DOCSLIB.ORG

221 Vocal Methods, Vocalises & Sight

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
221 Vocal Methods, Vocalises & Sight 90148 Schott Catalog 3-19:Project1 3/31/08 8:52 AM Page 221 VOCAL 221 VOCAL METHODS, VOCALISES & SIGHT-SINGING BACH, JOHANN SEBASTIAN ______49002984 Bist du bei mir (BWV 508) and Komm süsser Tod BACON (BWV 478) (ed. Bergmann/Tippett) Piano Reduction ______49012491 50 Easy 2-Part Exercises First Steps in A Cappella Singing High Voice Schott ED11913........................................$6.95 Schott EA1 ...................................................................$8.95 ______49008522 Willst du dein Herz mir schenken/Kein Hälmlein wächst auf Erden BWV 518 BRETT, TONA DE Medium Voice and Piano Schott ED01111..................$5.95 ______49003242 Discover Your Voice Learn to Sing BACH, JOHANN SEBASTIAN AND CHARLES GOUNOD from Rock to Classic ______49008946 Ave Maria (1854) Meditation on Tona de Brett, internationally renowned singing Prelude No. 1 in C Major teacher, presents her teaching material, worked through with stars of rock, jazz and musicals who with Violin (Violoncello) ad lib. seek help with their voices. Tona de Brett deals High Voice Schott ED07220.....................................$5.95 with the various aspects of voice-production through a wealth of exercises and examples. The working in the Studio section by Tom West will help singers prepare for the recording studio. Book/CD Pack Schott ED12498.............................$27.95 BROCKLEHURST, BRIAN ______49002573 Pentatonic Song Book (ed. Brocklehurst) BEASER, ROBERT Melody Edition Schott ED10909-01 .........................$13.95 ______49012640 Seven Deadly Sins for Baritone and Piano ______49002572 Piano Book Schott ED10909 .....................................$19.95 Schott EA510 .............................................................$25.00 CONCONE, GIUSEPPE BEETHOVEN, LUDWIG VAN ______49016624 40 Lessons Op. 17 ______49008524 Adelaide Op. 46 Low Voice Zen-On Z711340......................................$20.00 High Voice and Piano Schott ED01115.......................$5.95 KEMBER, JOHN ______49033427 Medium Voice and Piano Schott ED01116..................$5.95 ______49009134 Die Ehre Gottes in der Natur ______49012937 Sight-Singing Volume 1 “Die Himmel rühmen,” Op. 48, No. 4 A Fresh Approach High Voice and Piano Schott ED09573.......................$5.95 The aim of this first sight-singing volume is to ______49008525 Medium Voice and Piano Schott ED01117..................$5.95 instill confidence in singers and to present a ______49008584 Ich liebe dich, WoO 123 method of approaching all aspects of singing at sight. Many of the melodies follow familiar shapes Medium Voice and Piano Schott ED01476..................$5.95 and rhythms, and use sequences to aid recognition ______49005778 Lieder Selections for High Voice of these patterns. Singers are encouraged to Schott ED5579 ...........................................................$24.95 observe how to obtain their starting note from the introduction and to note the help with their vocal BELLINI, VINCENZO line that can be found in the accompaniment. ______49016630 Composizioni da camera for Voice and Piano German/French/English Schott ED12737..................$12.95 Zen-On Z714200........................................................$39.95 ______49012957 Sight-Singing Volume 2 A Fresh Approach BIZET, GEORGES German/French/English Schott ED12790..................$12.95 ______49009176 Agnus Dei from Music for Daudet’s Drama LENAIN, JEAN "L’Arlésienne" (ed. Lechner) ______49016452 Solfeges Vol. 2 High Voice and Piano Schott ED09639.......................$5.95 Schott Frères SF08711 ...............................................$15.00 ______49009185 Drassen am Wall von Sevilla from Carmen (Lutz) ______49043461 Solfeges Volume 6 Mezzo-Soprano and Piano Schott ED09658................