmas season were made at the beginning and end of the Pilgrimage. 3 Johann Sebastian Bach 1685-1750 Cantatas for Christmas and New Year Pages 5-13 CD 1 For Christmas Day 63 / 191 14-24 CD 2 For Christmas Day 91 / 110 For the Second Day of Christmas 121 / 40 25-38 CD 3 For the Second Day of Christmas 57 For the Third Day of Christmas 64 / 151 / 133 39-50 CD 4 For the Sunday after Christmas Motet 225 / 152 / 122 / 28 For New Year’s Day 190 51-62 CD 5 For New Year’s Day 143 / 41 / 16 / 171 63-73 CD 6 For the Sunday after New Year 153 / 58 For Epiphany 65 / 123 The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Weimar / New York / Berlin / Leipzig 1999-2000 4 For Christmas Day Claron McFadden soprano Bernarda Fink alto Christoph Genz tenor Dietrich Henschel bass The Monteverdi Choir The English Baroque Soloists 1 John Eliot Gardiner Herderkirche, Weimar, 25 December 1999 « Contents page 5 CD1 40:15 For Christmas Day 26:28 Christen, ätzet diesen Tag BWV 63 1 (4:48) 1. -
MODERAT III: Le Date: 28 Aprile Milano, Alcatraz 29 Aprile Roma, Spazio Novecento
MODERAT III: Le date: 28 aprile Milano, Alcatraz 29 aprile Roma, Spazio Novecento 26/01/2016 Gernot Bronsert, Sebastian Szary (aka Modeselektor)e Sascha Ring (aka Apparat) tornano in Italia per due imperdibili date per presentare il nuovo atteso album della loro creatura, MODERAT III, in uscita il 1 aprile per Monkeytown Records e definitiva consacrazione del progetto Moderat. Perfezione maniacale, ma anche felicità creativa, ed innata capacità a completarsi artisticamente l'uno con l'altro. L'unione fra i tedeschi Modeselektor ed Apparat nel progetto Moderat è davvero una delle avventure più esaltanti nella musica elettronica dell'ultimo decennio. Lo è per la statura dei singoli protagonisti: i Modeselektor fin dal loro debutto, con la loro techno creativa e piena di colpi di scena, si sono guadagnati i favori della stampa specializzata ma anche di star come Thom Yorke (prima loro fan e poi direttamente collaboratore), Apparat dal canto suo sia come solista che in collaborazione con Ellen Allien si è guadagnato la fama di producer incredibilmente bravo e sensibile nello sposare elettronica, ritmi e fortissimo senso melodico. Risultato: entrambi ormai, ad ogni apparizione italiana, radunano pubblici foltissimi e inanellano sold out. Moderat diventa il modo migliore per unire il potenziale artistico di queste due entità così importanti. Non si sovrappongono fra di loro in questo progetto, diventano invece perfettamente complementari: la potenza ritmica e l'impatto ipnotico dei Modeselektor, la preziosità dei ricami armonici e melodici di Apparat. Un equilibrio perfetto, a cui si arriva peraltro non senza fatica. Il loro primo lavoro in comune, l'ep “Auf Kosten Der Gesundheit” (2003), racconta già dal titolo (“Al costo della salute”) quanto è stato complesso arrivare alla giusta misura e alla giusta interazione, figlie di sfibranti sedute in studio di registrazione all'insegna del più maniacale perfezionismo.