DOCSLIB.ORG

MAY 2020 Blessed Sacrament Catholic Church Worcester

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MAY 2020 Blessed Sacrament Catholic Church Worcester THE DIAPASON MAY 2020 Blessed Sacrament Catholic Church Worcester, Massachusetts Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 5, Stay safe, stay healthy, stay home! Whole No. 1326 We have all heard some variation on this mantra countless MAY 2020 times in recent weeks. The staff of The Diapason wishes Established in 1909 our readers health and safety as we continue to make our way Stephen Schnurr ISSN 0012-2378 together through this unprecedented world-wide pandemic. 847/954-7989; [email protected] As of this writing, we are still on schedule with production www.TheDiapason.com An International Monthly Devoted to the Organ, of the monthly magazine for you, our subscribers. We are all the Harpsichord, Carillon, and Church Music working remotely to keep our journal coming to you and to In this issue keep our staff safe. We are pleased to present the CONTENTS winning entry for our fi rst Gruen- FEATURES Resources at our website stein Award, “Reevaluating Andrea Reevaluating Andrea Antico’s Frottole of As most of us will spend much of our foreseeable future Antico’s Frottole of 1517,” by Alex- 1517 mindful of social distancing, our dependence on the internet ander Meszler. Alex was featured in by Alexander Meszler 16 will become even more crucial. I take this opportunity to our May 2019 issue, both as a mem- NEWS & DEPARTMENTS remind you that the most recent issue as well as decades of ber of The Diapason’s 20 Under 30 Editor’s Notebook 3 issues of The Diapason are available at our website for our Class of 2019, and with his essay on Here & There 3 subscribers (www.thediapason.com). There you will fi nd a Klaus Huber. We were very pleased Appointments 6 treasure trove of reading and learning, available to you at any 1909 110 2019 with the various entries we received Nunc Dimittis 8 time. In addition, you can explore an ever-increasing number for our fi rst award, demonstrating On Teaching by Gavin Black 13 of videos, news stories (often posted before they can appear in great promise of scholarship in our In the wind . by John Bishop 14 print), artist spotlights, classifi ed ads, and other items. young people. REVIEWS Please consider this an opportunity to discover (or redis- In “In the Wind . ,” John Bishop refl ects on initial effects Book Reviews 11 cover) more and more about what we love in our lives—music, of this pandemic on worship and the arts. Gavin Black, in “On New Organ Music 12 especially as it pertains to the organ, church music, carillon, Teaching,” ponders these effects of the pandemic on keeping New Recordings 12 and harpsichord. Let us fi nd through the record of our tradi- focus when listening to music. Larry Palmer, “Harpsichord New Handbell Music 12 tion a renewed sense of momentum for when we are able to Notes” columnist, has taken this month off from writing and return our lives to a sense of normalcy. expects to return next month. ORGAN PROJECTS 24 Our cover feature spotlights the recent restoration of Skinner CHRIST CATHEDRAL ORGAN NEWS 25 Calendar items Organ Company Opus 736 by A. Thompson-Allen Company, CALENDAR 26 We have removed from our Calendar section those events LLC, for Blessed Sacrament Catholic Church, Worcester, RECITAL PROGRAMS 29 we know are canceled, and, of course, there are likely many Massachusetts. The ninety-year-old instrument is now ready CLASSIFIED ADVERTISING 30 more that are canceled. Some events may be offered online. for another near-century of service to its community. In “Organ Our “Here & There” section contains notices of conferences Projects,” Opus 36 of Marceau Pipe Organ Builders, Inc., is and conventions that we know are canceled or postponed as of featured, installed in Community United Methodist Church, our print deadline. Coeur d’Alene, Idaho. Q THE DIAPASON MAY 2020 Here & There Corrections its summer organ recital series on the In “Here & There,” the Publica- cathedral’s 1962 Beckerath organ (four tions section (March 2020, page 6), manuals, 67 stops, 97 ranks), Sundays the announcement of the forthcoming at 3:30 p.m.: May 17, Kenneth Danchik; biography of Mildred Andrews Boggess July 12, Josef Sole-Coll; 7/19, Benjamin stated that she earned her graduate LaPrairie; 7/26, Rev. Ugo Patti; August degree from the University of Oklahoma. 