Michael Berkeley Composer
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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
"Woman.Life.Song" by Judith Weir Heather Drummon Cawlfield
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-1-2015 Study and analysis of "woman.life.song" by Judith Weir Heather Drummon Cawlfield Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Cawlfield, Heather Drummon, "Study and analysis of "woman.life.song" by Judith Weir" (2015). Dissertations. Paper 14. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2015 HEATHER DRUMMOND CAWLFIELD ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School STUDY AND ANALYSIS OF woman.life.song BY JUDITH WEIR A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Heather Drummond Cawlfield College of Performing and Visual Arts School of Music Music Performance May 2015 This Dissertation by: Heather Drummond Cawlfield Entitled: Study and Analysis of “woman.life.song” by Judith Weir has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Performing Arts in School of Music, Program of Vocal Performance Accepted by the Doctoral Committee ______________________________________________________ Melissa Malde, D.M.A., Research Advisor ______________________________________________________ Brian Luedloff, M.F.A., Co-Research Advisor (if applicable) _______________________________________________________ Robert Ehle, Ph.D., Committee Member _______________________________________________________ Susan Collins, Ph.D., Committee Member Date of Dissertation Defense _________________________________________ Accepted by the Graduate School _________________________________________________________ Linda L. Black, Ed.D. -
Mozart: Requiem
LSO Live Mozart Requiem Sir Colin Davis Marie Arnet Anna Stéphany Andrew Kennedy Darren Jeffery London Symphony Chorus London Symphony Orchestra Mozart Requiem, K626 (1791) Page Index Marie Arnet soprano 3 Track listing Anna Stéphany alto 4 English notes Andrew Kennedy tenor 5 French notes Darren Jeffery bass 6 German notes 7 Composer biography Sir Colin Davis conductor 8 Text London Symphony Orchestra 10 Conductor biography London Symphony Chorus 11 Artist biographies 13 Orchestra and Chorus personnel lists 14 LSO biography James Mallinson producer Daniele Quilleri casting consultant Classic Sound Ltd recording, editing and mastering facilities Jonathan Stokes and Neil Hutchinson for Classic Sound Ltd balance engineers Ian Watson and Jenni Whiteside for Classic Sound Ltd editors A high density DSD (Direct Stream Digital) recording Recorded live at the Barbican, London 30 September and 3 October 2007 © 2008 London Symphony Orchestra, London UK P 2008 London Symphony Orchestra, London UK 2 Track listing Introitus and Kyrie 1 No 1 Requiem and Kyrie (chorus, soprano) 7’12’’ p8 Sequence 2 No 2 Dies irae (chorus) 1’44’’ p8 3 No 3 Tuba mirum (soprano, alto, tenor, bass) 3’38’’ p8 4 No 4 Rex tremendae (chorus) 2’13’’ p8 5 No 5 Recordare (soprano, alto, tenor, bass) 6’03’’ p8 6 No 6 Confutatis maledictis (chorus) 2’44’’ p8 7 No 7 Lacrimosa (chorus) 2’59’’ p8 Offertorium 8 No 8 Domine Jesu (chorus, soprano, alto, tenor, bass) 4’16’’ p8 9 No 9 Hostias (chorus) 4’36’’ p9 Sanctus 10 No 10 Sanctus (chorus) 1’47’’ p9 Benedictus 11 No 11 Benedictus (chorus, soprano, alto, tenor, bass) 4’29’’ p9 Agnus Dei and Communio 12 No 12 Agnus Dei (chorus, soprano) 8’46’’ p9 TOTAL 50’35’’ 3 Wolfgang Amadeus Mozart (1756–91) Jesu’ and the ’Hostias’ were written separately. -
Michael Berkeley and David Malouf's Rewriting of Jane Eyre: an Operatic and Literary Palimpsest*
CHAPTER 6 Michael Berkeley and David Malouf’s Rewriting of Jane Eyre: An Operatic and Literary Palimpsest* Jean-Philippe Heberlé English composer Michael Berkeley (born 1948) is the son of Lennox Berkeley (1903–1989), himself a composer of instrumental music and operas including, for instance, A Dinner Engagement (1955) and Ruth (1955–56). To this day, Michael Berkeley has written three operas and is currently working on a new operatic project based on Ian McEwan’s novel Atonement (2001). For his first two operas (Baa Baa Black Sheep, 1993, and Jane Eyre, 2000), he collaborated with acclaimed Australian novelist David Malouf (born 1934). This chap- ter addresses Berkeley’s second opera, Jane Eyre, a chamber opera1 premiered at the Cheltenham Music Festival on June 30, 2000. The opera by David Malouf and Michael Berkeley appears to be an oper- atic and literary palimpsest in which Charlotte Brontë’s Jane Eyre is compressed and distorted into a concentrated operatic drama of little more than 70 minutes.2 Five characters form the cast, and the storyline focuses exclusively on the events at Thornfield. In this intertextual3 and intermedial4 analysis of Berkeley and Malouf’s operatic adapta- tion of Jane Eyre, a study of the text and the music reveals whether the librettist and the composer focalized or not on particular elements and episodes of the original novel. The artists at times amended, dis- torted, or retained elements of the novel, allowing their new work to interpret Charlotte Brontë’s novel’s psychologically developed char- acters and its gothic atmosphere. Finally, the opera and its libretto function metadramatically. -