$5.95 Schott Frères SF09126 ...............................................$15.00 ______49009184 Ja, die Liebe hat bunte Flügel from Carmen (Lutz) Mezzo-Soprano and Piano Schott ED09657................$5.95 PANZÉRA, CHARLES ______49043470 50 French Songs 50 Lessons in Style and Interpretation BLOMDAHL, KARL-BIRGER Schott Frères SF09181 ...............................................$35.00 ______49002538 5 Canzone Schott ED10822 .........................................................$14.95 WUYTACK, JOS ______49016504 Choralia 55 Songs for Active Vocal Training BLOW, JOHN Schott Frères SF09283 ...............................................$20.00 ______49014826 The Self Banished for Low Voice and Piano Schott ED11940 ...........................................................$5.95 ______49002997 Tell Me No More Medium Voice and Piano Schott ED11941..................$5.95 VOCAL MUSIC BY COMPOSER BRAHMS, JOHANNES ADAM, ADOLPHE ______49003495 4 Serious Songs Op. 121 ______49008520 Der Postillon von Lonjumeau Medium Low Voice and Piano Schott ED1670.........$10.95 “Freunde, vernehmet die Geschichte” ______49003496 Bass Voice and Piano Schott ED1671........................$11.95 Tenor and Piano Schott ED01101................................$5.95 ______49003493 Gypsy Songs Op. 103 High Voice and Piano Schott ED1667.......................$10.95 ARDITI, LUIGI ______49003494 Low Voice and Piano Schott ED1668........................$10.95 ______49000790 Il Bacio - Der Kuss ______49009008 Die Mainacht “Wann der silberne Mond,” Op. 43, No. 2 It/Ger High Voice Schott BSS16889............................$6.95 Low Voice and Piano Schott ED07728........................$5.95 ______49009075 Parla Waltz (arr. Lutz) ______49009010 Meine Liebe ist Grün, Op. 63, No. 5 Soprano and Piano Schott ED08271............................$5.95 Low Voice and Piano Schott ED07730........................$5.95 90148 Schott Catalog 3-19:Project1 3/31/08 8:52 AM Page 222 222 VOCAL ______49009003 Ständchen / Vergebliches Ständchen, Op. 106/1 u. 84/4 GOEHR, ALEXANDER High Voice and Piano Schott ED07677.......................$5.95 ______49002492 4 Songs from the Japanese Op. 9 ______49009000 Wiegenlied / Sandmännchen Schott ED10725 .........................................................$16.95 High Voice and Piano Schott ED07670.......................$5.95 ______49014848 The Law of the Quadrille for Low Voice and Piano ______49009001 Medium Voice and Piano Schott ED07671..................$5.95 Schott ED12078 .........................................................$30.95 BRUCKNER, ANTON ______49014901 The Mouse Metamorphosed into a Maid for Solo Soprano ______49009200 Ave Maria (ed. Draths) Schott 49013081.........................................................$11.95 Low Voice and Piano Schott ED09685........................$5.95 GOUNOD, CHARLES CASKEN, JOHN ______49016628 Choix de Mélodies Vol. 2 for Voice and Piano ______49014598 La Orana, Gauguin for Soprano and Piano Zen-On Z713852........................................................$45.00 Schott ED11460 .........................................................$27.95 GRIEG, EDVARD CORNELIUS, PETER ______49009158 Ich liebe Dich "Du mein Gedanke," Op. 5, No. 3 ______49006016 Christmas Songs Op. 8 High Voice and Piano Schott ED09598.......................$5.95 Medium Voice Schott ED610.....................................$12.95 GUSTAV JENNER DELL’ACQUA, D’E. ______49007404 12 Quartets Volume 1 ______49016424 Villanelle for Soprano and Piano (German/French) Schott ED7635 ...........................................................$31.95 Schott Frères SF04031-01..........................................$20.00 HAAS, JOSEF DONIZETTI, GAETANO ______49004583 Lieder Op. 97 ______49016631 Composizioni da camera for Voice and Piano High Voice Schott ED4020........................................$16.95 Zen-On Z714300........................................................