2, Brendan Lowery; 8/9, James Wetzel; Andrews Boggess received her graduate 8/16, Hazel Eaton. For information: degree from the University of Michigan. http://stpaulpgh.org. Blessed Sacrament Catholic Church Worcester, Massachusetts Cover feature on pages 22–23 In John Speller’s review of Margaret Ruffatti organ, Cathedral of St. Mary of the Phillips’s CD, Multum in Parvo (March Assumption, San Francisco, California COVER 2020, page 11), an incorrect website for A. Thompson-Allen Company, LLC, New obtaining the disc was given. The correct Prescott, organ, Vierne, Symphonie V. In Haven, Connecticut; Blessed Sacrament website is: www.margaretphillips.org.uk. addition, June 20, 7:00 p.m., Temple Hill Catholic Church, Worcester, Massachusetts 22 Choir and Orchestra, Alan Chipman, In David Troiano’s review of James director, presents Rob Gardner’s Lamb Aylward’s Ten Free Arrangements for of God. St. Mary’s Cathedral houses Editorial Director STEPHEN SCHNURR and Publisher [email protected] Organ Solo (April 2020, page 10), the a 1971 Fratelli Ruffatti organ of four 847/954-7989 address for ordering the music is 69 manuals, 89 ranks. For information: Benton Ave., San Francisco, California www.stmarycathedralsf.org. President RICK SCHWER [email protected] 94112. The price is $20, including ship- 847/391-1048 ping and handling. For information: 415/333-5702. Editor-at-Large ANDREW SCHAEFFER [email protected] Sales Director JEROME BUTERA Events Methuen Memorial Music Hall [email protected] The Cathedral of St. Mary of the 608/634-6253 Circulation/ Assumption, San Francisco, California, Methuen Memorial Music Hall, Subscriptions THE DIAPASON announces recitals, Sundays at 4:00 Methuen, Massachusetts, announces P.O. Box 300 p.m.: May 10, Brain Swager, harp; 5/17, organ recitals, Wednesdays at 7:30 p.m.: Lincolnshire, IL. 60069-0300 [email protected] Kevin Navarro, piano; 5/24, Jin Kyung May 20: Pipedreams Live (young artists Toll-Free: 877/501-7540 Lim, organ, works of Bach; 5/31, Tactus concert with Michael Barone); 5/27, Local: 847/763-4933 a cappella choir, Jonathon Hampton, Bridgette Wargovich; June 3, David Designer KIMBERLY PELLIKAN director; June 7, David Brock, organ; Michael Kenney, Sr.; 6/10, Kyle Bertulli. [email protected] 6/14, John Karl Hirten, organ, works of For information: https://mmmh.org. 847/391-1024 Tournemire; 6/21, Michal Kopycinski, organ; 6/28, David Hatt, organ, Vierne, Beckerath organ, St. Paul Catholic Ca- The East Carolina Musical Arts Contributing Editors LARRY PALMER thedral, Pittsburgh, Pennsylvania Harpsichord Pièces de Fantaisie, Première suite; Education Foundation announces July 5, Karen Beaumont, organ; 7/12, organ recitals at St. Paul’s Episcopal BRIAN SWAGER Michael Bower, organ; 7/19, Jin Kyung St. Paul Catholic Cathedral, Church, Greenville, North Carolina, Carillon Lim, organ, works of Bach; 7/26, Jordan Pittsburgh, Pennsylvania, announces ³ page 4 JOHN BISHOP In the wind . THE DIAPASON (ISSN 0012-2378) is published monthly by Scranton Gillette Routine items for publication must be received six weeks in advance of the month of Communications, Inc., 3030 W. Salt Creek Lane, Suite 201, Arlington Heights, Illinois issue. For advertising copy, the closing date is the 1st. Prospective contributors of articles GAVIN BLACK 60005-5025. Phone 847/954-7989. Fax 847/390-0408. E-mail: [email protected]. should request a style sheet. Unsolicited reviews cannot be accepted. On Teaching Subscriptions: 1 yr. $44; 2 yr. $81; 3 yr. $112 (United States and U.S. Possessions). Copyright ©2020. Printed in the U.S.A. Canada and Mexico: 1 yr. $44 + $11 shipping; 2 yr. $81 + $16 shipping; 3 yr. $112 + $19 No portion of the contents of this issue may be reproduced in any form without the Reviewers Stephen Schnurr shipping. Other foreign subscriptions: 1 yr. $44 + $31 shipping; 2 yr. $81 + $42 shipping; specifi c written permission of the Editor, except that libraries are authorized to make Jeffrey Schleff 3 yr. $112 + $50 shipping. Digital subscription (no print copy): 1 yr. $35. Student (digital photocopies of the material contained herein for the purpose of course reserve reading only): $20. Single copies $6 (U.S.A.); $8 (foreign). at the rate of one copy for every fi fteen students. Such copies may be reused for other John L. Speller Periodical postage paid at Pontiac, Illinois, and at additional mailing offices. courses or for the same course offered subsequently. Leon Nelson POSTMASTER: Send address changes to THE DIAPASON, P.O. Box 300, Lincolnshire, IL. THE DIAPASON accepts no responsibility or liability for the 60069-0300. validity of information supplied by contributors, vendors, This journal is indexed in the The Music Index, and abstracted in RILM Abstracts.
