BMS News August 2018
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Radio 3 Listings for 6 – 12 March 2021 Page 1 of 14 SATURDAY 06 MARCH 2021 Piano, Strings and Soundtracks to Bring You Comfort and Escape
Radio 3 Listings for 6 – 12 March 2021 Page 1 of 14 SATURDAY 06 MARCH 2021 piano, strings and soundtracks to bring you comfort and escape. production.php&bestnr=00810 SAT 01:00 Through the Night (m000ss13) This episode features American rappers who have dabbled in Anna Clyne: Mythologies Baroque music from Zug in Switzerland the world of strings and piano, including Kanye West, Jay BBC Symphony Orchestra Electronica and Mac Miller. Marin Alsop (conductor) Concerti by Telemann, Couperin and Vivaldi. Presented by Avie AV2434 Catriona Young. http://www.avie-records.com/releases/anna-clyne-mythologies/ SAT 06:00 Downtime Symphony (m000sxtv) 01:01 AM Recharge with a mix of relaxing piano and orchestral sounds The Dark Night Has Vanished Georg Philipp Telemann (1681-1767) Catriona Morison (mezzo) Concerto in G, TWV 53:G1 An hour of wind-down music to help you press pause and reset Malcolm Martineau (piano) Zug Chamber Soloists your mind. Power your downtime with chilled orchestral, Linn CKD637 ambient and lo-fi tracks from artists including Chance the https://www.linnrecords.com/recording-dark-night-has-vanished 01:13 AM Rapper, Matthew Bourne and Alice Sara Ott. Georg Philipp Telemann (1681-1767) Caroline Shaw: Narrow Sea Concerto in D minor, TWV 52:d1 Sō Percussion Zug Chamber Soloists SAT 07:00 Breakfast (m000sxtx) Gilbert Kalish (piano) Saturday - Elizabeth Alker Dawn Upshaw (vocals, percussion) 01:25 AM Caroline Shaw (organ) Francois Couperin (1668-1733) Classical music for breakfast time, plus found sounds and the Nonesuch 7559791788 (2 CDs) Concerto no 13, from 'Les goûts-réunis (Nouveaux Concerts)' odd unclassified track. -
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M
WALTON, William Turner Piano Quartet / Violin Sonata / Toccata (M. Jones, S.-J. Bradley, T. Lowe, A. Thwaite) Notes to performers by Matthew Jones Walton, Menuhin and ‘shifting’ performance practice The use of vibrato and audible shifts in Walton’s works, particularly the Violin Sonata, became (somewhat unexpectedly) a fascinating area of enquiry and experimentation in the process of preparing for the recording. It is useful at this stage to give some historical context to vibrato. As late as in Joseph Joachim’s treatise of 1905, the renowned violinist was clear that vibrato should be used sparingly,1 through it seems that it was in the same decade that the beginnings of ‘continuous vibrato use’ were appearing. In the 1910s Eugene Ysaÿe and Fritz Kreisler are widely credited with establishing it. Robin Stowell has suggested that this ‘new’ vibrato began to evolve partly because of the introduction of chin rests to violin set-up in the early nineteenth century.2 I suspect the evolution of the shoulder rest also played a significant role, much later, since the freedom in the left shoulder joint that is more accessible (depending on the player’s neck shape) when using a combination of chin and shoulder rest facilitates a fluid vibrato. Others point to the adoption of metal strings over gut strings as an influence. Others still suggest that violinists were beginning to copy vocal vibrato, though David Milsom has observed that the both sets of musicians developed the ‘new vibrato’ roughly simultaneously.3 Mark Katz persuasively posits the idea that much of this evolution was due to the beginning of the recording process. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Rumon Gamba Courtesy of the Ruth Gipps Collection
RUTH GIPPS Symphonies Nos 2 and 4 Song for Orchestra Knight in Armour Rumon Gamba Courtesy of the Ruth Gipps Collection Ruth Gipps, aged twenty, having recently composed ‘Knight in Armour’ Ruth Gipps (1921 – 1999) premiere recording Symphony No. 4, Op. 61 (1972) 31:58 To Sir Arthur Bliss 1 Moderato – Allegro molto – Poco meno mosso – Tempo I (Allegro molto) – Moderato – Allegro molto – Poco meno mosso – Allegro molto – Moderato 9:59 2 Adagio – Più mosso – Tempo I (Adagio) 6:44 3 Scherzo. Allegretto – Poco meno mosso – Allegretto – Coda – 4:17 4 Finale. Andante – Allegro molto – Poco meno mosso – Tempo I. Allegro molto – Meno mosso – Tempo I. Allegro molto – Poco meno mosso – Tempo I (Allegro molto) – Andante maestoso – Presto 10:50 3 premiere recording 5 Knight in Armour, Op. 8 (1940) 9:53 Symphonic Poem Allegro moderato – Più lento – A tempo Symphony No. 2, Op. 30 (1945) 20:57 in B major • in H-Dur • en si majeur in One Movement 6 Moderato – 0:48 7 Allegro moderato – Poco meno – Più mosso – Meno mosso – 5:26 8 Andante – Maestoso – 2:40 9 Tempo di Marcia − 3:13 10 Adagio – 3:09 11 Allegro moderato – Tranquillo – 2:13 12 Moderato – Appassionato – 1:43 13 Allegro – Più mosso – Molto allargando 1:41 4 premiere recording 14 Song for Orchestra, Op. 33 (1948) 6:03 Andante – Allegretto – Meno mosso – Allegro moderato – Allegretto – Andante – Lento TT 69:20 BBC National Orchestra of Wales Lesley Hatfield leader Rumon Gamba 5 Rumon Gamba Andreas Nilsson Ruth Gipps: Symphonies Nos 2 and 4 and other works Early years and ‘Knight in Armour’, Op. -
