SOME AMERICAN OPERAS/COMPOSERS October 2014

SOME AMERICAN OPERAS/COMPOSERS October 2014 Mark Adamo-- Little Women, Lysistrata John Adams—Nixon in China, Death of Klinghoffer, Doctor Atomic Dominick Argento—Postcard From Morocco, The Aspern Papers William Balcom—A View From the Bridge, McTeague Samuel Barber—Antony and Cleopatra, Vanessa Leonard Bernstein— A Quiet Place, Trouble in Tahiti Mark Blitzstein—Regina, Sacco and Venzetti, The Cradle Will Rock David Carlson—Anna Karenina Aaron Copland—The Tender Land John Corigliano—The Ghosts of Versailles Walter Damrosch—Cyrano, The Scarlet Letter Carlisle Floyd—Susannah, Of Mice and Men, Willie Stark, Cold Sassy Tree Lukas Foss—Introductions and Goodbyes George Gershwin—Porgy and Bess Philip Glass—Satyagraha, The Voyage, Einstein on the Beach, Akhnaten Ricky Ian Gordon—Grapes of Wrath Louis Gruenberg—The Emperor Jones Howard Hanson—Merry Mount John Harbison—The Great Gatsby, Winter’s Tale Jake Heggie—Moby Dick, Dead Man Walking Bernard Hermann—Wuthering Heights Jennifer Higdon—Cold Mountain (World Premiere, Santa Fe Opera, 2015) Scott Joplin—Treemonisha Gian Carlo Menotti—The Consul, The Telephone, Amahl and the Night Visitors Douglas Moore—Ballad of Baby Doe, The Devil and Daniel Webster, Carrie Nation Stephen Paulus—The Postman Always Rings Twice, The Woodlanders Tobias Picker—An American Tragedy, Emmeline, Therese Racquin Andre Previn—A Streetcar Named Desire Ned Rorem—Our Town Deems Taylor—Peter Ibbetson Terry Teachout—The Letter Virgil Thompson—Four Saints in Three Acts, The Mother of Us All Stewart Wallace—Harvey Milk Kurt Weill—Street Scene, Rise and Fall of the City of Mahagonny .

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H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: Lawrence H
P O L Y P H O N Y Post Office Box #515 Highland Park, Illinois 60035 FAX #847-831-5577 E-Mail: [email protected] Website: http://www.polyphonyrecordings.com Lawrence H. Jones, Proprietor Auction Catalog #148 [Closing: Noon, Central Daylight Time; Tuesday, July 18th, 2017] Dear Fellow Record Collectors - WELCOME TO THE ONLINE VERSION OF POLYPHONY’S AUCTION CATALOG #148! All items are offered at auction; the minimum acceptable bid for each is shown at the end of its listing. The deadline for receipt of bids is Noon, Central Dayight Time; Tuesday, July 18th, 2017. SPECIAL INSTRUCTIONS FOR ONLINE: The internet version is essentially the same as the print version which is sent worldwide except that no bidsheet is provided, since all you really need to do is send me an e-mail with careful notation of your bids and the lot numbers of the items in which you are interested. A brief description of the item helps in case of mis-readings of lot numbers. If you are a new bidder and I do not have your physical address, obviously I will need it. And if you wish to authorize me to charge your winnings to a Visa, Mastercard or American Express card which I do not already have on file, I do not suggest that you send this information via e-mail since it is not very secure. You are welcome to quote an account number for me via the phone/FAX number or via the physical address shown above – or you may wait for me to send you a copy of your invoice and quote the account number by return mail.
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SCHOOL of MUSIC and DANCE the Universityoforegon Christopher S.Olin, Thursday, Mach5|7:30 P.M
ABOUT University Singers is the premier large choral ensemble on campus, with a choral tradition at the University of Oregon extending back to 1945. The University Singers perform choral music from all periods and styles, with concerts both on and off campus. Members are experienced singers representing a wide variety of majors from across campus. The University Singers frequently have the opportunity to perform with instrumental ensembles such as the University Symphony Orchestra, the Oregon Wind Ensemble, and the Eugene Symphony Orchestra. The intensive training provided by the choral program complements the core curriculum of the School of Music and Dance, and balances the broad spectrum of liberal arts disciplines offered at the University of Oregon. The University of Oregon University Singers NEWS—Chamber Choir is Germany-bound Christopher S. Olin, conductor The University of Oregon Chamber Choir is once again headed overseas, Hung-Yun Chu, accompanist this time to Marktoberdorf, Germany! The Chamber Choir is one of just ten choirs selected from around the world to participate in the 2015 Repertoire Singers Marktoberdorf International Chamber Choir Competition scheduled for May 22–27. The Chamber Choir will also tour additional German cities Cole Blume, conductor while abroad. You can be a part of this exciting moment by making a gift Sharon J. Paul, faculty advisor to send our students to Germany. For more information: 541-346-3859 Hung-Yun Chu, accompanist or music.uoregon.edu/campaign. Make sure you specify you are interested in giving to the choir’s travel fund. Chamber Choir We look forward to seeing you at our UO Choir concerts on: Sharon J.