$45.00 ______49004584 Low Voice Schott ED4021.........................................$16.95 EGK, WERNER HANDEL, GEORGE FRIDERIC ______49004972 Tentation De St. Antoine ______49009194 Dank sei dir, Herr Arioso (arr. Franke) Vocal/piano score, French. Medium Voice and Piano Schott ED09676..................$5.95 Schott ED4543 ...........................................................$31.95 ______49009110 Largo from the Opera "Xerxes" FIELD, COREY High Voice and Piano Schott ED08973.......................$5.95 ______49012742 3 Lullabies for Voice and Piano ______49009136 Medium Voice and Piano Schott ED09575..................$5.95 European American Music EA693 ..............................$9.95 HARREX FISCHER, LUDWIG ______49000562 Sonata for Female Voice, Flute, and Percussion ______49008527 Im tiefen Keller Trinklied Schott AVV201...........................................................$38.95 Low Voice and Piano Schott ED01158........................$5.95 HARTMANN, KARL AMADEUS FLOWTOW, FRIEDRICH VON ______49005253 Lamento ______49008768 Ach so Fromm Arie des Lyonel aus "Martha" (ed. Lutz) Schott ED4906 ...........................................................$20.95 Tenor and Piano Schott ED04449................................$5.95 ______49007435 Wachsfigurenkabinett ______49008769 Letzte Rose Volkslied aus "Martha" (ed. Lutz) Voice and Piano Schott ED7668................................$62.95 High Voice and Piano Schott ED04451.......................$5.95 HELLER, BARBARA FORTNER, WOLFGANG ______49008353 Come una colomba ______49005033 Creation Soprano and Piano Schott ED9246............................$23.95 Medium Voice and Piano Schott ED4612..................$24.95 HENZE, HANS WERNER ______49004221 4 Holderlin Songs ______49008256 6 Gesänge aus dem Arabischen Medium Voice and Piano Schott ED8999 ...........................................................$62.95
Load more

Recommended publications
  • Guitar Syllabus
    TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and
    [Show full text]
  • 573824 Itunes Lortzing
    LORTZING Opera Overtures Der Waffenschmied Undine Der Wildschütz Hans Sachs Malmö Opera Orchestra Jun Märkl Albert Lortzing (1801–1851) though, sketched out a plan for an opera on the subject as wrong Peter. Ivanov hands it to the Tsar, thereby obtaining early as 1845, and he was certainly aware of Lortzing’s the latter’s blessing for his union with Marie. Van Bett was Opera Overtures work. Set in 1517, when Sachs would have been 23 and a yet another of Lortzing’s richly comic bass creations, and Gustav Albert Lortzing was a multifaceted man of the staged work, first produced the evening before his death. young cobbler, Lortzing’s opera centres on Sachs’s Lortzing himself created the tenor role of Peter Ivanov. theatre – actor, singer, librettist, composer and conductor. The relatively brief and sprightly overture sets the scene courtship of his first wife, Kunigunde, daughter of goldsmith Andreas Hofer is, like Der Weihnachtsabend , a one-act Though international currency of his operas has been for a behind-the-scenes one-act piece in the tradition of Steffen (the counterpart of Wagner’s Pogner). Steffen has piece composed in 1832. It features real and imaginary limited, on German stages he was for some 150 years the Cimarosa’s Il maestro di capella , Mozart’s Der offered Kunigunde’s hand as the prize in a singing contest, episodes of the life of the innkeeper and drover who in 1809 most performed composer after Mozart and Verdi. While Schauspieldirektor and similar works. In the castle of a but has arranged that the winner should be Eoban Hesse, led the Tyrolean rebellion against occupation by Bavarian the pace of productions there has slackened over the past Count (another of those comic bass roles), the household an alderman from Augsburg.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
    This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action.