U·M·I University Microfilms International a Bell & Howell Information Company 300 North Zeeb Road
Music for clarinet and string quartet by women composers. Item Type text; Dissertation-Reproduction (electronic) Authors Rothenberg, Florie. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 14:53:18 Link to Item http://hdl.handle.net/10150/186505 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Lydia Tang Thesis.Pdf
THE MULTI-FACETED ARTISTRY OF VIOLIST EMANUEL VARDI BY LYDIA M. TANG THESIS Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Rudolf Haken, Chair Associate Professor Katherine Syer, Director of Research Associate Professor Scott Schwartz Professor Stephen Taylor Clinical Assistant Professor Elizabeth Freivogel Abstract As a pioneer viola virtuoso of the 20th century, Emanuel “Manny” Vardi (c. 1915-2011) is most widely recognized as the first violist to record all of Paganini’s Caprices. As a passionate advocate for the viola as a solo instrument, Vardi premiered and championed now-standard repertoire, elevated the technique of violists by his virtuosic example, and inspired composers to write more demanding new repertoire for the instrument. However, the details of his long and diverse career have never to date been explored in depth or in a comprehensive manner. This thesis presents the first full biographical narrative of Vardi’s life: highlighting his work with the NBC Symphony under Arturo Toscanini, his activities as a soloist for the United States Navy Band during World War II, his compositional output, visual artwork, an analysis of his playing and teaching techniques, as well as his performing and recording legacies in classical, jazz, and popular music. Appendices include a chronology of his life, discography, lists of compositions written by and for Vardi, registered copyrights, and a list of interviews conducted by the author with family members, former students, and colleagues. -
French Performance Practices in the Piano Works of Maurice Ravel
Studies in Pianistic Sonority, Nuance and Expression: French Performance Practices in the Piano Works of Maurice Ravel Iwan Llewelyn-Jones Submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy School of Music Cardiff University 2016 Abstract This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques. -
Decca Discography
DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. -
C DSPH Records of the Hull Philharmonic Society 1881-2012
Hull History Centre: Records of the Hull Philharmonic Society C DSPH Records of the Hull Philharmonic Society 1881-2012 Accession Number: 10/55; 10/68; 11/36; 11/61 Extent: 30 boxes Description: THE RECORDS OF HULL PHILHARMONIC SOCIETY (FOUNDED 1881). Records within this collection include minutes, reports and accounts, correspondence, photographs, programmes, lists of members, publicity material, ephemera, books, press cuttings, and members papers. Please note that correspondence, reports, and accounts relating to the decades prior to the 1950s are not present in the collection, and that the same relating to the period 1950-1970 is very patchy. Please also note that the only records relating directly to the Hull Junior Philharmonic Orchestra are a number of programmes [CDSPH/5/4], although references to the Junior Orchestra can be found within other records in this collection. Arrangement: Collection arranged as follows: C DSPH/1 Minutes, 1881-1995 C DSPH/2 Reports, 1963-2003 C DSPH/3 Correspondence, 1908-2010 C DSPH/4 Photographs, 1949-2010 C DSPH/5 Programmes, 1882-2011 C DSPH/6 Members Lists, c.1881-1963 C DSPH/7 Publicity Material, 1935-2011 C DSPH/8 Ephemera, 1850-1999 C DSPH/9 Library, 1936-2008 C DSPH/10 Press Cuttings, 1884-2010 C DSPH/11 Members' Papers, 1908-2011 C DSPH/12 Miscellaneous Records, 1899-2003 Historical Background: Created by the Hull Philharmonic Society during the normal course of their business. Formation of the Society On 1 Jun 1881 a group of 17 men met at the George Hotel, Hull, for the purposes of establishing a society for 'the private and Public Performance of Orchestral Music at Hull be called the Hull Philharmonic Society' [C DSPH/1/1/1]. -
Lyrita New Release Supplement 04 16