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The President's Report
The 1984-85 school year also marked the end of the de Lausanne International Ballet Competition; Jo two-year process of self-study required by the Yost, high school ballet student, received a contract Southern Association of Colleges and Schools for reaf¬ with American Ballet Theatre II and Tisha Roth, a firmation of accreditation. A Visiting Committee from drama senior, was awarded one of the Princess Grace the Commission on Colleges came to campus on April Foundation Scholarships, a prestigious national com¬ 28, 1985 to conduct its three-day visit to assess the petition. Of the current senior drama students, all but undergraduate programs and the new graduate pro¬ three have secured theatre and television jobs, in¬ gram in Design and Production. The Southern cluding Kevin Jackson who has been hired by the Association, while reaffirming and praising the qual¬ "Acting Company." Two recent graduates of the ity of NCSA arts training programs, made some useful School of Music made their professional debuts: recommendations. clarinetist Daniel McKelway at the Kennedy Center in Washington, D.C. and soprano Anne Wyche at Carnegie Recital Hall in New York City. Since 1972, School of Drama alumni have appeared in more than 40 theatre productions, 15 Hollywood PERFORMANCE films and 25 television series. Patsy Pease has a regular role in "Days of our Lives," John Sanderford in "General Hospital,” and Matthew Ashford in "Search for Tomorrow.'' Bass-baritone John Cheek has Performance plays an essential role in the life of the appeared at the Metropolitan Opera every season school. This year more than 300 performances were since his 1977 debut and soprano Gianni Rolandi is presented to more than 62,000, in addition to the nor¬ a star of the New York City Opera.
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8.112023-24 Bk Menotti Amelia EU 26-03-2010 9:41 Pagina 16
8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 16 Gian Carlo MENOTTI Also available The Consul • Amelia al ballo LO M CAR EN N OT IA T G I 8.669019 19 gs 50 din - 1954 Recor Patricia Neway • Marie Powers • Cornell MacNeil 8.669140-41 Orchestra • Lehman Engel Margherita Carosio • Rolando Panerai • Giacinto Prandelli Chorus and Orchestra of La Scala, Milan • Nino Sanzogno 8.112023-24 16 8.112023-24 bk Menotti Amelia_EU 26-03-2010 9:41 Pagina 2 MENOTTI CENTENARY EDITION Producer’s Note This CD set is the first in a series devoted to the compositions, operatic and otherwise, of Gian Carlo Menotti on Gian Carlo the occasion of his centenary in 2011. The recordings in this series date from the mid-1940s through the late 1950s, and will feature several which have never before appeared on CD, as well as some that have not been available in MENOTTI any form in nearly half a century. The present recording of The Consul, which makes its CD début here, was made a month after the work’s (1911– 2007) Philadelphia première. American Decca was at the time primarily a “pop” label, the home of Bing Crosby and Judy Garland, and did not yet have much experience in the area of Classical music. Indeed, this recording seems to have been done more because of the work’s critical acclaim on the Broadway stage than as an opera, since Decca had The Consul also recorded Arthur Miller’s Death of a Salesman with members of the original cast around the same time.