Load more

Recommended publications
  • Re/Defining the Imaginary Museum of National Music
    Re/Defining the Imaginary Museum of National Music The Case of Croatia Zdravko Blažekovic´ The historian is a product of history himself, and of his situation. However hard we may try, he cannot escape the molding of his mind by his experience and his surroundings.1 Music historiography in Croatia was throughout the twentieth century marked by the path established in the late nineteenth century by Franjo Ksaver Kuhač (1834-1911), who defined the criteria for inclusion of musicians into the national canon on the basis of their Croatian ethnic origin rather than presenting cultural circles in which they were active. In the twentieth century, the central influence on the definition of the canon of Croatian music history came from Josip Andreis (1909-1982) in his historical survey published in three Croatian editions (Razvoj muzičke umjetnosti u Hrvatskoj [The development of musical arts in Croatia], 1962; Povijest hrvatske glazbe [History of Croatian music], 1974, 1989) and two English editions (Music in Croatia 1974, 1982). Synthesizing the existing views about Croatian music, he constructed in his narrative a museum of Croatian and foreign com- posers active in Croatia, as well as composers born in Croatia but living abroad. Besides nationalistic traits inherited from Kuhač, a reason for emphasizing activities of composers working abroad were the political and cultural circumstances surrounding Andreis during the time of communist Yugoslavia, when Croatian connections with the Central European musical space were particularly appreciated, especially when the quality of composers living abroad surpassed the musical production within the country. Being a part of multina- tional Yugoslavia situated between the Eastern and Western cultural and religious spheres, Croatians at the time wanted to distance themselves from the cultures in Eastern Europe and felt the need to be reassured about their belonging to Slavia Latina.
    [Show full text]
  • Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
    Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ.
    [Show full text]
  • Italian Renaissance Music and Sound in the Newberry Collection
    QUICK GUIDE Italian Renaissance Music and Sound in the Newberry Collection How to Use Our Collection The Newberry is an independent research library; readers do not check books out to take home, but consult materials—mostly rare books, manuscripts, maps, and other materials with a focus on the humanities—here. We welcome into our reading rooms researchers who are at least 14 years old or in the ninth grade. Creating a free reader account and requesting collection items takes just a few minutes. Visit https://requests.newberry.org to begin the registration process and to start exploring our collection; when you arrive at the Newberry for research, a free reader card will be issued to you in our third-floor reference center. Sampling of the Works of Bartolomeo Tromboncino and Franciscus Bossinensis Antico, Andrea. Canzoni, sonetti, strambotti et and in modern notation. Call number: VM 2 .I87 frottole: libro tertio. Northampton, MA: Smith n.s. v. 3 College, c1941. Composers named in this collection of music include Bartolomeo Tromboncino and Bossinensis, Franciscus. Tenori e contrabassi Marchetto Cara, two of the best known composers intabulati col soprani in canto figurato per of frottole. Frottole (singular: frottola) – like those cantar e sonar col lauto. [Venice: Per in today’s performance – are simple, secular, vocal Octauaianu[ue] Petrutium, 1509]. Very rare work compositions that were popular in late 15th- and by Bossinensis and the last known book to be early 16th-century courts. Call number: VM 2 .S64 printed by Ottaviano Petrucci in Venice. The v. 4 volume includes pieces by the best-known composers of frottole, including Bartolomeo Bossinensis, Franciscus.