    [Show full text]
  • Zar Und Zimmermann Zar Und Zimmermann Von Albert Lortzing
    BIOGRABIOGRAFFFFIENIENIENIEN:::: Premiere Zar und Zimmermann von Albert Lortzing / 222222.22 ...00006666.... Iris Ini Gerath (Inszenierung(Inszenierung)))) wurde in Düsseldorf geboren und studierte zunächst in Frankfurt und Berlin Germanistik, Philosophie, Theater-, Film- und Fernsehwissenschaften sowie Komparatistik. An der Oper Frankfurt – zur Zeit der Gielen/Zehelein-Ära – war sie Mitarbeiterin der Dramaturgie. Anschließend ging sie als Regieassistentin an das Hessische Staatstheater Wiesbaden, zunächst im Bereich Schauspiel, später im Bereich Oper. In Wiesbaden hat sie als erste Spielleiterin über 50 Produktionen betreut. In den letzten Jahren war sie als Gast- Regisseurin an verschiedenen deutschen Theatern engagiert. Neben ihren Tätigkeiten am Theater veranstaltet sie eigene Lesungen und kümmert sich intensiv um die Ausbildung von Studierenden. So ist sie seit Herbst 2003 Dozentin für Szenischen Unterricht an der Wiesbadener Musikakademie. Am Theater Lüneburg inszenierte Iris Ini Gerath in der Spielzeit 2010/2011 bereits das Musical Aida sowie zuletzt 2012/2013 Die Fledermaus . Barbara Bloch (Ausstattung) stammt aus München und studierte Bühnen- und Kostümbild am Salzburger Mozarteum, an der Hochschule für Musik und Darstellende Kunst, bei den Professoren H. B. Gallee und H. Kapplmüller. Während ihres Studiums sammelte sie erste Erfahrungen im Bereich Bühnen- und Kostümbild an den Münchner Kammerspielen und bei den Salzburger Festspielen und realisierte erste eigene Entwürfe für ein Projekt mit George Tabori in Zusammenarbeit mit der Oper Leipzig. Es folgten Arbeiten für die Kreuzgangspiele Feuchtwangen unter Imo Moszkowicz. Seit 1995 ist Barbara Bloch für das Theater Lüneburg in den Sparten Schauspiel, Ballett und Musiktheater als Bühnen- und Kostümbildnerin tätig und leitet die künstlerischen Werkstätten. Darüber hinaus führten sie seit 2000 Arbeiten zu den Burgfestpielen Jagsthausen, ans Theater Lübeck, Theater Regensburg, Stadttheater Bremerhaven sowie ans Theater Chemnitz.
    [Show full text]
  • Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
    Operetta after the Habsburg Empire by Ulrike Petersen 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 Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated
    [Show full text]
  • Biographic Details Regarding the Operetta the Land of Smiles by Franz Lehár
    BIOGRAPHIC DETAILS REGARDING THE OPERETTA THE LAND OF SMILES BY FRANZ LEHÁR Katja Claudia Nadler Abstract This essay on biographic details regarding the operetta The Land of Smiles by Franz Lehár is entirely dedicated to facts found in literature and repositories of performance organisers. It does not aim at discussing importance or consequences this operetta might have on current musical life neither in central Europe nor in Asia. Being aware of this, here are only details mentioned that are helpful for further studies and do not mislead into speculation. Also, this essay is just a first access to the materials from the viewpoint of recent experiences with operettas. Keywords: operetta, exoticism, Franz Lehár, Vienna Franz Lehár was born on 30th April, 1870 in Komárno, a town then belonging to Hungary. His father was Franz Lehár (senior) the military capellmeister from Habsburg; province of Moravian Silesia. His mother was Christine Lehár of Hungarian origin (Linke, 2001: 7). Due to the father’s profession, Lehár frequently moved from place to place in his early childhood. Hence, in 1871 the Lehárs were ordered to Bratislava, 1875 to Sopron, 1877 to Cluj and in 1879 to Carlsberg. The family became larger from one station to the next. Three of Lehár’s siblings died shortly after birth, whereas Maria Anna was only 11 years old when she passed away. A long life was only granted to Lehár and his 1876 born brother Anton and to his 1890 born sister Emilie Christine (ibid: 13). In Lehár’s parents’ house music played a crucial role. For the parents, it was obvious that one day their eldest son would overtake the father’s profession (ibid: 14).
