Spring 2020 Classics & Jazz
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Report to the Friends of Music
Summer, 2020 Dear Friends of the Music Department, The 2019-20 academic year has been like no other. After a vibrant fall semester featur- ing two concerts by the Parker Quartet, the opening of the innovative Harvard ArtLab featuring performances by our faculty and students, an exciting array of courses and our inaugural department-wide throwdown–an informal sharing of performance projects by students and faculty–we began the second semester with great optimism. Meredith Monk arrived for her Fromm Professorship, Pedro Memelsdorff came to work with the Univer- sity Choir as the Christoph Wolff Scholar, Esperanza Spalding and Carolyn Abbate began co-teaching an opera development workshop about Wayne Shorter’s Iphigenia, and Vijay Iyer planned a spectacular set of Fromm Players concerts and a symposium called Black Speculative Musicalities. And then the world changed. Harvard announced on March 10, 2020 that due to COVID-19, virtual teaching would begin after spring break and the undergraduates were being sent home. We had to can- cel all subsequent spring events and radically revise our teaching by learning to conduct classes over Zoom. Our faculty, staff, and students pulled together admirably to address the changed landscape. The opera workshop (Music 187r) continued virtually; students in Vijay Iyer’s Advanced Ensemble Workshop (Music 171) created an album of original mu- sic, “Mixtape,” that is available on Bandcamp; Meredith Monk created a video of students in her choral class performing her work in progress, Fields/Clouds, and Andy Clark created an incredible performance of the Harvard Choruses for virtual graduation that involved a complicated process of additive recording over Zoom. -
June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
La Recepción Del Liber Primus Missarum (1602) De Alonso Lobo En La Catedral De Jaén*
E ELUCIDARIO. Nº 5 (Marzo 2008). págs. 97 a 136 Seminario Bio-bibliográfico Manuel Caballero Venzalá «Era justo començar por la de Jaén»: la recepción del Liber Primus Missarum (1602) de Alonso Lobo en la Catedral de Jaén* JAVIER MARÍN LÓPEZ Doctor en Historia y Ciencias de la Música R E S U M E N Este artículo presenta la descripción detallada y el inventario con concordancias e íncipits musicales de un libro de música impreso recientemente descubierto en la Catedral de Jaén: el Liber Primus Missarum (Madrid, 1602) de Alonso Lobo (1555-1617), maestro de capilla de las catedrales de Toledo y Sevilla. Aunque se conservan varios ejemplares de este libro impreso en distintos archivos y bibliotecas, el de Jaén había pasado desapercibido hasta ahora. El inventario propiamente dicho va precedido de un estudio de la recepción e historia de este libro en la Catedral de Jaén, que fue una de las primeras instituciones españolas que recibió y compró el volumen. A B S T R A C T This article presents a detailed description and inventory with concordances and musical incipits of a recently discovered printed music book at Jaen Cathedral: the Liber Primus Missarum (Madrid, 1602) of Alo- nso Lobo (1555-1617), chapelmaster at Toledo and Seville cathedrals. Although several copies of this book still survive in some libraries and archives, the one of Jaén has gone unnoticed up-to-now. The inventory is preceded of a study of the reception and history of this book in the Cathedral of Jaen, which was one of the first Spanish institutions that received and bought the book. -
Publication.Pdf