    [Show full text]
  • PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491
    PETRUCCI E-02 TIBALDI 15-04-2005 09:20 Pagina 491 RODOBALDO TIBALDI REPERTORIO TRÀDITO E COEVO NELLE INTAVOLATURE PER CANTO E LIUTO RACCOLTE DA FRANCESCO BOSSINENSIS CON UNO SGUARDO ALLE RACCOLTE ANALOGHE I due libri di intavolature per canto e liuto raccolti da Franciscus Bossinensis e pubblicati da Ottaviano Petrucci nel 1509 e nel 1511 sono stati variamente conside- rati dagli studi musicologici, talvolta in riferimento alla prassi esecutiva, talvolta con una certa attenzione a singoli e ben determinati fenomeni analizzati in alcuni brani, ma più spesso come riduzioni a tre parti di componimenti ‘vocali’ a quattro voci (o comunque concepiti a quattro voci); il più delle volte, comunque, vengono esamina- ti come un qualcosa esistente in quanto dipendente dai libri di frottole editi tra il 1504 e il 1514, e non nella loro autonomia. Eppure, uno sguardo complessivo alle due sil- logi, alla mappa delle relazioni con i testimoni a penna e a stampa afferenti al mede- simo repertorio (tra i quali un posto non secondario ricopre l’importante manoscrit- to Parigi, Bibliothèque Nationale de France, Rés. Vmd. ms 27), il confronto tra le diverse versioni, che talvolta rivela alcuni aspetti interessanti riguardanti non solo la sfera dell’esecuzione, ma soprattutto quella della composizione (o, per lo meno, sembra talvolta che la diversa destinazione delle raccolte del Bossinensis sia consi- derata proprio nella sua ‘alterità’), ed infine il numero degli unica conservati nei due libri, e nel secondo in modo particolare, ci permettono di osservarli in una prospetti- va un poco diversa, forse anche a causa della perdita del decimo libro di frottole.
    [Show full text]
  • Complete Piano Music Rˇák
    DVO COMPLETE PIANO MUSIC RˇÁK Inna Poroshina piano QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA · QUINTESSENCE · QUINTESSENZ · QUINTESSENZA · QUINAESENCIA · QUINTESSÊNCIA Antonín Dvorˇák 1841-1904 Complete Piano Music Theme and Variations Op.36 (1876) Two Furiants Op.42 (1878) Six Mazurkas Op.56 1. Theme 1’21 26. No.1 in D major 5’33 51. No.1 2’50 76. No.4 in D minor, poco andante 2’46 2. Variation 1 1’09 27. No.2 in F major 7’38 52. No.2 2’28 77. No.5 in A minor, vivace 3’04 3. Variation 2 1’12 53. No.3 1’58 78. No.6 in B major, poco allegretto 2’56 4. Variation 3 2’56 Eight Waltzes Op.54 (1880) 54. No.4 2’57 79. No.7 in G flat major, poco lento 5. Variation 4 0’41 28. No.1 in A major 3’39 55. No.5 2’37 e grazioso 3’26 6. Variation 5 1’00 29. No.2 in A minor 4’05 56. No.6 2’35 80. No.8 in B minor, poco andante 3’22 7. Variation 6 1’36 30. No.3 in C sharp minor 2’55 8. Variation 7 0’58 31. No.4 in D flat major 2’52 57. Moderato in A major B.116 2’10 81. Dumka, Op.12/1 (1884) 4’00 9. Variation 8 3’53 32. No.5 in B flat major 3’00 33. No.6 in F major 5’05 58. Question, B.128a 0’27 82.
    [Show full text]
  • Renaissance Terms
    Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588.
    [Show full text]
  • Diamm Facsimiles 6
    DIAMM FACSIMILES 6 DI MM DIGITAL IMAGE ACHIVE OF MEDIEVAL MUSIC DIAMM COMMITTEE MICHAEL BUDEN (Faculty Board Chair) JULIA CAIG-McFEELY (Diamm Administrator) MATIN HOLMES (Alfred Brendel Music Librarian, Bodleian Library) EMMA JONES (Finance Director) NICOLAS BELL HELEN DEEMING CHISTIAN LEITMEIR OWEN EES THOMAS SCHMIDT diamm facsimile series general editor JULIA CAIG-McFEELY volume editors ICHAD WISTEICH JOSHUA IFKIN The ANNE BOLEYN MUSIC BOOK (Royal College of Music MS 1070) Facsimile with introduction BY THOMAS SCHMIDT and DAVID SKINNER with KATJA AIAKSINEN-MONIER DI MM facsimiles © COPYIGHT 2017 UNIVERSITY OF OXFORD PUBLISHED BY DIAMM PUBLICATIONS FACULTY OF MUSIC, ST ALDATES, OXFORD OX1 1DB ISSN 2043-8273 ISBN 978-1-907647-06-2 SERIES ISBN 978-1-907647-01-7 All rights reserved. This work is fully protected by The UK Copyright, Designs and Patents Act 1988. No part of the work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise without the prior permission of DIAMM Publications. Thomas Schmidt, David Skinner and Katja Airaksinen-Monier assert the right to be identified as the authors of the introductory text. Rights to all images are the property of the Royal College of Music, London. Images of MS 1070 are reproduced by kind permission of the Royal College of Music. Digital imaging by DIAMM, University of Oxford Image preparation, typesetting, image preparation and page make-up by Julia Craig-McFeely Typeset in Bembo Supported by The Cayzer Trust Company Limited The Hon. Mrs Gilmour Printed and bound in Great Britain by Short Run Press Exeter CONTENTS Preface ii INTODUCTION 1.
