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Symphony Orchestrh
li>V\\V,[ VVx< BOSTON SYMPHONY ORCHESTRH ^^v f^^ •^-^ PRoGRsnnE 1(20 )| The DURABIUTY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Application Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established 1854 <i Opp. Institute of Technolog^y 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES Ticket Office, 1492 l„ ,„ TelephonesT»io«t,^«^o i Back Bay j Administration Offices, 3200 J TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme nf % Twentieth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 1 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 2 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1493 Mme. TERESA CARRENO On her tour this season will use exclusively Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. 1494 Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. HofiFmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. -
Il Romancero Gitano Di Mario Castelnuovo-Tedesco Da
IL ROMANCERO GITANO DI MARIO CASTELNUOVO-TEDESCO DA FEDERICO GARCIA LORCA ANGELO GILARDINO La poesia di Federico García Lorca ha esercitato una vera e propria fascinazione sui compositori del Novecento. Un elenco delle musiche scritte su testi del poeta spagnolo, o comunque ispirate alle sue poesie e alle sue opere teatrali, occuperebbe molte pagine. Mi limito a osservare che non sono stati soltanto compositori di madre lingua e di cultura ispanica a scrivere musiche vocali e strumentali lorchiane, ma anche – anzi soprattutto – compositori di altre nazionalità e culture. Fra loro, spicca la figura del compositore fiorentino Mario Castelnuovo-Tedesco (1895-1968), che scrisse un ciclo di sette composizioni per coro misto e chitarra intitolato Romancero Gitano. Questo scritto prende in esame tale composizione, con il proposito di mettere in luce le relazioni esistenti tra il testo poetico e la musica. MARIO CASTELNUOVO-TEDESCO E LA LETTERATURA SPAGNOLA Nato a Firenze nel 1895 da una agiata famiglia di banchieri, Mario Castelnuovo-Tedesco fu istruito da precettori privati e anche la sua precoce vocazione musicale fu inizialmente coltivata da un rinomato insegnante di pianoforte, Edgardo del Valle de Paz, che gli impartì lezioni a domicilio. In età adolescenziale, fu ammesso al Conservatorio della sua città, dove compì gli studi di pianoforte e di composizione. Gli furono maestri Antonio Scontrino e poi Ildebrando Pizzetti. Il severo insegnamento di Pizzetti lasciò nella formazione di Castelnuovo-Tedesco una traccia indelebile, irrobustendo la sua fertile musicalità naturale con una formidabile tecnica compositiva, 2 che contraddistinguerà tutta la sua opera. Dopo un favorevolissimo sviluppo della sua carriera di compositore, che si svolse sotto il segno della buona sorte per almeno vent’anni, nel 1938 Castelnuovo-Tedesco fu colpito, come tutti i cittadini italiani di religione ebraica, dalle leggi razziali. -
Editing the Double Bass Concerto of Antonio Scontrino
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2020 Editing the Double Bass Concerto of Antonio Scontrino Roberto Pineda Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Pineda, Roberto, "Editing the Double Bass Concerto of Antonio Scontrino" (2020). Dissertations. 1835. https://aquila.usm.edu/dissertations/1835 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. EDITING THE DOUBLE BASS CONCERTO OF ANTONIO SCONTRINO by Roberto Pineda A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Marcos Machado, Committee Chair Dr. Joseph Brumbeloe Dr. Christopher Goertzen Dr. Hsiaopei Lee Dr. Stephen Redfield December 2020 COPYRIGHT BY Roberto Pineda 2020 Published by the Graduate School ABSTRACT Antonio Scontrino (1850-1922) was an important Italian Romantic composer, virtuoso double bassist, and respected pedagogue who is relatively unknown outside of the Italian musical community. His compositional output is prolific and includes string quartets, operas, symphonies, concerti, solo pieces, songs, and religious works. Indeed, Scontrino was a compelling composer who deserves more attention from the international musical community. In addition to his compositional expertise, he was an artful double bass performer whose works for the instrument, while distinctly idiomatic, are compositions of high quality. -
REHEARSAL and CONCERT
Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, J905-J906. WILHELM GERICKE, CONDUCTOR IProGtamme OF THE TENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER 29, AT 2.30 O'CLOCK. SATURDAY EVENING, DECEMBER 30, AT 8.00 O'CLOCK. PubUahcd by C A. ELLIS, ManA^er. ^ 689 m. Uincent dindy The eminent French Composer who has just been in America as guest of the Boston Sym- phony Orchestra, and who ap- peared as Pianist in his own Chamber Music with the Kneisel Quartet and the Longy Club, \ ^tf^<«" ^V!^ played exclusively the MmmMiumlm PIANO regarding which he writes as follows : New York, December 7, 1905. Mason & Hamlin Co. : I do not wish to leave America without telling you how happy I have been to know and to play your magnificent instruments. ' Your Pianos are quite remarkable for their expressive sonority, which Tias especially appealed to me, and which commends them to all those who see in music an art addressing itself to the heart rather than a pretext for virtuosity. One can sing on your Pianos^ and it is this which, to my mind, consti- tutes their chief charm. I want to tell you this in assuring you of my high esteem. (Signed) VINCENT d'INDY. •492 Boylston Street BOSTON (Oppositt Institute of Techonlogy) C90 Boston Symphony Orchestra, PERSONNEL. Twenty -fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. -
Federico Incardona and Giovanni Damiani
Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 PAOLO EMILIO CARAPEZZA Aglaia Department. Greek, Latin and Musical Studies, University of Palermo Federico Incardona and Giovanni Damiani ABSTRACT: Together with Sciarrino and Casale, Incardona and Damiani are the most important composers trained at Palermo University’s Musicological Institute. Federico Incardona (Palermo, 1958-2006) reconciles the social commitment of Berg and the political tension of Nono with the sublimated eroticism of Szymanowski. If Nono’s works, like those of Evangelisti in a different way, blend dodecaphonic dialectic with the corporeity of the sound of Varèse, Incardona blends Evangelisti’s sonorous cosmogony with the erotic immediateness of Bussotti. But his principal reference point is Mahler. His music is rich in meaning and strong emotional intensity, concentrated and sublimated: it is like “processes of denuding of the melody, carnal embraces between the parts, dodecaphonic series modelled on the body of the loved one” (Spagnolo). Its “new linearity and temporal tension”, is wedded to the “absolute primacy of expression and emotion”, in full awareness of the “deep unity of emotion and knowledge” (Lombardi Vallauri). Indeed, in the intense expressionism of his music, dodecaphonic construction is always at the service of a dialectical discourse which is dense and deep, but - in his last works - clear and fluid like a melody by Bellini. “Infinite melos”, Marco Crescimanno defines it: harmonic richness and dense hétérophonie complexities are blended; the counterpoint is based “on the superimposition of manifold variations on the same figure, with precise control of the vertical encounters on its melodic-harmonic hinges”. -
Catalogo Nr. 27 Primavera 2004
LIBRERIA MUSICALE GALLINI VIA GORANI 8 - 20123 MILANO (ITALY) - TEL. e FAX. 0272.000.398 CATALOGO NR. 27 PRIMAVERA 2004 INDICE: Lettere autografe ......................................pag. 2 (da nr. 1 a 80) Facsimili di autografi musicali ................pag. 20 (da nr. 81 a 94 ) Biografie ....................................................pag. 22 (da nr. 95 a 159) Libri di argomento musicale ...................pag. 27 (da nr. 160 a 193) Libri su strumenti musicali .....................pag. 30 (da nr. 194 a 209) Cataloghi di dischi ....................................pag. 32 (da nr. 210 a 245) Libretti d’opera ........................................pag. 37 (da nr. 246 a 305) Partiture d’orchestra ................................pag.44 (da nr. 306 a 324) Spartiti d’opera per canto e pf ................pag. 47 (da nr. 325 a 373) Musica per pianoforte/i ............................pag. 52 (da nr. 374 a 540) Musica vocale ............................................pag. 64 (da nr. 541 a 574) LETTERE AUTOGRAFE: - 2 - PRINCIPALI ABBREVIAZIONI: L.A.F. Lettera autografa firmata - Autograph letter signed - Eigenhändiger Brief mit Unterschrift. B.A.F. Biglietto autografo firmato - Autograph card signed - Eigenhändiger Karte mit Unterschrift. L. F. Lettera firmata - Letter signed - Brie von fremder Hand mit eigehändiger Unterschrift. s.l.n.d. Senza luogo nè data - No place no date - Ohne Ort und Datum Pp. Pagina/pagine - Page/pages - Seite/Seiten. MUSICISTI: 1A. (Bologna) Franco ALFANO (Napoli 1876 - San Remo 1954) compositore italiano. Su incarico di Arturo Toscanini e degli eredi di Puccini completò l’opera “Turandot” lasciata incompiuta da Puccini. Diresse per anni fino al 1923 il Liceo musicale di Bologna. L.a.f. “ Franco Alfano” e datata “Bologna 12 marzo 09” a “Carissimo”. Pp. 1 su carta di cm. -
