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WR 16Mar 1928 .Pdf
World -Radio, March 16, 1928. P n n rr rrr 1 itiol 111111 SPECIAL IRISHNUMBER Registered at the.G.P.O. Vol. VI.No. 138. as a Newspaper. FRIDAY. MARCH 16, 1928. Two Pence. WORLD -RADIO 8 tEMEN Station Identification Panel- Konigswusterhausen (Zeesen). Germany REC GE (Revised) Wavelength : 125o in. Frequency : 240 kc. Power :35 kw. H. T. BATTERY Approximate Distance from London : 575 miles. (Lea-melte Tide) Call " Achtung !Achtung !Hier die Deutsche Welle, Berlin,-Konigswus- terhausen."(Sometimes wavelength POSSESSES all the advantages of a DRY BATTERY given :" . auf Welle zwolf hun- dert and fiinfzig," when callre- -none of the disadvantages of the ordinary WET peated.)When relaying :" Ferner Ubertragimgauf "... (nameof BATTERY. relaying stations). Interval Signal:Metronome.Forty beats in ten seconds. 1. Perfectly noiseless, clean SpringConnections,no IntervalCall :" Achtung !Konigs. and reliable. 4.soldering. wusterhausen.DerVortragvon [name of lecturer]uber[titleof 5. No "creeping of salts. lecture]ist beendet.Auf Wieder- 2. Unspillable. Easily recharged, & main- 'toren in . Minuten."When 6. relaying :`& Auf Wiederhorenfur 3No attention required until tains full energy through- Konigswusterhausen in . exhausted. out the longest programme. Minuten ;fur Breslau and Gleiwitz [or as the case may be] nach eigenem Programm." 711,2 ails are null: in thefoll,n,ing three sizes: Own transmissionsandrelays.In eveningrelaysfromotherstations. H.T.1.Small ... 8d. each. Closes down at the same time as the relaying station. H.T.2.Large ... 10d. each. H.T.3.Extra Large 1:- each. (Copyright) A booklet containing alargenumberof these Guaranteed to give I a,volts per cell. panels canbeobtainedof B.B.C.Publications, Savoy Hrll, W. -
Richard Wagner(1813 – 1883)
SUPER AUDIO CD NEEME JÄRVI CONDUCTS Overtures and Preludes Royal Scottish National Orchestra Richard Wagner, May 1865 May Wagner, Richard Photograph by Josef Albert (1825 – 1886) / AKG Images, London / Imagno Richard Wagner (1813 – 1883) Overtures and Preludes 1 Overture to ‘Die Feen’, WWV 32* 10:48 Adagio – Un poco meno adagio – Tempo I – Allegro con molto fuoco – Più allegro 2 Overture to ‘Columbus’, WWV 37† 8:02 Edited 1907 by Felix Mottl (1856 – 1911) as concert overture with the title Christoph Columbus Allegro molto agitato – Andante maestoso – Tempo I – Andante maestoso – Tempo I – Andante maestoso – Tempo I – Andante – Tempo I – Andante – Presto 3 Overture to ‘Das Liebesverbot’, WWV 38* 8:10 Molto vivace – Allegro con fuoco – Presto 4 Overture to ‘Rienzi, der Letzte der Tribunen’, WWV 49‡ 11:16 Molto sostenuto e maestoso – Allegro energico – Un poco più vivace – Molto più stretto 3 5 Eine Faust-Ouvertüre, WWV 59† 11:03 Sehr gehalten – Sehr bewegt – Sehr allmählich das Tempo etwas zurückhalten – A tempo – Wild 6 Overture to ‘Der fliegende Holländer’, WWV 63‡ 11:00 Allegro con brio – Andante – Animando un poco – Tempo I – Molto animato – Un poco ritenuto [not previously released] 7 Prelude to Act III of ‘Lohengrin’, WWV 75* 3:04 Sehr lebhaft 8 Prelude to ‘Tristan und Isolde’, WWV 90* 6:43 Langsam und schmachtend 9 Prelude to ‘Die Meistersinger von Nürnberg’, WWV 96† 8:56 Sehr mäßig bewegt – Bewegt, doch immer noch etwas breit – Mäßig im Hauptzeitmaß – Im mäßigen Hauptzeitmaß – Sehr gewichtig TT 80:00 Royal Scottish National Orchestra William Chandler* • Peter Thomas† • Maya Iwabuchi‡ leaders Neeme Järvi 4 Wagner: Overtures and Preludes Overture to ‘Die Feen’ Overture to ‘Columbus’ / Eine Faust- Even if the overall style of Wagner’s first great Ouvertüre romantic, although less well-known, opera, That Wagner wrote instrumental music for Die Feen, WWV 32 (1833 – 34), based on a spoken drama appears as no accident in the La donna serpente by Carlo Gozzi, owes its essentials light of his later œuvre. -
American Music Research Center Journal