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Msm Camerata Nova
Saturday, March 6, 2021 | 12:15 PM Livestreamed from Neidorff-Karpati Hall MSM CAMERATA NOVA George Manahan (BM ’73, MM ’76), Conductor PROGRAM JAMES LEE III A Narrow Pathway Traveled from Night Visions of Kippur (b. 1975) CHARLES WUORINEN New York Notes (1938–2020) (Fast) (Slow) HEITOR VILLA-LOBOS Chôros No. 7 (1887–1959) MAURICE RAVEL Introduction et Allegro (1875–1937) CAMERATA NOVA VIOLIN 1 VIOLA OBOE SAXOPHONE HARP Youjin Choi Sara Dudley Aaron Zhongyang Ling Minyoung Kwon New York, New York New York, New York Haettenschwiller Beijing, China Seoul, South Korea Baltimore, Maryland VIOLIN 2 CELLO PERCUSSION PIANO Ally Cho Rei Otake CLARINET Arthur Seth Schultheis Melbourne, Australia Tokyo, Japan Ki-Deok Park Dhuique-Mayer Baltimore, Maryland Chicago, Illinois Champigny-Sur-Marne, France FLUTE Tarun Bellur Marcos Ruiz BASSOON Plano, Texas Miami, Florida Matthew Pauls Simi Valley, California ABOUT THE ARTISTS George Manahan, Conductor George Manahan is in his 11th season as Director of Orchestral Activities at Manhattan School of Music, as well as Music Director of the American Composers Orchestra and the Portland Opera. He served as Music Director of the New York City Opera for 14 seasons and was hailed for his leadership of the orchestra. He was also Music Director of the Richmond Symphony (VA) for 12 seasons. Recipient of Columbia University’s Ditson Conductor’s Award, Mr. Manahan was also honored by the American Society of Composers and Publishers (ASCAP) for his “career-long advocacy for American composers and the music of our time.” His Carnegie Hall performance of Samuel Barber’s Antony and Cleopatra was hailed by audiences and critics alike.
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NWCR714 Douglas Moore / Marion Bauer
NWCR714 Douglas Moore / Marion Bauer Cotillion Suite (1952) ................................................ (14:06) 5. I Grand March .......................................... (2:08) 6. II Polka ..................................................... (1:29) 7. III Waltz ................................................... (3:35) 8. IV Gallop .................................................. (2:01) 9. V Cake Walk ............................................ (1:56) 10. VI Quickstep ............................................ (2:57) The Oslo Philharmonic Orchestra; Alfredo Antonini, conductor Symphony in A (1945) .............................................. (19:15) 11. I Andante con moto; Allegro giusto ....... (7:18) 12. II Andante quieto semplice .................... (5:39) 13. III Allegretto ............................................ (2:26) 14. IV Allegro con spirito .............................. (3:52) Japan Philharmonic Symphony Orchestra; William Strickland, conductor Marion Bauer (1887-1955) Prelude & Fugue for flute & strings (1948) ................ (7:27) 15. Prelude ..................................................... (5:45) 16. Fugue ........................................................ (1:42) Suite for String Orchestra (1955) ................... (14:47) 17. I Prelude ................................................... (6:50) Douglas Moore (1893-1969) 18. II Interlude ................................................ (4:41) Farm Journal (1948) ................................................. (14:20) 19. III Finale: Fugue
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Cyrano De Bergerac, by Edmond Rostand
Cyrano de Bergerac, by Edmond Rostand In A Nutshell Cyrano de Bergerac is a play about an eloquent, talented, and brave, but physically unappealing, man and his love for a beautiful woman, Roxane. Playwright Edmond Rostand wrote Cyrano de Bergerac as a comedy, and something of a satire of the overly romanticized literature of France in the 1600s (literature such as Alexandre Dumas’s The Three Musketeers, which was published in 1844). As such, you’ll find it chock-full of historical references to writers, royalty, philosophers, dramatists, and scientists of the time. Light-hearted in nature, this work is full of frivolous pomp and overblown dialogue. Adding to its showy, intentionally grandiose quality is the form of the prose: rhyming couplets of twelve syllables per line in the original French. The translated meter you often see in English is iambic pentameter, which, we all know, is a party waiting to happen. Published in French in 1897, Cyrano de Bergerac hit the stages of Paris to instant acclaim. Under the flourishes of renowned stage actor Constant Coquelin (to whom Rostand dedicated his play), Cyrano came to life. Basing his main character on a historical figure of the same name, Rostand accurately recounts much of the real Cyrano’s life – as told by Le Bret and a number of other biographers – in his beloved play. The real Cyrano de Bergerac was a French dramatist who lived from 1619-1655, which means Rostand got his dates correct in writing his play. De Bergerac really did fight at the Siege of Arras in 1640 and died in 1655.