Mauro Farrugia Roydon Tse Paul Siskind
ablaze RECORDS Orchestral Masters Vol. 2 Brno Philharmonic Orchestra • Mikel Toms Edward Smaldone Peter Dayton Symon Clarke YoungWoo Yoo Zhiyi Wang Scott McIntyre Kenneth Froelich Bernard Hughes Mauro Farrugia Roydon Tse Paul Siskind ar-00017 New Classical Disc 1 1 The Beauty of Innuendo Edward Smaldone 13:08 2 From Sombre Lands Peter Dayton 5:27 3–5 Three Orbits Symon Clarke I. Iapetus 9:13 II. Hyperion 6:35 III. Tethys 8:57 6 Honbul (Re-creation from above) YoungWoo Yoo 6:17 7 The Aroma of Exotic Zhiyi Wang 5:19 3 Edward Smaldone Dr. Edward Smaldone is Professor of Music and, since 2002, world wide by Mikhail Baryshnikov’s White Oak Dance the Oratorio Sinfonica Japan in Tokyo in March 2013. The title the Director of the Aaron Copland School of Music at Queens Project. His music is recorded on CRI, New World, Capstone comes from Thirteen Way of Looking at a Blackbird, by Wallace College, City University of New York. He is the recipient of the and Naxos labels. His latest CD Rituals: Sacred and Profane Stevens. This line comes from the fifth stanza of the poem: “I do Goddard Lieberson Fellowship from the American Academy of was released on the Naxos label in April 2012. not know which to prefer,/the beauty of inflections/or the beauty Arts and Letters, as well as grants and awards from ASCAP, The Support for the recording of Edward Smaldone was of innuendoes,/The blackbird whistling/or just after.” The line MacDowell Colony, Yaddo Corporation, the Charles Ives Center provided by a PSC-CUNY Award, jointly funded by The indicates the dilemma of the choice between the beauty of the for the Arts, the Percussive Arts Society and the American Professional Staff Congress and The City University of New inflections of the blackbird’s whistling (i.e. -
D'annunzio, Il Teatro E La Musica in La
STEFANIA LA VACCARA D’Annunzio, il teatro e la musica In La letteratura italiana e le arti, Atti del XX Congresso dell’ADI - Associazione degli Italianisti (Napoli, 7-10 settembre 2016), a cura di L. Battistini, V. Caputo, M. De Blasi, G. A. Liberti, P. Palomba, V. Panarella, A. Stabile, Roma, Adi editore, 2018 Isbn: 9788890790553 Come citare: Url = http://www.italianisti.it/Atti-di- Congresso?pg=cms&ext=p&cms_codsec=14&cms_codcms=1039 [data consultazione: gg/mm/aaaa] La letteratura italiana e le arti © Adi editore 2018 STEFANIA LA VACCARA D’Annunzio, il teatro e la musica Pur avendo sentenziato la morte del melodramma, ed espresso riserve nei confronti dell’opera post-verdiana, dai primi del Novecento d’Annunzio, che ambiva a misurarsi con Wagner, cedette alle lusinghe dell’opera. E se acconsentì a malincuore a ridurre ‘La Figlia di Iorio’ in ‘pillolette quaternarie’ per Franchetti, se per la collaborazione con Zandonai, in occasione della ‘Francesca da Rimini’, accettò l’intermediazione di Tito Ricordi, per Pizzetti e Debussy fu il poeta stesso a riadattare ‘Fedra’ e ‘Le Martyre de Saint Sébastien’. Diverso il caso di ‘Parisina’, musicata da Mascagni, concepita sin dall’inizio come libretto d’opera, sebbene secondo alcuni studiosi si debba includere piuttosto nell’ambito della Literaturoper. Dell’interesse, della frequentazione, della competenza e della sensibilità musicale di d’Annunzio molto si è detto e scritto. La sua passione si presenta sin dalla giovinezza e continua per tutta la vita, si mette in evidenza tanto nell’attività di scrittore di cronache musicali, soprattutto sulle pagine della «Tribuna», che nella produzione letteraria. -
Bmus Composition Handbook
BACHELOR IN MUSIC COMPOSITION HANDBOOK 2020-2021 Undergraduate Programme in Music Performance The Royal Irish Academy of Music in association with The University of Dublin, Trinity College Dublin Undergraduate course title: Bachelor in Music Composition Exit award: Ordinary B.A. (after passing year 3) Credit value: 60 ECTS per year/240 in total; 1 ECTS = 25 student effort hours Duration of the honors degree course: Full time 4 years Closing date for applications: 1st December Direct application to RIAM) Institution delivering the course: The Royal Irish Academy of Music Head of Institution: Deborah Kelleher, Director Accrediting Institution: The University of Dublin, Trinity College Dublin Affiliation to School in Trinity College: School of Drama, Film and Music Code for Registration purposes: UBDM-MCOM-1V A Note on this Handbook This handbook will provide a guide to what is expected of you on this programme. Compliance with the requirements found in this handbook is the responsibility of the student. Please retain for future reference. The information provided in this handbook is accurate at the time of preparation, but the RIAM reserves the right to make small amendments to the handbook and small changes to the composition of audition and examination panels if circumstances require. The lecturer reserves the right to alter the content of individual modules during the year. Contents Glossary of Terms 04 About This Handbook 05 Staff Contacts 05 Key Programme Dates 05 Personal Support and Counselling For Students 06 Information on Special -
