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French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Tadeusz Baird. the Composer, His Work, and Its Reception
Tadeusz Baird. The Composer, His Work, and Its Reception Eastern European Studies in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Adrian Thomas (Cardiff) László Vikárius (Budapest) Volume 17 Eastern European Studies Barbara Literska in Musicology Edited by Maciej Gołąb Editorial board Mikuláš Bek (Brno) Gražina Daunoravi ien (Vilnius) Luba Kyjanovska (Lviv) Mikhail Saponov (Moscow) Tadeusz Baird. The Composer, His Adrian Thomas (Cardiff) László Vikárius (Budapest) Work, and Its Reception Volume 17 Translated by John Comber Bibliographic Information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliograe; detailed bibliographic data is available online at http://dnb.d-nb.de. Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. The Publication is funded by Ministry of Science and Higher Education of the Re- public of Poland as a part of the National Programme for the Development of the Humanities in 2017-2018, project number 21H 16 0024 84. This publication re- ects the views only of the author, and the Ministry cannot be held responsible for any use which may be made of the information contained therein. Printed by CPI books GmbH, Leck ISSN 2193-8342 ISBN 978-3-631-80284-7 (Print) E-ISBN 978-3-631-80711-8 (E-PDF) E-ISBN 978-3-631-80712-5 (EPUB) E-ISBN 978-3-631-80713-2 (MOBI) DOI 10.3726/b16420 Open Access: This work is licensed under a Creative Commons Attribution Non Commercial No Derivatives 4.0 unported license. -
1 'A Contrapuntal-Harmonic-Orchestral Monster'? Karol
1 ‘A Contrapuntal-Harmonic-Orchestral Monster’? Karol Szymanowski’s First Symphony in the Context of Polish and German Symphonic Tradition Stefan Keym Institute of Musicology, University of Leipzig [...] itwillbeasortofcontrapuntal-harmonic-orchestralmonster,andIamalready looking forward to seeing the Berlin critics leaving the concert hall with a curse on their livid lips when this symphony will be played at our concert.1 This statement by Karol Szymanowski, made in July 1906 in a letter to Hanna Klechniowska, has often been taken to prove the opinion that his Symphony No. 1 op. 15 (composed in 1906/07)2 is an ‘insincere’ work written mainly to demonstrate the technical mastery of the young composer and not to express his personal feelings and values.3 In fact, Szymanowski’s op. 15 was fateful: After its one and only performance by Grzegorz Fitelberg and the Filharmonia Warszawska on 26th March 1909,4 it disappeared comple- tely from the concert programmes. In contrast to Szymanowski’s Concert Overture op. 12 (1904–05) and to his Symphony No. 2 op. 19 (1909–10), the score of his First Symphony was never revised by the composer5 and remains unpublished up to now.6 On the other hand, commentaries by artists on their own works should not be taken too literally. In his statements on some other, more successful compositions, young Szymanowski also mentioned mainly technical aspects: for example, he called the final fugue of his Second Symphony a ‘terrible ma- chine’ with a ‘devilishly complicated’ thematic structure.7 He also provided the musicologists Henryk Opieński and Zdzisław Jachimecki with detailed de- scriptions of the formal structure of his Second Symphony and of his Second 5 6 Stefan Keym Piano Sonata op. -
Lutosławski’S Output