Michael Berkeley Selected Reviews
Michael Berkeley Selected Reviews Winter Fragments (Chamber Music Recording) Resonus Classics RES10223 (September 2018) “Stylistically ranging from the plainchant-inspired Clarinet Quintet (1983) to the sensuous and Satie-like Seven (2007), to the jostling intensity of Catch Me If You Can (1994), it shows Berkeley at his exploratory and individualistic best, free to follow his instinct, tonal or expressionistic” – Fiona Maddocks, The Guardian “Even when working with large-scale forces such as opera and music theatre, Michael Berkeley's style and expression remain attuned to the more intimate nuances of chamber music. Perhaps this is because the chamber context provides such an effective vehicle for one of his music's most distinctive features - the often dichotomous interplay between the individual and the group... the Berkeley Ensemble, directed by Dominic Grier, are excellent throughout - entirely at one with the music of their namesake composer” – Pwyll ap Sion, Gramophone “There’s contrast aplenty – Catch Me If You Can (1994) a feisty, frenetic triptych, the gentle, self-echoing, harp-centred Seven (2007) pregnant with a pensiveness that collides late Mahler with Satie at his most subdued. The Clarinet Quintet (1983) is spun from sinewy, twisting strands contrasting the playful impetuosity and dark-hued luminosity of John Slack’s clarinet to end in a moment of sublimely subdued beauty. 2010’s Rilke-setting Sonnet for Orpheus and the seven-part song-cycle Winter Fragments (1996) – both benefiting from Fleur Barron’s ardent mezzo – -
Community Regeneration and Development Fund Annual Partnership and Project Revenue Grant Applications
CYNGOR SIR POWYS COUNTY COUNCIL. Officer report to Portfolio Holder County Councillor Mr W Jones 25 th May 2011 REPORT AUTHOR: Community Regeneration Manager SUBJECT: Community Regeneration and Development Fund Annual Partnership and Project Revenue grant applications REPORT FOR: Decision This report details the applications that have been received for the first round of Community Regeneration and Development Fund grant support for the benefit of Community Groups and Voluntary Organisations. Proposal On the 12 th April 2011, following a review of the grant funding the Third Sector, Board approved the establishment of the Community Regeneration and Development Fund. A summary of the requests is shown in the following tables for ease of reference to the full contents of the report: Annual Partnership awards (See Appendix 1) There is £334,670 for allocation in the 2011/12 financial year, the recommendations detailed in the report amount to £258,510. If all recommendations are approved this will leave £76,160 for the second round allocation. Organisation Request Recommendation Arts Connection £5000 £5,000 Bleddfa Trust £5,000 £5,000 Brecon Jazz £11,000 £11,0000 CARAD £20,000 £12,000 Celf O Gwmpas £10,000 £10,000 Gregynog Festival £8,000 £6,500 Hay Festival of Literature and the Arts £15,000 £11,000 Mid Wales Opera £20,000 £11,000 Oriel Davies Gallery £34,765 £34,765 Powys Arts Forum £10,000 £8,000 Powys Association Of Voluntary Organisations £30,000 £30,000 Powys Leisure Services £24,000 £12,000 Play Montgomeryshire £15,000 £15,000 Powys Federation of Women’s Institutes £2,400 £2,400 Presteigne Festival of the Arts £10,000 £9,000 Presteigne Shire Hall Museum Trust Ltd £7,500 £7,500 Wyeside Arts Centre £47,025 £47,025 Llandrindod Wells Victorian Festival £11,000 £11,000 Wales Pre-school Playgroup Assoc. -
Annual Report October 2011–September 2013