    [Show full text]
  • Heft 48 / Juni 2021
    60 Jahre Lehár Festival Bad Ischl • “Lieblingskomponist unseres Sommerpublikums“. Franz Lehár im Spiegel des Ischler Wochenblattes 1903 – 1915 (Teil 2) • Quo vadis, Operette? • Operettenkrise Heft 48 / Juni 2021 Leháriana LIEBE LEHÁRIANER! *) Wir hoffen Sie alle bei bester Gesundheit und voller Lebensfreude! Wie glücklich sind wir, dass wir im Sommer 2021 nun doch nicht zu „hock-down“ verurteilt sind, sondern dass unser Leben wieder freier wird und sich die Vorhänge über unsere geliebten Werke in unseren geliebten Theatern wieder heben. Wir freuen uns auf zahlreiche schöne Operettenproduktionen, die wir sicher genießen werden können. Es lebe die Gesundheit, die Freiheit und auch die Operette! In dieser achtundvierzigsten „LEHÁRIANA“ haben wir wieder einiges Interessantes aus der Operettenwelt von damals und heute für Sie zusammengestellt und hoffen, dass Sie Freude finden werden an … … der Fortsetzung des Artikels über das „Lehár Theater“ in Bad Ischl. … einem Interview mit Thomas Enzinger, Intendant des Lehár Festivals Bad Ischl, über die erste Spielzeit mit Corona, in der auch nachträglich des 150. Geburtstages von Franz Lehár mit einer Uraufführung des Musiktheaterwerkes „DEIN IST MEIN GANZES HERZ“ über Leben und Werk des Ischler Meisters gedacht wird. … einem Gespräch „Quo vadis, Operette?“ von Wolfgang Dosch mit der deutschen Zeitschrift „Das Orchester“ über Gegenwart und Zukunft der Kunstform. … interessanten Stimmen von Operettenmeistern über die angebliche Operettenkrise 1929, die Rückschlüsse auf die damalige Vergangenheit und Zukunft des Genres zulässt und Parallelen zu der Frage „Quo vadis, Operette?“ im Jahr 2021 offensichtlich werden lässt. Die IFLG arbeitet daran, ab Sommer wieder Veranstaltungen und Aktivitäten für Lehárianer anzubieten. Wir planen auch einen lehárianischen Stadtrundgang, bei dem wir Orte in Wien besuchen wollen, die in Beziehung zu Person und Werk Franz Lehárs stehen.
    [Show full text]
  • Marco Polo – the Label of Discovery
    Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.
    [Show full text]
  • PDF Downloaden
    Volkswirtschaft und Theater: Ernst und Spiel, Brotarbeit und Zirkus, planmäßige Geschäftigkeit und Geschäftlichkeit und auf der anderen Seite Unterhaltung und Vergnügen! Und doch hat eine jahrhundertelange Entwicklung ein Band, beinahe eine Kette zwischen beiden geschaffen, gehämmert und geschmiedet. Max Epstein1 The public has for so long seen theatrical amusements carried on as an industry, instead of as an art, that the disadvantage of apply- ing commercialism to creative work escapes comment, as it were, by right of custom. William Poel2 4. Theatergeschäft Theater als Geschäft – das scheint heute zumindest in Deutschland, wo fast alle Theater vom Staat subventioniert werden, ein Widerspruch zu sein. Doch schon um 1900 waren für die meisten deutschen Intellektuellen Geschäft und Theater, Kunst und Kommerz unvereinbare Gegensätze. Selbst für jemanden, der so inten- siv und über lange Jahre hinweg als Unternehmer, Anwalt und Journalist mit dem Geschäftstheater verbunden war wie Max Epstein, schlossen sie einander letztlich aus. Obwohl er lange gut am Theater verdient hatte, kam er kurz vor dem Ersten Weltkrieg zu dem Schluss: „Das Theatergeschäft hat die Bühnenkunst ruiniert“.3 In Großbritannien hingegen, wo Theater seit der Zeit Shakespeares als private, kommerzielle Unternehmen geführt wurden, war es völlig selbstverständlich, im Theater eine Industrie zu sehen. Der Schauspieler, Direktor und Dramatiker Wil- liam Poel bezeugte diese Haltung und war zugleich einer der ganz wenigen, der sie kritisierte. Wie auch immer man den Prozess bewertete, Tatsache war, dass Theater in der Zeit der langen Jahrhundertwende in London wie in Berlin überwiegend kom- merziell angeboten wurde. Zwar gilt dies teilweise bereits für die frühe Neuzeit, erst im Laufe des 19.