CMYK N Each of the five works on this recording occupies a significant place within Lutosławski’s output. The AXOS Dance Preludes represent the climax of his folk music-based period, whereas the Double Concerto and Grave are a part of a sequence of increasingly creative orchestral pieces that culminated in the Third Symphony in 1983. Chain I, written directly afterwards, explores a new way of creating extended forms, 8.555763 based on the concept of links in a chain. The Children’s Songs date from some thirty years earlier, and DDD can be regarded as Lutosławski’s political response to the Socialist Realism of the time. 8.555763 Witold LUTOS LUTOSŁAWSKI Playing Time (1913 - 1994) 57:34 Orchestral Works, Vol. 8 Ł Dance Preludes 0 Chain I 9:18 AW for Clarinet and Orchestra for 14 Performers 1 Allegro molto 1:03 Two Children’s Songs 8 Vol. SKI: Works, Orchestral 2 Andantino 2:35 for Voice and Chamber Orchestra 3 Allegro giocoso 1:18 4 Andante 3:11 ! The Belated Nightingale 2:39 5 Allegro molto 1:41 @ About Mr Tralalinski 2:24 Double Concerto Six Children’s Songs for Oboe, Harp and for Voice and Instruments www.naxos.com Made in Canada. Booklet Notes in English • Kommentar auf Deutsch h Chamber Orchestra # Dance 0:57 & 6 Rapsodico 5:07 $ The Four Seasons 2:08 g SKI: Orchestral Works, Vol. 8 Vol. SKI: Works, Orchestral 7 Dolente 6:54 % Kitten 1:43 2003 HNH International Ltd. 8 Marziale e grotesco 6:19 ^ Grzes is going through AW the village 1:32 Ł 9 Grave 5:43 Metamorphoses for Cello & ABrook 2:20 and String Orchestra * The Bird’s Gossips -
Gli Esiliati in Siberia, Exile, and Gaetano Donizetti Alexander Weatherson
Gli esiliati in Siberia, exile, and Gaetano Donizetti Alexander Weatherson How many times did Donizetti write or rewrite Otto mesi in due ore. No one has ever been quite sure: at least five times, perhaps seven - it depends how the changes he made are viewed. Between 1827 and 1845 he set and reset the music of this strange but true tale of heroism - of the eighteen-year-old daughter who struggled through snow and ice for eight months to plead with the Tsar for the release of her father from exile in Siberia, making endless changes - giving it a handful of titles, six different poets supplying new verses (including the maestro himself), with- and-without spoken dialogue, with-and-without Neapolitan dialect, with-and-without any predictable casting (the prima donna could be a soprano, mezzo-soprano or contralto at will), and with-and-without any very enduring resolution at the end so that this extraordinary work has an even-more-fantastic choice of synopses than usual. It was this score that stayed with him throughout his years of international fame even when Lucia di Lammermoor and Don Pasquale were taking the world by storm. It is perfectly possible in fact that the music of his final revision of Otto mesi in due ore was the very last to which he turned his stumbling hand before mental collapse put an end to his hectic career. How did it come by its peculiar title? In 1806 Sophie Cottin published a memoir in London and Paris of a real-life Russian heroine which she called 'Elisabeth, ou Les Exilés de Sibérie'. -
Don Giovanni Press Release 10.9.18
For Immediate Release October 9, 2018 Contact: Lana Sadowski, Director of Marketing, Hampton Roads P.O. BOX 2580 ● Norfolk, VA 23501 PHONE: 757.627.9545 X 3316 EMAIL: [email protected] Virginia Opera Presents W.A. Mozart’s Don Giovanni Tale of Merciless Seducer Returns in Sixth Company Production: Performances Statewide November 2–18 Hampton Roads, Richmond, Fairfax, Virginia (October 9, 2018) — As the second opera production in its 44th season, Virginia Opera announces a new production of Wolfgang Amadeus Mozart’s ever-popular opera Don Giovanni. Statewide performances begin November 2, and conclude November 18, 2018 (please see complete list of venue locations and dates below). First performed in 1787 as Il dissoluto punito ossia il Don Giovanni (The rake punished also Don Giovan- ni), Mozart’s two-act opera traces the storied tale of the merciless seducer Don Juan in what has be- come one of the top ten most globally performed and timeless morality tales in operatic history. Come- dy and tragedy intermingle in ways only supernatural forces can address in the narrative of the legend- ary Spanish nobleman’s compulsive and destructive amorous conquests, leaving his ultimate fate in the hands of demons from the underworld as it reminds audiences that even those most powerful cannot avoid the consequences of their actions. Virginia Opera’s 2018 production of Don Giovanni represents the sixth time the company has ap- proached the classic—the last occurring in 2010—and, with it, acclaimed director Lillian Groag’s 24th VO production. Groag’s beloved veteran status is bookended by the exciting collection of emerging vocal talents making VO company debuts within the production. -