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 19 2010 Paul Laird, Guest Co-editor Graham Wood, Guest Co-editor Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009–2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro- posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. -
Riccardo Muti Conductor Michele Campanella Piano Eric Cutler Tenor Men of the Chicago Symphony Chorus Duain Wolfe Director Wagne
Program ONE huNdrEd TwENTy-FirST SEASON Chicago Symphony orchestra riccardo muti Music director Pierre Boulez helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Friday, September 30, 2011, at 8:00 Saturday, October 1, 2011, at 8:00 Tuesday, October 4, 2011, at 7:30 riccardo muti conductor michele Campanella piano Eric Cutler tenor men of the Chicago Symphony Chorus Duain Wolfe director Wagner Huldigungsmarsch Liszt Piano Concerto No. 1 in E-flat Major Allegro maestoso Quasi adagio— Allegretto vivace— Allegro marziale animato MiChElE CampanellA IntErmISSIon Liszt A Faust Symphony Faust: lento assai—Allegro impetuoso Gretchen: Andante soave Mephistopheles: Allegro vivace, ironico EriC CuTlEr MEN OF ThE Chicago SyMPhONy ChOruS This concert series is generously made possible by Mr. & Mrs. Dietrich M. Gross. The Chicago Symphony Orchestra thanks Mr. & Mrs. John Giura for their leadership support in partially sponsoring Friday evening’s performance. CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PhilliP huSChEr ne hundred years ago, the Chicago Symphony paid tribute Oto the centenary of the birth of Franz Liszt with the pro- gram of music Riccardo Muti conducts this week to honor the bicentennial of the composer’s birth. Today, Liszt’s stature in the music world seems diminished—his music is not all that regularly performed, aside from a few works, such as the B minor piano sonata, that have never gone out of favor; and he is more a name in the history books than an indispensable part of our concert life. -
Final Appendices
Bibliography ADORNO, THEODOR W (1941). ‘On Popular Music’. On Record: Rock, Pop and the Written Word (ed. S Frith & A Goodwin, 1990): 301-314. London: Routledge (1publ. in Philosophy of Social Sci- ence, 9. 1941, New York: Institute of Social Research: 17-48). —— (1970). Om musikens fetischkaraktär och lyssnandets regression. Göteborg: Musikvetenskapliga in- stitutionen [On the fetish character of music and the regression of listening]. —— (1971). Sociologie de la musique. Musique en jeu, 02: 5-13. —— (1976a). Introduction to the Sociology of Music. New York: Seabury. —— (1976b) Musiksociologi – 12 teoretiska föreläsningar (tr. H Apitzsch). Kristianstad: Cavefors [The Sociology of Music – 12 theoretical lectures]. —— (1977). Letters to Walter Benjamin: ‘Reconciliation under Duress’ and ‘Commitment’. Aesthetics and Politics (ed. E Bloch et al.): 110-133. London: New Left Books. ADVIS, LUIS; GONZÁLEZ, JUAN PABLO (eds., 1994). Clásicos de la Música Popular Chilena 1900-1960. Santiago: Sociedad Chilena del Derecho de Autor. ADVIS, LUIS; CÁCERES, EDUARDO; GARCÍA, FERNANDO; GONZÁLEZ, JUAN PABLO (eds., 1997). Clásicos de la música popular chilena, volumen II, 1960-1973: raíz folclórica - segunda edición. Santia- go: Ediciones Universidad Católica de Chile. AHARONIÁN, CORIúN (1969a). Boom-Tac, Boom-Tac. Marcha, 1969-05-30. —— (1969b) Mesomúsica y educación musical. Educación artística para niños y adolescentes (ed. Tomeo). 1969, Montevideo: Tauro (pp. 81-89). —— (1985) ‘A Latin-American Approach in a Pioneering Essay’. Popular Music Perspectives (ed. D Horn). Göteborg & Exeter: IASPM (pp. 52-65). —— (1992a) ‘Music, Revolution and Dependency in Latin America’. 1789-1989. Musique, Histoire, Dé- mocratie. Colloque international organisé par Vibrations et l’IASPM, Paris 17-20 juillet (ed. A Hennion. -
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P