Auditorium du louvre Pompeo Girolamo Batoni, Apollon, la Musique et la Métrique UNE INVITATION À ÉCOUTER LE MUSÉE AUTREMENT : tel pourrait être l’esprit de votre nouvelle saison musicale. Les concerts qui vous sont proposés se déploient en quatre grands cycles pour illustrer les liens féconds que le musée du Louvre a toujours entretenus avec la musique. Un premier temps fort à l’automne redonnera ainsi vie aux musiques des XVIIe et XVIIIe siècles qui furent jouées dans l’enceinte ou aux alentours du Palais – comme la recréation d’un ballet de Delalande et Destouches dansé par le jeune Louis XV aux Tuileries en 1721. Une exposition dédiée aux chefs-d’œuvre des musées de Salzbourg sera ensuite l’occasion de révéler les relations tumultueuses de Mozart – l’enfant le plus illustre de Salzbourg – avec sa ville natale. Au début de l’année 2017, un cycle consacré aux œuvres de jeunesse des grands musiciens, de Bach à Rachmaninov, offrira de subtils prolongements aux collections du musée. Enfin, un ample programme imaginé autour de la question de l’atelier d’artiste vous fera pénétrer au cœur de la création, avec un volet musical qui donnera à entendre l’atelier de l’interprète et celui du compositeur. Au cours de ces différents cycles, vous retrouverez les rendez-vous auxquels vous êtes habitués : des concerts les mercredis et vendredis AUDITORIUM DU LOUVRE soir avec les plus grands artistes de la scène classique internationale, ainsi que des concerts d’une heure le jeudi à 12 h 30 pour découvrir les jeunes talents d’aujourd’hui. -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
La Phil and Gustavo Dudamel Announce 2020/21 Season That Celebrates the Music of the Americas, Expands the Musical World with Mo
LA PHIL AND GUSTAVO DUDAMEL ANNOUNCE 2020/21 SEASON THAT CELEBRATES THE MUSIC OF THE AMERICAS, EXPANDS THE MUSICAL WORLD WITH MORE THAN TWO DOZEN COMMISSIONS, AND BRINGS EXCITING NEW VOICES TO BELOVED MASTERWORKS Dudamel launches multi-year Pan-American Music Initiative celebrating the vision and creativity of artists from across the Americas; inaugural year curated by composer Gabriela Ortiz features commissions and multi-disciplinary collaborations America: The Stories We Tell, a season-long musical journey into the ways in which narrative shapes American identity Seoul Festival, curated by composer Unsuk Chin, links South Korea’s cultural scene to the city with America’s largest Korean population The return of the landmark Tristan Project led by Esa-Pekka Salonen, with direction by Peter Sellars and visuals by Bill Viola, featuring Nina Stemme, Stephen Gould, Michelle DeYoung and Franz Josef Selig Katia and Marielle Labèque in an immersive multimedia journey, Supernova, with Barbara Hannigan and director Netia Jones, and concerts featuring new music by Nico Muhly and The National’s Bryce Dessner Season Subscription Series Available Now Single Ticket Sales Begin Sunday, August 23, 2020 Los Angeles, CA (February 5, 2020) – Los Angeles Philharmonic Music & Artistic Director Gustavo Dudamel and David C. Bohnett Chief Executive Officer Chair Chad Smith today announced the 2020/21 Walt Disney Concert Hall season featuring three trailblazing new projects: Pan-American Music Initiative and America: The Stories We Tell led by Gustavo Dudamel and Seoul Festival curated by Unsuk Chin; the premieres of 27 LA Phil commissions; the revival of LA Phil productions including the landmark Tristan Project Page 1 of 11 collaboration of Esa-Pekka Salonen, Peter Sellars and Bill Viola; and performances by world- renowned guest artists including Yuja Wang, Hélène Grimaud, Lang Lang, Itzhak Perlman, Yefim Bronfman, Leila Josefowicz, Katia and Marielle Labèque and Barbara Hannigan. -