The Polish Pianist Artur Hermelin
M u z y k a l i a XIII · Judaica 4 The Polish Pianist Artur Hermelin H a n n a P a l m o n Introduction For many years, I knew about my late relative - the pianist Artur Hermelin - only this: that he grew up in Lwow (called Lemberg when he was born there in 1901); that he was a child prodigy; and that as a piano soloist he toured Europe with orchestras and gave recitals - some of which were broadcasted by the Polish Radio. I also knew that Artur perished in the Holocaust. When my father told me that, his eyes revealed how much he was still missing his cousin Artur, who had been one year older than him; that was 30 years after Artur’s tragic death, when I was still a child; it was far beyond my grasp, and it still is. We had an old small photo of Artur as a very young boy, hugging a big accordion and giving the camera a warm smile. During my recent attempts to collect details about Artur’s 41 years of life – I’ve read that Artur was among the musicians who were forced to perform music for the Nazis in the ghetto of Lwow and later in the labor camp; hundreds of thousands of Jews - Artur and his relatives among them - were murdered at the ghetto of Lwow and at its notorious Janowska camp, or transported from the ghetto or the camp to concentration camps, in the years 1941-1943. May the memory of the victims be blessed. -
GŁOS POLEK Polish Women’S Alliance of America Winter No
GŁOS POLEK POLISH WOmen’S ALLIANCE OF AMERICA WINTER NO. 4 MMXVI CHRISTMAS IN POLAND • Kolędnicy THE POLISH WOmen’S VOICE – PUBLICATION OF THE POLISH WOmen’S ALLIANCE OF AMERICA GŁOS POLEK – oRGAN ZWiązku poLEK W AMERYCE About Us and Our Newsletter Welcome GłOS POLEK Urzędowy Organ DISTRICT PRESIDENTS IN THIS ISSUE ZWIąZKU POLEK W Ameryce District I – Illinois & Florida Wychodzi cztery razy w roku Lidia Z. Filus, 325 South Chester, • Welcome Message .............................. p 3 Park Ridge, IL 60068 THE POLISH WOMEN’S VOICE District II – Western Pennsylvania • Fraternal News ................................. p 4-7 Published four times a year Maryann Watterson, 714 Flint Street, • PWA Book Club .................................... p 8 in FEB, MAY, AUG, NOV by Allison, PA 15101 THE POLISH WOMEN’S District III – Indiana • Youth Section ....................................... p 9 ALLIANCE OF AMERICA Evelyn Lisek, 524 Hidden Oak Drive, 6643 N. Northwest Hwy., 2nd Fl. Hobart, IN 46342 • PWA C&E Foundation ...................... p 10 Chicago, IL 60631 District IV – New York & Erie, PA. www.pwaa.org • PWA Heritage Booklets .................. p 11 • PWA Gift Card Program ............ p 12-13 EDITORIAL OFFICE – REDAKCJA District V – Michigan 6643 N. Northwest Hwy., 2nd Fl. Mary Ann Nowak, 17397 Millar Rd., • News from Poland and Polonia ... p 14-15 Chicago, Illinois, 60631 Clinton Township, MI 48036 PHONE 847-384-1200 District VI – Wisconsin • In Memoriam ............................... p 16-17 FAX 847-384-1494 Diane M. Reeve, 1223 S. 10th St., Mary Mirecki Piergies, English Editor Milwaukee, WI 53204 • Thanksgiving ...................................... p 18 Lidia Rozmus, Pol. Editor/Graphic Designer District VII – Ohio Grazyna Buczek, 6920 Acres Drive, • Christmas Traditions ........................ p 19 Polish Women’s Voice (Głos Polek) Independence, OH 44131 • Christmas Recipes ........................... -
Gerhard Samuel Collection ARS.0049