James Madison University Band Program Repertoire 2007 – Present Wind Symphony – Stephen P. Bolstad, conductor Symphony Band – Stephen P. Bolstad, conductor Concert Band – Scott D. Rikkers, conductor Wind Symphony, Stephen P. Bolstad, conductor October 7, 2007 Wiener Philharmoniker Fanfare (1924) – Richard Strauss Serenade in E flat major, Op. 7 (1881) – Richard Strauss Dance of the Jesters (1868) – Tchaikovsky/Cramer Prelude in E flat minor, Op. 34, No. 14 (1933) – Shostakovich/Reynolds Redline Tango (2004) – John Mackey Fantasia in G Major (ca. 1705) – Bach/Goldman & Leist Bells for Stokowski (2003) – Michael Daugherty Symphonic Band & Concert Band Stephen P. Bolstad & Scott Rikkers, conductors October 11, 2007 Concert Band Alleluia! Laudamus Te (1973) – Alfred Reed Be Thou My Vision (1998) – David Gillingham Rakes of Mallow (1947) – Leroy Anderson Symphonic Band Esprit De Corps (1985) – Robert Jager A Movement for Rosa (1992) – Mark Camphouse Illyrian Dances (1986) – Guy Woolfenden Russian Sailor’s Dance (1927) – Gliere/ Leidzen Wind Symphony, Stephen P. Bolstad, conductor JMU Chorale, Patrick M. Walders, conductor & JMU Symphony Orchestra Strings, Robert D. McCashin, conductor October 26, 2007 Portraits in Bluestone (2007) – Brian Balmages World Premiere Wind Symphony, Stephen P. Bolstad, conductor November 11, 2007 (Veteran’s Day) The Star Spangled Banner – Arr. by Luigi Zaninelli Profanation from “Jeremiah, Symphony No. 1” (1942) – Bernstein/Bencriscutto The Leaves Are Falling (1964) – Warren Benson Lincolnshire Posy (1937) – Percy Grainger J’ai été au bal (1999) – Donald Grantham Battle Hymn of the Republic – Arr. by Luigi Zaninelli All-Bands Concert, Stephen P. Bolstad, Scott Rikkers, conductors December 9, 2007 Concert Band Marche Des Parachutistes Belges (1945) – Leemans/Wiley Blessed Are They from “German Requiem” (1865) – Brahms/Buehlman Escape from “Plato’s Cave!” (1993) – Stephen Melillo Symphonic Band Second Suite in F for Military Band (1911) – Gustav Holst La Fiesta Mexicana (1949) – H. -
Dissertation Final Corrected
FROM PENCIL TO PERFORMANCE: The creative nexus of arranging, orchestration and music direction in works of contemporary pop/rock musical theatre BRYAN SCHIMMEL 8300995 A thesis submitted to the Faculty of Humanities University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the Degree of Master of Music Final Corrected Submission 22 September 2014 ABSTRACT In the art form of musical theatre, available literature on the creative musical aspects of musicals has focused primarily on the composers and/or lyricists; their works having been extensively analysed and documented. There is, however, comparatively less literature and documentation on the processes that guide the transformation of the theatre composer’s work to an eventual performance embracing arranging, orchestration and music direction. This dissertation explores these practices from two perspectives – the creative and the recreative. First, from the creative perspective, I challenge Joseph P. Swain who makes a compelling case for composition as a tool of dramaturgy in his book The Broadway Musical: A Critical and Musical Survey (2002). I contest that his argument cannot hold true for pop/rock musicals in which the scores are comprised of pre-existing popular music that was not originally or intentionally composed for the stage. In order to understand how music functions as a dramatic element in musical theatre, it must follow that all collaborative creative forces that contribute to this music must be evaluated in a holistic manner. Dramaturgy contextualises and elucidates storytelling and artistic vision. While Swain has postulated that composition is an element of dramaturgy, I offer the notion that since arranging and orchestration contextualise and elucidate the composition they therefore cannot be excluded as dramaturgical devices. -
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage
Appendix 5 Selected Films in English of Operettas by Composers for the German Stage The Merry Widow (Lehár) 1925 Mae Murray & John Gilbert, dir. Erich von Stroheim. Metro- Goldwyn-Mayer. 137 mins. [Silent] 1934 Maurice Chevalier & Jeanette MacDonald, dir. Ernst Lubitsch. MGM. 99 mins. 1952 Lana Turner & Fernando Lamas, dir. Curtis Bernhardt. Turner dubbed by Trudy Erwin. New lyrics by Paul Francis Webster. MGM. 105 mins. The Chocolate Soldier (Straus) 1914 Alice Yorke & Tom Richards, dir. Walter Morton & Hugh Stanislaus Stange. Daisy Feature Film Company [USA]. 50 mins. [Silent] 1941 Nelson Eddy, Risë Stevens & Nigel Bruce, dir. Roy del Ruth. Music adapted by Bronislau Kaper and Herbert Stothart, add. music and lyrics: Gus Kahn and Bronislau Kaper. Screenplay Leonard Lee and Keith Winter based on Ferenc Mulinár’s The Guardsman. MGM. 102 mins. 1955 Risë Stevens & Eddie Albert, dir. Max Liebman. Music adapted by Clay Warnick & Mel Pahl, and arr. Irwin Kostal, add. lyrics: Carolyn Leigh. NBC. 77 mins. The Count of Luxembourg (Lehár) 1926 George Walsh & Helen Lee Worthing, dir. Arthur Gregor. Chadwick Pictures. [Silent] 341 Downloaded from https://www.cambridge.org/core. IP address: 170.106.33.14, on 01 Oct 2021 at 07:31:57, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/9781108614306 342 Appendix 5 Selected Films in English of Operettas Madame Pompadour (Fall) 1927 Dorothy Gish, Antonio Moreno & Nelson Keys, dir. Herbert Wilcox. British National Films. 70 mins. [Silent] Golden Dawn (Kálmán) 1930 Walter Woolf King & Vivienne Segal, dir. Ray Enright. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Mon, Feb 15, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 09:48 Weber Overture to Der Freischutz Philharmonia/Sawallisc 01642 EMI 69572 077776957227 h 00:12:1829:13 Grieg Cello Sonata in A minor, Op. Zheng/Yang 11894 Albany 1485 034061148524 36 00:42:41 16:47 Haydn Symphony No. 022 in E flat, Austro-Hungarian 02359 Nimbus 5179 083603517922 "The Philosopher" Haydn Orchestra/Fischer 01:00:5814:59 Dvorak Othello (Concert Overture), Op. Czech 02327 Virgin 91144 075679114426 93 Philharmonic/Pešek Classics 01:16:5733:19 Beethoven Symphony No. 2 in D, Op. 36 BBC 10245 BBC MM241 n/a Philharmonic/Noseda Philharmon ic 01:51:16 08:09 Ravel 2nd mvt from String Quartet in Kodaly Quartet 12315 Naxos 8.556789 730099678926 F 02:00:5511:48 Strauss Jr. Roses from the South New York 10861 Sony 46710 07464467102 Philharmonic/Bernstein Classical 02:13:43 31:59 Mozart Piano Concerto No. 27 in B flat, Curzon/English 00429 Time-Life MZD-03A n/a K. 595 Chamber Music Orchestra/Britten 02:46:4211:48 Mendelssohn Somber Variations, Op. 54 Werner Haas 01940 Philips 442 302 028944230222 (Variations Serieuses) 03:00:0011:56 Falla Three Dances from The New York 06693 Sony 47613 07464476132 Three-Cornered Hat Philharmonic/Bernstein 03:13:2645:12 Franck String Quartet in D Prague Quartet 01738 Denon 7806 T49880010489 30 04:00:0809:47 Copland Quiet City London 08924 Sony 70047 886977004728 Symphony/Copland 04:10:5511:36 Schumann Manfred Overture, Op. 115 Stuttgart Radio 01634 Capriccio 10063 400640810063 Symphony/Marriner 8 04:23:3135:13 Beethoven String Quartet No. -
Report and Via Email to Those Who Have Email Addresses Listed in the Association’S Directory
RReeppoorrtt Douglas Stotter, editor Summer 2001 From the Podium Dear CBDNA Colleagues, In my opinion the “band” culture in the 20th century has been primarily entertainment oriented. This is true from the professional I hope this finds you well and enjoying the change of pace sum- bands of the early century to school bands of today including mer brings. For me, summer means an opportunity to “catch up” marching and concert organizations. What was revolutionary about on stacks of reading materials and the time to look seriously at the the Wind Ensemble as conceived by Fred Fennell was not the size many new scores that arrived during the academic year. During of the ensemble but the awakening to the reality that a band should this period of “rehabilitation” I also review each concert tape from and could consider the quality of the music to be performed be- the previous year