HOUSE OF LORDS APPOINTMENTS COMMISSION ANNUAL REPORT October 2011 to September 2013 House of Lords Appointments Commission Page 3 Contents Section 1: The Appointments Commission 5 Section 2: Appointments of non-party-political peers 8 Section 3: Vetting party-political nominees 11 Annex A: Biographies of the Commission 14 Annex B: Individuals vetted by the Commission 16 and appointed to the House of Lords [Group photo] Page 4 Section 1 The Appointments Commission 1. In May 2000 the Prime Minister established the House of Lords Appointments Commission as an independent, advisory, non-departmental public body. Commission Membership 2. The Commission has seven members, including the Chairman. Three members represent the main political parties and ensure that the Commission has expert knowledge of the House of Lords. The other members, including the Chairman, are independent of government and political parties. The independent members were appointed in October 2008 by open competition, in accordance with the code of the Commissioner for Public Appointments. The party-political members are all members of the House of Lords and were nominated by the respective party leader in November 2010 for three year terms. 3. The terms of all members therefore come to an end in the autumn of 2013. 4. Biographies of the Commission members can be seen at Annex A. 5. The Commission is supported by a small secretariat at 1 Horse Guards Road, London SW1A 2HQ. Role of the House of Lords Appointments Commission 6. The role of the Commission is to: make recommendations for the appointment of non-party-political members of the House of Lords; and vet for propriety recommendations to the House of Lords, including those put forward by the political parties and Prime Minister. -
RNCM OPERA the CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE
WED 02 - MON 07 DEC RNCM OPERA The CUNNING LITTLE VIXEN LEOŠ JANÁČEK WED 02, FRI 04, MON 07 DEC | 7.30PM SUN 06 DEC | 3PM RNCM THEATRE LEOŠ JANÁČEK The CUNNING LITTLE VIXEN The Cunning Little Vixen Music by Leoš Janáček Libretto by Leoš Janáček based on the novella by Rudolf Těsnohlídek, translated by David Pountney Translation © David Pountney Used with permission of David Pountney. All Rights Reserved. 3 SYNOPSIS CAST THE ADVENTURES OF THE VIXEN BYSTROUŠKA Emyr Jones*, Ross Cumming** Forester Act I Pasquale Orchard*, Alicia Cadwgan** Vixen Sharp-Ears How they caught Bystrouška Georgia Mae Ellis*, Melissa Gregory** Fox Goldenmane Bystrouška in the courtyard of Lake Lodge Philip O’Connor*, Gabriel Seawright** Schoolmaster/Mosquito Bystrouška in politics Liam Karai*, George Butler** Priest/Badger Bystrouška gets the hell out Ema Rose Gosnell*, Lila Chrisp** Forester’s Wife/Owl Ranald McCusker*, Samuel Knock** Rooster/Mr Pásek Act II Sarah Prestwidge*, Zoë Vallée** Chocholka/Mrs Pásek Bystrouška dispossesses William Kyle*, Thomas Ashdown** Harašta Bystrouška's love affairs Rebecca Anderson Lapák Bystrouška's courtship and love Lorna Day Woodpecker Katy Allan Vixen as a Cub Interval Georgia Curwen Frantík/Cricket Emily Varney Pepík/Frog Act III Anastasia Bevan Grasshopper/Jay Bystrouška outran Harašta from Líšeň How the Vixen Bystrouška died RNCM OPERA CHORUS DANCER FOX CUBS The baby Bystrouška - the spitting image of her mother Lleucu Brookes Jade Carty Lleucu Brookes Jade Carty Jade Carty Dominic Carver HENS Abigail Jenkins James Connolly -
Visual Interpretations of the Score in Painting and Digital Media
Journal of the International Colour Association (2013): 11, 37-50 Laycock Visual interpretations of the score in painting and digital media Kevin Laycock School of Design, University of Leeds, UK Email: [email protected] Historically much of the activity in the area of visual music has been focused on the creation of visual compositions stimulated by musical performance. I suggest that the intuitive act of painting to live and or recorded music is flawed in its interpretation of the musical intentions of a composers score. For the purpose of this investigation the studio practice concentrates on the shared systems and language of composition, what Zilcer identifies as the ‘application of formal compositional elements of music to painting’1. In part, the project will draws on the expertise of British composer Michael Berkeley and conductor Peter Manning2. The premise for the research is to identify the presence of process and system in each of the practitioner’s work. Also through collaboration with a composer and conductor the project offers a further opportunity to consider the effects of music found in contemporary painting practice. The initial findings of the research are used to establish an intellectual framework where neither the audible or visual elements of the disciplines take precedence over each other. Received 20 March 2013; revised 25 June 2013; accepted 1 July 2013 Published online: 30 July 2013 There are many examples of painters, who have sloshed paint around the canvas in the pursuit of what Walter Pater defined as the “condition of music3”. This type of expressionistic painting is fundamentally intuitive and is often a by-product of listening and painting. -
Album Booklet