Days of Bliss Are in Store: Antonino Pasculli's "Gran Trio Concertante
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Days of Bliss Are in Store: Antonino Pasculli's Gran Trio Concertante per Violino, Oboe, e Pianoforte su Motivi del Guglielmo Tell di Rossini Anna Pennington Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC DAYS OF BLISS ARE IN STORE: ANTONINO PASCULLI’S GRAN TRIO CONCERTANTE PER VIOLINO, OBOE, E PIANOFORTE SU MOTIVI DEL GUGLIELMO TELL DI ROSSINI By ANNA PENNINGTON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music. Degree Awarded: Summer Semester, 2007 Copyright © 2007 Anna Pennington All Rights Reserved The members of the Committee approve the treatise of Anna Pennington defended on May 7, 2007. ______________________________ Eric Ohlsson Professor Directing Treatise ______________________________ Richard Clary Outside Committee Member ______________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGMENTS For the generous encouragement of Eric Ohlsson in completing this project, I am greatly indebted. I also wish to thank Sandro Caldini and Olga Visentini, for their unselfish help in obtaining the trio. iii TABLE OF CONTENTS ABSTRACT ................................................................................................................... v -
Annette Dasch Soprano, Présentation Katrin Dasch Piano Récital Vocal
Récital vocal Samedi / Samstag / Saturday 09.03.2013 20:00 Salle de Musique de Chambre Annette Dasch soprano, présentation Katrin Dasch piano Gustav Mahler (1860–1911) «Rheinlegendchen» (Des Knaben Wunderhorn N° 7) (1893) «Trost im Unglück» (Des Knaben Wunderhorn N° 3) (1893) «Zu Straßburg auf der Schanz» (Lieder und Gesänge N° 5) (1887–1890) «Lied des Verfolgten im Turm» (Des Knaben Wunderhorn N° 8) (1898) «Wo die schönen Trompeten blasen» (Des Knaben Wunderhorn N° 9) (1898) «Urlicht» (Des Knaben Wunderhorn N° 12) (1893) 25’ «Wer hat dies Liedlein erdacht?» (Des Knaben Wunderhorn N° 4) (1893) «Ich ging mit Lust durch einen grünen Wald» (Lieder und Gesänge N° 2) (1887–1890) «Verlorne Müh’!» (Des Knaben Wunderhorn N° 2) (1892) «Scheiden und Meiden» (Lieder und Gesänge N° 7) (1887-1890) 12’ — Alexander Zemlinsky (1871–1942) «Altdeutsches Minnelied» (Dreizehn Lieder op. 2 Heft 2 N° 2) (1894–1896) «Das bucklichte Männlein» (Sechs Lieder op. 22 N° 6) (1934) «Entbietung» (Fünf Lieder op. 7 N° 2) (–1900) «Meeraugen» (Fünf Lieder op. 7 N° 3) (–1900) 10’ Arnold Schönberg (1874–1951) «Wie Georg von Frundsberg von sich selber sang» (Sechs Lieder op. 3 N° 1) (1903) «Warnung» (Sechs Lieder op. 3 N° 3) (1899) «Mädchenlied» (Sechs Lieder op. 6 N° 3) (1905) «Der Wanderer» (Sechs Lieder op. 6 N° 8) (1905) 10’ Erich Wolfgang Korngold (1897–1957) «Schneeglöckchen» (Einfache Lieder op. 9 N° 1) (1911–1913) «Die Sperlinge» (So Gott und Papa will op. 5 N° 7) (1911) Drei Lieder op. 22 (1928–1929) N° 1: «Was du mir bist» N° 2: «Mit dir zu schweigen» N° 3: «Welt ist stille eingeschlafen» 12’ Autour du Knaben Wunderhorn Lieder de Mahler, Zemlinsky, Schönberg et Korngold Hélène Pierrakos Le monde entier du lied allemand, de sa source romantique à ses prolongements au 20e siècle, est parcouru par le souvenir des récits populaires et de leurs chants. -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca. -
Arts Contact Points Between Cultures Kari