New Releases "It is only thanks to Lyrita, the tiny British label founded by Richard Itter in 1959, that we have recordings of some of the finest pieces of British Music…Joubert's [cello concerto], in particular, is as arresting as almost any other such concerto in the English canon…Lyrita offers a gold mine of British Music: get your picks and shovels and discover." Charles Stanford - Piano Concerto No.2 • Gerald Finzi - Eclogue for Piano and String Orchestra • John Foulds - Dynamic Triptych for Piano and Orchestra • Frank Bridge - “Phantasm” Rhapsody for Piano and Orchestra • Ralph Vaughan Williams - Piano Concerto in C Major • Alan Rawsthorne – Piano Concerto No. 1 • Cyril Scott – Early One Morning • John Ireland – Legend for Piano and Orchestra • William Bush – Piano Concerto • E.J. Morean – Rhapsody in F-Sharp Major for Piano and Orchestra • Lennox Berkley – Piano Concerto in B-Flat Major • Alun Hoddinott – Piano Concerto No. 1 • Malcolm Williamson – Piano Concerto No. 3 in E-Flat Major. (4 CDs) SRCD2345 £19.99 Samuel Coleridge-Taylor – Violin Concerto in G Minor • Gustav Holst – Invocation for Cello and Orchestra • Gustav Holst – Lyric Movement for Viola and Small Orchestra • William Bush – Cello Concerto • E.J. Moeran – Concerto for Violin and Orchestra • Edmund Rubbra – Soliloqua for Cello and Orchestra • Roberto Gerhard – Violin Concerto • Peter Racine Fricker – Concerto for Violin and Small Orchestra • Elizabeth Maconchy – Serenata Concertante for Violin and Orchestra • David Morgan – Concerto for Violin and Orchestra • Don Banks – Concerto for Violin and Orchestra • Alun Hoddinott – Nocturnes and Cadenzas for Cello and Orchestra. "The famous Lyrita sound is here in spades, rich, detailed, demonstration class. -
Macdowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians
The Maud Powell SignatureSignature Women in Music The March of the Women Marion Bauer Amy Beach Jenny Lind The MacDowell Colony Doreen Carwithen Teresa Carreno Ethel Smyth Ruth Gipps Maud Powell Dorothy Gow Society of Women Musicians Premiere Online Issue ~ June 2008 2 The Maud Powell Signature, Women in Music, June 2008 The Maud Powell Signature, Women in Music The March of the Women June 2008, Vol. II, No. 2 Premiere online issue Contents From the desk of . Daryle Gardner-Bonneau, Sigma Alpha Iota …………………………………………... 5 Editorial—The March of the Women ……………………………………………………………………………… 7 Jenny Lind, The Swedish Nightingale by Leslie Holmes ……………………………………………………….. 11 Women with a Cause, The Creation of the MacDowell Colony by Robin Rausch ………………………….. 21 Marion Bauer, From the Wild West to New York Modernism by Susan Pickett ……………………………... 31 Graveyard Stories by Susan Pickett …………………………………………………………………….. 47 The Society of Women Musicians, A Major Step Forward …………………………………………………… 49 in the “March of the Women” by Pamela Blevins Doreen Carwithen, Breaking Down Barriers by Andrew Palmer ………………………………………………. 57 The Children’s Corner ……………………………………………………………………………………………... 69 Amy Beach, “Stealing from the Birds” and other adventures in music by Marie Harris Cameos of More Women in Music ………………………………………………………………………………. 81 Teresa Carreño by Pamela Blevins Maud Powell by Karen Shaffer Dorothy Gow by John France Ethel Smyth by Pamela Blevins The Learning Center ……………………………………………………………………………………………….. 93 Brighter Women Through Music by Madeline Frank -
A Conductor's Guide to Selected Works by Female Composers for Chamber Wind Ensemblemichael Scott Douty
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 A Conductor's Guide to Selected Works by Female Composers for Chamber Wind EnsembleMichael Scott Douty Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A CONDUCTOR’S GUIDE TO SELECTED WORKS BY FEMALE COMPOSERS FOR CHAMBER WIND ENSEMBLE By MICHAEL SCOTT DOUTY A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 © 2019 Michael Scott Douty Michael Scott Douty defended this dissertation on June 24, 2019. The members of the supervisory committee were: Richard Clary Professor Directing Dissertation Jane Piper Clendinning University Representative David Patrick Dunnigan Committee Member Steven Kelly Committee Member Clifford Madsen Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii To Bethany, for teaching me about the importance of supporting Women in their careers and—as alWays—for your support. iii ACKNOWLEDGMENTS I would like to thank several people who contributed to the completion of this dissertation, starting with my committee members, Prof. Richard Clary, Prof. Jane Piper Clendinning, Dr. Patrick Dunnigan, Dr. Steven Kelly, and Dr. Clifford Madsen. Invaluable guidance and assistance Were provided by Laura Gayle Green, Françoise Masset, Dr. Suzanne Rita Byrnes, Dr. Rick Fleming, Prof. Nancy Galbraith, Dr. Julia Wolfe, Dr. Evan Jones, Dr. Jill Halstead, Dr. Victoria Rowe, and Lance Baker.