    [Show full text]
  • Franz Lehár Franz Franz Lehár Der Letzte Operettenkönig Stefan Frey
    Stefan Frey Franz Lehár Franz Franz Lehár Der letzte Operettenkönig Stefan Frey Eine Biographie Stefan Frey: Franz Lehár © 2020 by Böhlau Verlag GmbH & Co. KG, Wien ISBN Print: 9783205210054 — ISBN E-Book: 9783205210061 Stefan Frey: Franz Lehár © 2020 by Böhlau Verlag GmbH & Co. KG, Wien ISBN Print: 9783205210054 — ISBN E-Book: 9783205210061 Stefan Frey: Franz Lehár Stefan Frey Franz Lehár Der letzte Operettenkönig Eine Biographie BÖHLAU VERLAG WIEN KÖLN WEIMAR © 2020 by Böhlau Verlag GmbH & Co. KG, Wien ISBN Print: 9783205210054 — ISBN E-Book: 9783205210061 Stefan Frey: Franz Lehár Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über https://portal.dnb.de abrufbar. © 2020 by Böhlau Verlag GmbH & Co. KG, Kölblgasse 8–10, A-1030 Wien Alle Rechte vorbehalten. Das Werk und seine Teile sind urheberrechtlich geschützt. Jede Verwertung in anderen als den gesetzlich zugelassenen Fällen bedarf der vorherigen schriftlichen Einwilligung des Verlages. Umschlagabbildung: Einbandgestaltung: Michael Haderer, Wien Satz: Bettina Waringer, Wien Vandenhoeck & Ruprecht Verlage | www.vandenhoeck-ruprecht-verlage.com ISBN 978-3-205-21006-1 © 2020 by Böhlau Verlag GmbH & Co. KG, Wien ISBN Print: 9783205210054 — ISBN E-Book: 9783205210061 Stefan Frey: Franz Lehár Für Susan, mein „lachendes Glück“ © 2020 by Böhlau Verlag GmbH & Co. KG, Wien ISBN Print: 9783205210054 — ISBN E-Book: 9783205210061
    [Show full text]
  • History of Opera CD Booklet
    Richard Fawkes The History of Opera NON- Read by Robert Powell FICTION HISTORIES NA417612D 1 VERDI RIGOLETTO 8.660013-14 Soloists, Czecho-Slovak RSO, Alexander Rahbari Opera – the beginnings 4:15 Orazio Vecchi (1550-1605) VECCHI L’AMFIPARNASO 8.553312 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 2 The Baroque – opera emerges 5:16 Jacopo Peri (1561-1633) Giulio Caccini (1550-1610) Emilio de Cavalieri (1550-1602) CAVALIERI RAPPRESENTATIONE DI ANIMA E DI CORPO 8.554096-97 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo 3 Claudio Monteverdi (1567-1643) 5:39 MONTEVERDI L’ORFEO 8.553319 Cappella Musicale di S Petronio di Bologna, Sergio Vartolo MONTEVERDI LAMENTI BAROCCHI VOL 3 8.553320 Lamento d’Arianna, Anna Caterina Antonacci, soprano Cappella Musicale di S Petronio, Sergio Vartolo 4 The first public opera house in Venice – 1637 3:06 Antonio Cesti (1623-1649) 2 5 Opera spreads 5:24 Giovanni Battista Pergolesi (1710-1736) PERGOLESI LA SERVA PADRONA SAGA 5360 Soloists, Hamburg RSO, George Singer. Used with kind permission from National Sound Archive, British Library 6 Opera in France 5:12 Jean-Baptiste Lully (1632-1687) LULLY BALLET MUSIC FOR THE SUN KING 8.554003 Aradia Baroque Ensemble, Kevin Mallon Jean Philippe Rameau (1683-1764) RAMEAU ANACREON 8.553746 Capella Savaria, Mary Térey-Smith 7 Opera in Germany – 17th century 1:41 Heinrich Schütz (1585-1672) 8 Opera in England – 17th century 6:57 John Blow (1649-1708) Henry Purcell (1659-16) PURCELL DIDO & AENEAS (ACT II Witches & Sorceress Scene) The Scholars Baroque
    [Show full text]