and begin to make programming decisions for fore all other aspects of the organization. The number of people the upcoming year. As Dickens said, “these are the best of times on the stage was simply a bi-product of selecting quality music. and the worst of times”. It is often difficult to be brutally honest Instrumentation, names (Wind Ensemble, Symphony Band, Wind with myself (have you seen the recent commercials on this sub- Symphony), and numbers are perpetual arguments that cloud the ject?) regarding the quality of my own performances. However, real issue: quality of music. The Wind Ensemble movement as this annual ritual has been a real catalyst for growth as I try to begun by the Eastman Wind Ensemble, and practiced by many determine what I need to labor over before Labor Day. -
Successfully Selecting Performance Repertoire for Concert Festival Evaluation
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Spring 5-2014 Successfully Selecting Performance Repertoire for Concert Festival Evaluation Kristopher R. Chandler University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Music Education Commons Recommended Citation Chandler, Kristopher R., "Successfully Selecting Performance Repertoire for Concert Festival Evaluation" (2014). Honors Theses. 244. https://aquila.usm.edu/honors_theses/244 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi SUCCESSFULLY SELECTING PERFORMANCE REPERTOIRE FOR CONCERT FESTIVAL EVALUATION by Kristopher Chandler A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in the Department of Music Education May 2014 ii Approved by ____________________________________ Mohamad Schuman, Jr., D.M.A Associate Director of Bands ____________________________________ Michael A. Miles, D.M.A, Chair School of Music ____________________________________ David R. Davies, Ph.D., Dean Honors College iii Abstract Since Lowell Mason introduced the idea of modern day music education, music specialists like Dr. Acton Ostling, Jr. and Dr. Frank Battisti have aided in the evolution of music education to meet the needs of our ever-changing society. Dr. Ostling and Dr. Battisti published ground breaking research regarding selection of wind band repertoire that included a list of research-based guidelines such as choosing music that has clear melodic content, contrasting rhythms, and contrasting tonal textures, among other specifications. -
Chappell Army Journals
CHAPPELL ARMY JOURNAL - ARCHIVE CATALOGUE If you wish to place an order for any of the Army Journals featured please follow the link provided. http://www.studio-music.co.uk/acatalog/Archive_Items_Studio_Music_Co.html The majority of Journals are available to order (approx 2 weeks), at £42.50 per set. You will be asked confirm details of title(s) and journal number within the checkout process. Before processing your order we will confirm the exact the total price including delivery via email. Number Title Composer/Arranger 688 ACCELERATIONS (Waltz) Strauss 534 ADELAI Spurin 783 AFTER THE BALL (SIn) Coward 686 ALERT MARCH Bell 414 ALL ABOARD FOR DIXIELAND Cobb 722 AMERICAN PATROL Gray 735 ANNIE GET YOUR GUN (SIn) Berlin 744 ANNIVERSARY WALTZ Franklin 711 APRIL NIGHT Clutsam 710 ARC DE TRIOMPHE (SIn) Novello 467 ARCADIANS, THE (Overture) Arthur Wood 352 ARCADIANS, THE (SIn) Monckton & Talbot 389 ARGENTINE TANGO Rubens 806 AROUND THE WORLD (SIn) Young 697 ARTISTS' LIFE (Waltz) Strauss 779 BAND WAGON, THE (SIn) Schwartz 308 BANDOLERO Stuart 663 BEACHY HEAD (Overture) Tapp 513 BEAUTY PRIZE, THE (SIn) Kern 603 BEGINNERS, PLEASE! (Overture) Wood 747 BELINDA FAIR Strachey 244 BELLE OF NEW YORK, THE Kerker 809 BELLS ARE RINGING (SIn) Styne 540 BERCEUSE Jarnefelt 874 BEST OF THE SEEKERS (SIn) Arr. Sharpe 425 BETTY (SIn) Rubens 728 BIG BEN (SIn) Ellis 853 BIG COUNTRY Moross 493 BILLETS DOUX Yuain 666 BING CROSBY HITS (SIn) Arr. Duthoit 571 BITTER SWEET (SIn) Coward 733 BLESS THE BRIDE (SIn) Ellis 504 BLIND PLOUGHMAN, THE Clarke 544 BLUE MAZURKA,