Boston Symphony Orchestra Concert Programs, Season 25,1905
NEW NATIONAL THEATRE, WASHINGTON. BostonSymptionyQiGtiestra WILHELM GERICKE, Conductor. Twenty-fifth Season, 1905-1906. PROGRAMME OF THE FOURTH MATINEE TUESDAY AFTERNOON, FEBRUARY 13, AT 4.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C A. ELLIS, Manager. ^ THE Hasfltt&ljamlin PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : / Boston Symphony Orchestra, Wilhelm Gericke, I Conductor. HARM R RAIIFR Pittsburgh Orchestra, Emil Paur, Conductor. nnilULU UMULIl . Indianapolis Orchestra, Hans Schneider, Cor- / ductor. ' Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Wein- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. / Boston Symphony Orchestra, Wilhelm Gericke, Conductor. \ New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. Chicago Orchestra, Frederick Stock, Conductor. Adamowski Trio. EMIL PAUR . Pittsburgh Orchestra. Boston Symphony Orchestra, Wilhelm Gericke, - HEINRICH GEBHARD . Conductor. Kneisel Quartet. VINCENT D'INDY el et . { y c?ur " Bost rchestral Club ' Georges Lonsy Con ' ALFRED De VOTO . \ duc t or I Longy Club. Washington Representatives, E. F. DROOP & SONS CO., 92S Pennsylvania Avenue, N.W. -2 Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Viouns Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. D. Hoffmann, Fiedler, Kuntz, J. E Mullaly, J. C. Moidauer, A. -
THE GENERATION VARIATIONS a New Work for Double Bass Soloist
THE GENERATION VARIATIONS A new work for double bass soloist and electric guitar accompanist Arthur Martin Roth A Thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Masters of Arts Graduate Program in Music York University Toronto, Ontario, Canada June 2016 © Arthur Martin Roth, 2016 Abstract This thesis combines the score of an original work by Arthur Roth for double bass and electric guitar with effects entitled The Generation Variations with a written analysis. The analysis presents the intent, method and purpose of the work. As such, it explicates the piece in an historical context with respect to music for the double bass soloist, compositional context regarding style, era, process, rationale as well as performance practice of the movements. It also outlines the creative inspiration, composition methods and processes used to develop the work both generally, and specifically, with each variation. Finally, this writing concludes with suggestions of newly discovered areas of composition and performance, and alludes to future directions for the development of this piece and for the creation of new music for the double bass soloist. ii Acknowledgements I would like to acknowledge my personal, academic and musical friends for their support and inspiration throughout the duration of this project. On a personal level I would like to thank my spouse, Patricia Rhomberg, for her endless patience, love and flexibility during this project and throughout the duration of the unpredictable highs and lows of my professional career thus far. My parents, Alice and Norman Roth, and eldest brother Alex for teaching love and persistence amidst chaos. -
June 1914) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 6-1-1914 Volume 32, Number 06 (June 1914) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 32, Number 06 (June 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/603 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 401 THE ETUDE Let THE ETUDE Assist You in Endless ETUDE Surprises. Getting Up a Summer Out- of-Doors Recital. Do you remember the time when you |7He The Pageant spirit has been unusually first planted some flower seeds and then waited patiently until the little green active not only in America but in all leaves poked their way through the narts of the world during, the last ten vears Whether it is a great historical earth? Each day was a day of surprise. The plants became your children. Every spectacle like- the Durbar at Delhi with ‘ ' s hailed with ( T?-~u » MONTM.V JOURNAL^FOR^THE^MIJSICIXN^ THE „„s,C STUDENT.