http://oac.cdlib.org/findaid/ark:/13030/kt8779s460 No online items Guide to the Gerhard Samuel Collection ARS.0049 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Gerhard Samuel ARS.0049 1 Collection ARS.0049 Descriptive Summary Title: Gerhard Samuel Collection Dates: 1940-2007 Collection number: ARS.0049 Creator: Samuel, Gerhard Collection size: 104 boxes: 695 reels ; 889 audiocassettes ; 10 DATs ; 13 phonogram discs ; 5 compact discs ; 19 CD-Rs ; 11 videocassettes ; 1 DVD-R ; 26 computer discs ; approximately 5 boxes of photographs, film, microfilm, and slides. Remainder are paper files. Repository: Archive of Recorded Sound Abstract: Papers and recordings from American conductor and composer Gerhard Samuel (1924-2008), particularly from his years conducting the Oakland Symphony, Minneapolis Symphony, and University of Cincinnati. Language of Material: Multiple languages Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Gerhard Samuel Collection, ARS-0049. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Source The Gerhard Samuel Collection was donated to the Stanford Archive of Recorded Sound by Erica Wilhelm in 2009. -
UC Berkeley UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title A Second Refuge: French Opera and the Huguenot Migration, c. 1680 - c. 1710 Permalink https://escholarship.org/uc/item/6ck4p872 Author Ahrendt, Rebekah Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 By Rebekah Susannah Ahrendt A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Chair Professor Richard Taruskin Professor Peter Sahlins Fall 2011 A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 Copyright 2011 by Rebekah Susannah Ahrendt 1 Abstract A Second Refuge French Opera and the Huguenot Migration, c. 1680 – c. 1710 by Rebekah Susannah Ahrendt Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Chair This dissertation examines the brief flowering of French opera on stages outside of France around the turn of the eighteenth century. I attribute the sudden rise and fall of interest in the genre to a large and noisy migration event—the flight of some 200,000 Huguenots from France. Dispersed across Western Europe and beyond, Huguenots maintained extensive networks that encouraged the exchange of ideas and of music. And it was precisely in the great centers of the Second Refuge that French opera was performed. Following the wide-ranging career path of Huguenot impresario, novelist, poet, and spy Jean-Jacques Quesnot de la Chenée, I construct an alternative history of French opera by tracing its circulation and transformation along Huguenot migration routes. -
SHOSTAKOVICH Violin Concertos Nos
SHOSTAKOVICH Violin Concertos Nos. 1 and 2 Ilya Kaler, Violin Polish National Radio Symphony Orchestra (Katowice) Antoni Wit, Conductor Dmitry Shostakovich (1 906-75) Violin Concertos Nos 1 & 2 Censured by Stalin, feted by Khruschev, celebrated by the world, a child of Tsarist Petersburg schooled by the first Leninists, public rhetorician, private soliloquiser: how will history choose to remember Shostakovich? As a chronicler of events epic and tragic, dimensions grotesque and satirical, perspectives elegiac and sentimental. As an essayer, a vivid essayer, of moods and confessions, of emotional discord and harmony. As a man, a genius, of destiny. Boris Tischenko, one of his students: "Our generation grew up on his music, and with his name on our lips. So our hearts would miss a beat when he took off his spectacles to clean them and we caught a glimpse of him, like a knight without armour, close to us, defenceless. The influence of his personality was so great that one began oneself to change, to become ashamed of one's insignificance, one's ineptitude, one's lack of understanding. That such a man lived has made the world a much finer place. We must all learn from him, and not from his music alone". As a human being of profound spiritual bitterness and disillusionment. Testament, the alleged memoirs (New York 1979): "Looking back I see nothing but ruins, only mountains of corpses ... There were no particularly happy moments in my life, no great joys. It was grey and dull and it makes me sad to think about it. It saddens me to admit it, but it's the truth, the unhappy truth".