    [Show full text]
  • A Summer of Concerts Live on WFMT
    A summer of concerts live on WFMT Thomas Wilkins conducts the Grant Park Music Festival from the South Shore Cultural Center Friday, July 29, 6:30 pm Air Check Dear Member, The Guide Greetings! Summer in Chicago is a time to get out and about, and both WTTW and WFMT are out in The Member Magazine for WTTW and WFMT the community during these warmer months. We’re bringing PBS Kids walk-around character Nature Renée Crown Public Media Center Cat outdoors to engage with kids around the city and suburbs, encouraging them to discover the 5400 North Saint Louis Avenue natural world in their own back yards; and we recently launched a new Chicago Loop app, which you Chicago, Illinois 60625 can download to join Geoffrey Baer and explore our great city and its architectural wonders like never Main Switchboard before. And on musical front, WFMT is proud to bring you live summer (773) 583-5000 concerts from the Ravinia and Grant Park festivals; this month, in a first Member and Viewer Services for the station, we will be bringing you a special Grant Park concert from (773) 509-1111 x 6 the South Shore Cultural Center with the Grant Park Orchestra led by WFMT Radio Networks (773) 279-2000 guest conductor Thomas Wilkins. Remember that you can take all of this Chicago Production Center content with you on your phone. Go to iTunes to download the WTTW/ (773) 583-5000 PBS Video app, the new WTTW Chicago’s Loop app, and the WFMT app for Apple and Android.
    [Show full text]
  • Able Fairy: the Feminine Aesthetic in the Compositions of Rolande Falcinelli
    Copyright by Lenore Audrey Jane Alford 2008 The Treatise Committee for Lenore Audrey Jane Alford certifies that this is the approved version of the following treatise: Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Committee: Andrew Dell’Antonio, Supervisor Gerre Hancock, Co-Supervisor Marianne Gedigian Donald Grantham Judith Hancock Russell Schulz Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli by Lenore Audrey Jane Alford, B.Mus.; M.Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December 2008 Dedication To Greg, my perfect husband Acknowledgements Graham Hunter made much of this research possible through his generous help in locating many of the scores; Kathleen Thomerson provided excellent ideas (and inspiration for further research); Sylviane Falcinelli, Philippe Brandeis, Naji Hakim, Pierre Pincemaille, and Christopher Teel gave valuable insights and information; Louise Samson and Julie-Anne Derome helped sort out layers of meaning in translating the French texts. Thank you all so very much. v Able Fairy: The Feminine Aesthetic in the Compositions of Rolande Falcinelli Lenore Audrey Jane Alford, D.M.A. The University of Texas at Austin, 2008 Supervisor: Andrew Dell’Antonio Co-supervisor: Gerre Hancock This study links patriarchal Catholic Church culture and feminist studies in musicology to reveal the multi-faceted opus and career of Rolande Falcinelli, 1920-2006. Organist, composer, and pedagogue Rolande Falcinelli was the first woman to be named titular over a prestigious organ console in Paris, that of the Sacré-Coeur Basilica, in 1945; she was also a renowned organ pedagogue at the Paris Conservatory for over thirty years.
    [Show full text]
  • The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19
    The Dating and Provenance of Bologna, Civico Museo Bibliografico Musicale, MS Q 19 ROBERT NOSOW It ha, now been mm·e than twenty yea" 'ince the publication of Edward E. Lowinsky's edition of the Medici Co­ dex.' The theses presented by Lowinsky concerning the Medici Co­ dex and concerning Bologna, Civico Museo Bibliografico Musicale, 92 MS Q 19, "the Rusconi Codex," have occasioned much comment and stimulated substantial new research. Most of the discussion concern­ ing Q 19 has been tied to the hypotheses set out by Lowinsky, and less has been said about the general problems presented by the manu­ script.2 In view of the recent publication of the manuscript in the Garland series of Renaissance Music in Facsimile, the time is ripe to synthesize some of the subsequent research findings-mostly pub­ lished as reviews of or responses to Lowinsky-and to add new evi­ dence that may present a solution to the problems of dating and provenance.'~ The question of the provenance of Q 19 has aroused a great deal of debate not only because of the importance of the collection, but because it offers so many different clues. I will deal briefly with the relevant aspects of physical structure and organization. The manu­ script comprises 211 paper folios, with 7 preliminary folios, 202 folios with original numeration in ink on the top right hand corner of each ' Edward E. Lowinsky, ed., The Medici Codex of 1518 (Chicago and London, 1968), published as vols. III-V of Monuments of Renaissance Music, 8 vols. to date, general editor Edward E.