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Vherbert.Com Cyrano De Bergerac
vherbert.com VHSource, LLC Cyrano de Bergerac $950.00 DO NOT CHOOSE TO ADD THIS ITEM TO YOUR SHOPPING CART: INSTEAD Download fill out and return Information Sheet: VHS Rental Information Sheet - Orig Orch - 2013 Download a VHS Blank License 2013 - sample Contact This e-mail address is being protected from spambots. You need JavaScript enabled to view it for hard copy information This is the original orchestration for Herbert's Cyrano de Bergerac first produced in New York City on October 3, 1899, written for a production starring the vaudville star Francis Wilson.Â This is arguably one of the top five most beautiful Herbert scores. It was also a huge failure.Â Herbert wrote for the Rostand Cyrano. Francis Wilson and his librettist Stuart Reed (actually Harry B. Smith) decided the story was too sad and wrote a "happy ending."Â Twenty-eight performances after it opened it closed to be forgotten for 100 years. Its libretto fortunately lost forever. Fortunately, librettist Alyce Mott started from scratch, returned to the original Rostand play and wrote a new libretto to the existing score. Ask for a perusal of this beautiful PV and libretto and you will want it immediately.Â As this work is pre-1900, Cyrano is a bass, Christian a tenor and Roxanne a very rare for Herbert mezzo.Â Greatest selling point -- Cyrano is a classic tragedy and your audience already knows the Copyright ©2021 - VHSource, LLC - http://vherbert.com _PN_PAGE 1 _PN_OF 2 story.Â Imagine their surprise and wonder when they then hear the score.
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Of Mice and Men John Steinbeck
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CALIFORNIA's NORTH COAST: a Literary Watershed: Charting the Publications of the Region's Small Presses and Regional Authors
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BY ROBERT RYAN ENDRIS Submitted to Th
REFLECTIONS OF THOREAU’S MUSIC AND PHILOSOPHY IN DOMINICK ARGENTO’S WALDEN POND (1996) BY ROBERT RYAN ENDRIS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music in Choral Conducting, Indiana University August, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music in Choral Conducting. ___________________________________ Aaron Travers, Research Director __________________________________ Carmen-Helena Téllez, Chairperson __________________________________ William Jon Gray __________________________________ Blair Johnston ii Copyright © 2012 Robert Ryan Endris iii Acknowledgments There are many people without whose help and support this document and the completion of this degree would not be possible. First and foremost, I must acknowledge Dr. Robert S. Hatten, former professor of music theory at Indiana University and current professor of music theory at University of Texas. Dr. Hatten’s seminar “Music and the Poetic Text” sparked my interest in the relationship between poetic texts and vocal music and provided the impetus for this document. He inspired me to experience, analyze, and understand vocal music in a completely new way. I must also thank the members of my document committee. I am deeply indebted to my research director, Dr. Aaron Travers, and my chairperson, Dr. Carmen-Helena Téllez, for their efforts and willingness to lead me through this process of research, analysis, and writing. I also thank Dr. Blair Johnston and Dr. William Jon Gray for their contributions through insightful comments, observations, and suggestions. Next, I would like to express my gratitude for the support and encouragement offered by my mentors and friends.
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CENTURY ORGAN MUSIC for the Degree of MASTER of MUSIC By
ol 0002 -T-E CHACONNE AND PASSACAGLIA IN TVVENTIETH CENTURY ORGAN MUSIC THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By U3arney C. Tiller, Jr., B. M., B. A. Denton, Texas January, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION . II. THE HISTORY OF THE CHACONNE AND PASSACAGLIA . 5 III. ANALYSES OF SEVENTEEN CHACONNES AND PASSACAGLIAS FROM THE TWENTIETH CENTURY. 34 IV. CONCLUSIONS . 116 APPENDIX . 139 BIBLIOGRAPHY. * . * . * . .160 iii LIST OF TABLES Table Page I. Grouping of Variations According to Charac- teristics of Construction in the Chaconne by Brian Brockless. .. 40 TI. Thematic Treatment in the Chaconne from the Prelude, Toccata and Chaconne by Brian Brockless. .*0 . 41 III. Thematic Treatment in the Passacaglia from the Passacaglia and Fugue by Roland Diggle. 45 IV. Thematic Treatment in the Passacaglia from the Moto Continuo and Passacglia by 'Herbert F. V. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia by Alan Gray . $4 VI. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia b Robert . .*. -...... .... $8 Groves * - 8 VII. Thematic Treatment in the Passacaglia by Ellis B. Kohs . 64 VIII. Thematic Treatment in the Passacaglia from the Introduction and Passaglia in A Minor by C. S. Lang . * . 73 IX. Thematic Treatment in the Passacaglia from the Passaca a andin D Minor by Gardner Read * . - - *. -#. *. 85 X. Thematic Treatment in the Passacaglia from the Introduction, Passacgland ugue by Healey Willan . 104 XI. Thematic Treatment in the Passacaglia from the Introduction, Passacaglia and F by Searle Wright .
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