312 Publisher Department of Applied Sciences of Education Heikki Ruismäki & Inkeri Ruokonen (Eds.) Faculty of Behavioural Sciences P.O. Box 9 FI-00014 University of Helsinki http://www.helsinki.fi/sokla/english/publications Heikki Ruismäki & Inkeri Ruokonen (Eds.) Arts Contact Points between Cultures : Arts Contact Points between Cultures 1st International Journal of Intercultural Arts Educa- tion Conference: Post-Conference Book ISBN 978-952-10-5764-9 Yliopistopaino Helsinki 2009 Research Report 312 Editorial Board: Reijo Byman Markku Hannula Jarkko Hautamäki Juhani Hytönen (Chairperson) Arto Kallioniemi Leena Krokfors Jari Lavonen Kirsti Lonka Mikko Ojala Jukka Rantala Heikki Ruismäki Sirpa Tani Seppo Tella Mauri Åhlberg Kari Perenius (Secretary) Available from: Department of Applied Sciences of Education P.O. Box 9 (Siltavuorenpenger 20 R) 00014 UNIVERSITY OF HELSINKI Phone + 358 9 191 29603 Fax + 358 9 191 29611 http://www.helsinki.fi/behav/kirjasto/palvelut/ julkaisumyynti/index.htm http://hdl.handle.net/10138/14969 Research Report 312 ISBN 978-952-10-5764-9 (nid) ISBN 978-952-10-5765-6 (pdf) ISSN 1795-2158 Arts Contact Points between Cultures 1st International Journal of Intercultural Arts Education Conference: Post-Conference Book Helsinki 2009 Research Report 312 Heikki Ruismäki & Inkeri Ruokonen (Eds.) Arts Contact Points between Cultures 1st International Journal of Intercultural Arts Education Conference: Post-Conference Book Helsinki 2009 ISBN 978-952-10-5764-9 (nid) ISBN 978-952-10-5765-6 (pdf) ISSN 1795-2158 Yliopistopaino 2009 Arts Contact Points between Cultures Preface The First Intercultural Conference in Arts and Skills Education was held on October 30, 2008 at the University of Helsinki. -
Page 1 SOOME-UGRI HARIDUSKONGRESSI Suomalais
SOOltlE-OJGltl HARIDUSKONGRESSI Suomalaisü ^ JSL II. finn«< u^vílaíien II IIYMH V U sfc o •» tanügyi M^»l««»l^«»«ll^M^»» JJ kon^vesiius T4LLINNV IV. HIVl 1924. ^SOOME-UGRI II. HARIDUSKONGRESSI KAVA. SUOMALAIS-UGRILAISEN A II. FINN-UGOR II. SIVISTYSKOKOUKSEN TANÜGYI KONGRESSZUS OHJELMA. ! PROGRAMMJA. ENSV Raamatukogu A, \ \ 2J$Q \09\\^ TALLINN, 19.—21. VI. 1924. Tallinna Eesti Kirjastus-Ühisuse trükikoda. Pikk tan. 2. Kolmapäev 18. juuni. Keskiviikkona 18 p:nä kesäk. Június 18-án, szerdán. I. „ESTONIA" TEATER, KELL 8 ÕHTUL „ESTONIA"-TEATTERI, KLO 8 IP. AZ „ESTONIA'-SZINHAZBAN, ESTE 8 ÓRAKOR „NEETUD TALU" — „KIROTTU TALO" „AZ ÁTKOZOTT TANYA" A. Kitsberg'i komöödia neljas vaatuses. A. Kitsberg'in huvinäytelmä neljässä näytöksessä. Vígjáték 4 felvonásban, irta: A. Kitsberg. Dekoratsioonid: Näitejuht: 1 Dekeraattori: [ Albert Vahtram. Ohjaaja: Hanno Kompus. A diszletet készíti:! Rendezi: TEGELASED — ESIINTYJÄT — SZEMÉLYEK: Pähni Jaak Jassik Pannin „ „ Eduard Kurnini. Pähnid-i _ (gazda) • • Selle lapsed: Heinrich • Hans Lauter. Hänen lapsensa: Julius • • Kristjan Hansen. Gyermekei: Urve • • • Hilda Hellas. Virve • • • Marta Niilus. Anne, perenaise asemel Pahn il • Pannin emännöitsijä • • Ksenja Oja-Martinson. gazdasszony Pähni-tanyan Jüri, sulane sealsamas • • • • talon renki Hugo Laur. cseléd Epp, ümmardaja palvelijatar Susy Jakobson. cselédleány Juku, karjus paimen - Eduard Liiger. pásztor Rajooniülem Poliisimies • • • • Albert Ühsip. Rendörörmester Ääksi-Aadu j Ääksin Aadu I Hans Jogi. Ääksi-i Aadu • j Pääsetähed ä 100; 75 ja 50 marka „Estonia" kassas. Pääsylippuja á 100.—, 75.— ja 50.— saatavana „Estonian" kassasta. 3 II. „ESTONIA" VALGE SAAL, KELL 9 ÕHTUL „ESTONIAN" VALKEASSA SALISSA, KLO 9 IP. AZ „ESTONIA" FEHÉR TEREMBEN, ESTE 9 ÓRAKOR KONGRESSI KORRALDAVATE EESTI, SOOME JA UNGARI TOIMKONDADE JA KÕNELEJATE ÜHINE KOOSOLEK.