    [Show full text]
  • Notation and Editing | Prifysgol Bangor University
    09/24/21 Notation and Editing | Prifysgol Bangor University Notation and Editing View Online Dr CT Leitmeir Accone, Frank A. D’, and Biblioteca comunale di Siena. 1986. Siena, Biblioteca Comunale Degli Intronati, MS K.I.2. Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Biblioteca estense (Modena, Italy). 1987. Modena, Biblioteca Estense E Universitaria, MS Alpha F. 9.9. Vol. Renaissance music in facsimile. New York: Garland. Accone, Frank A. D’, and Biblioteca nazionale centrale di Firenze. 1986. Florence, Biblioteca Nazionale Centrale, MS Banco Rari 230. Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Biblioteca nazionale di Torino. 1986. Turin, Biblioteca Nazionale Universitaria, MS Ris. I. 27 (olim Qm III. 59). Vol. Renaissance music in facsimile. New York: Garland Pub. Accone, Frank A. D’, and Opera di S. Maria del Fiore (Florence, Italy). 1987. Florence, Archivio Musicale dell’Opera Di Santa Maria Del Fiore, Ms 11. Vol. Renaissance music in facsimile. New York: Garland. Accone, Frank A. D’, and Università di Pavia. 1986. Pavia, Biblioteca Universitaria, Aldini MS 362. Vol. Renaissance music in facsimile. New York: Garland. Agricola, Alexander. 1504. Misse Alexandri Agricole. Venezia: Petrucci. Aichinger, Gregor. 1598. Tricinia Mariana, Quibus Antiphonae, Hymni, Magnificat, Litaniae et Variae. niponti (Innsbruck): Apud Ioannem Agricolam. Anon. 1502. Motetti A. Numero Trentatre. Venezia: Petrucci. Anon. 1503. Motetti de Passione, de Cruce, de Sacramento, de Beata Virgine et Huius Modi . Venezia: Petrucci. Anon. 1504a. Frottole, Libro Primo. Venezia: Petrucci. Anon. 1504b. Motetti C. Venezia: Petrucci. Anon. 1505a. Fragmenta Missae. Venezia: Petrucci. Anon. 1505b.
    [Show full text]
  • Beethoven String Trio Op.3 · Serenade Op.8
    95819 Beethoven String Trio Op.3 · Serenade Op.8 Trio Italiano d’Archi Ludwig van Beethoven 1770-1827 The Early String Trios and Ineluctable Fate To understand the creative essence of the Trio in E flat major Op.3 and the Serenade in D major Op.8, which are two of Beethoven’s best-known string trios, it certainly String Trio in E flat Op.3 Serenade in D Op.8 helps to take into account the background and conditions in which the composer was 1. I. Allegro con brio 11’37 7. I. Marcia: Allegro-Adagio 9’49 then working. A biographical introduction of this sort should also help underline the 2. II. Andante 7’37 8. II. Menuetto: mature nature of the works, despite the fact that they belong to Beethoven’s “youth” 3. III. Menuetto: Allegretto-Trio-Coda 2’12 as a composer. Allegretto-Trio-Coda 3’58 9. III. Adagio: Scherzo Allegro Although he was convinced that his birthdate was two years later, Beethoven was 4. IV. Adagio 7’43 molto-Adagio 4’48 actually born in Bonn on 16 December 1770, the second child of Maria Magdalena 5. V. Menuetto: 10. IV. Allegretto alla polacca 3’13 Keverich and Johann van Beethoven, whose first son had died in early childhood. Moderato-Minore 3’30 11. V. Tema con variazioni: Considered an extremely mediocre musician by 19th century historians, the 6. VI. Finale: Allegro 6’50 Andante quasi Allegretto 10’21 composer’s father must have been endowed with some skill, since he held the post of tenor and musician at the court of the Archbishop Elector of Cologne.
    [Show full text]