Clarion Call Music for Septet and Octet John Casken • Howard Ferguson • Michael Berkeley • Charles Wood Berkeley Ensemble RES10127 Clarion Call Works for Septet and Octet Michael Berkeley (b. 1948) 1. Clarion Call and Gallop (2013) * [6:42] Berkeley Ensemble Howard Ferguson (1908-1999) Octet, Op. 4 (1933) 2. Moderato [5:34] 2-6 Kathryn Riley violin 3. Allegro scherzoso [3:52] 4. Andantino [5:14] Sophie Mather violin 5. Allegro feroce [6:01] Dan Shilladay viola John Casken (b. 1949) Gemma Wareham cello 6. Blue Medusa (2000/2007) * [10:09] double bass Lachlan Radford Charles Wood (1866-1926) John Slack clarinet Septet (1889) * 7. Allegro moderato [12:10] Andrew Watson bassoon 8. Andante [8:20] Paul Cott horn 9. Scherzo [6:05] 10. With vigour [12:08] About Berkeley Ensemble: ‘This talented group [...] is named after Sir Lennox Berkeley and his son Total playing time [76:15] Michael, and it champions music by them plus that of other British composers which in their view is unjustly neglected. [...] A stimulating evening.’ The Independent * world premiere recordings ‘The refined playing had an impressive sense of style’ Leicester Mercury Echoes of Beethoven first intake of scholars at the newly instituted Royal College of Music (RCM) where he studied ‘That damned thing! I wish it were burned!’ composition with Charles Villiers Stanford, Thus Beethoven referred, with typical one of the principal architects of the so-called bluntness, to his own youthful Septet, the English Musical Renaissance. Born to a tenor continuing popularity of which he felt to in the choir of Armagh’s Church of Ireland be overshadowing his subsequent work. -
Empyreanensemble Laurie San Martin & Kurt Rohde, Directors Department of Music Presents The
DEPARTMENT OF MUSIC PRESENTS THE empyreanensemble Laurie San Martin & Kurt Rohde, directors DEPARTMENT OF MUSIC PRESENTS THE EMPYREAN ENSEMBLE Directors Kurt Rohde Laurie San Martin Core Players Terrie Baune, violin Tod Brody, flute Chris Froh, percussion Peter Josheff, clarinet Thalia Moore, cello Guest Artists David Moschler, conductor Michael Orland, piano Pre-Concert Speaker Sandra Graham Administrative & Production Staff Phil Daley, events & publicity manager Josh Paterson, events & production manager Rudy Garibay, senior graphic designer Jessica Kelly, senior writer David Moschler, Empyrean student production manager EMPYREAN ENSEMBLE Through compelling performances and diverse programming, Empyrean Ensemble offers audiences an opportunity to hear original works by emerging and established composers alike. It has premiered over 200 works and performed throughout California, including appearances at many prominent music festivals and concert series. Empyrean has two full-length CDs released under the Centaur and Arabesque labels and has been the featured ensemble on others. Founded in 1988 by composer Ross Bauer as the ensemble-in-residence at UC Davis, Empyrean Ensemble now consists of a core of some of California’s finest musicians with extensive experience in the field of contemporary music. 2 PROGRAM The 51% Majority: Modern Works by Female Composers The Memory Palace (2006) for clarinet, cello, and piano Ann Callaway (world premiere) Peter Josheff, clarinet; Thalia Moore, cello; Michael Orland, piano Piano Etudes (1992) Unsuk -
Biography – Philip SHEFFIELD – Tenor
Biography – Philip SHEFFIELD – Tenor Philip Sheffield studied at the Guildhall School of Music and Drama and the Royal College of Music before making his professional debut as a soloist in L’incoronazione di Poppea in the Brussel’s Théâtre de la Monnaie. In 2007 he sang Tom Rakewell in Robert Lapage's new production of The Rakes Progress at La Monnaie, made his La Scala debut in Robert Carsen’s controversial production of Candide, took the leading tenor role in Jonathan Dove’s new opera Kwasi and Kwame for OT Rotterdam, sang Eisenstein (Fledermaus) at The Concertgebouw/Amsterdam and Flagey/Brussels and performed Haydn's Die Schöpfung in Firenze, Siena and Perugia with the Orchestra della Toscana. Another highlight of season 07/08 was his appearance at the Opera of Lisbon with the part of the Prince in the world creation of Emmanuel Nunes’ opera “Das Märchen”. During recent seasons he sang Alonso in Tomas Ades The Tempest in a co-production between The Royal Opera House Covent Garden and The Opera du Rhin, a production that went concertant at The Concertgebouw Amsterdam. Furthermore in the contemporary field he created Edward IV in Battistelli’s Richard III (at Vlaamse Opera and at Opera du Rhin, Strasbourg). He interpreted more music by Battistelli as Konzertmeister in Giorgio Battistelli’s Prova d’orchestra for the Vlaamse Opera. He was also cast for the leading role of Crom in Music Theatre Wales new award winning opera The House of the Gods. Other recent highlights included his Japanese debut in the title role of Haydn’s Orlando in Tokyo, revivals of Carsen’s Candide at ENO and in Japan, his debut as Don Jose in concert, Dr.