A Survey and Guide to the Most Frequently Programmed Lieder In
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Table of Contents Part 2 Welcome to the CD Sheet Music™ Edition of Lieder for Medium and Low Voices, Schubert and Schumann
Sheet TM Version 2.0 Music 1 CD Lieder for Medium and Low Voices Schubert and Schumann Table of Contents Part 2 Welcome to the CD Sheet Music™ edition of Lieder for Medium and Low Voices, Schubert and Schumann. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Contents of this CD-ROM (click a composer’s name or category below to go to that section of the Table of Contents) SCHUBERT SONG CYCLES SONGS (ALPHABETICAL) A-B D-F G-I J-L M-R S-U V-Z SCHUMANN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ SCHUBERT - SONG CYCLES Die schöne Müllerin, Op. 25 18. Trockne Blumen (Bm) 1. Das Wandern (A) 19. Der Müller und der Bach (Em) 1. Das Wandern (G) 19. Der Müller und der Bach (Ebm) 2. Wohin? (F) 20. Des Baches Wiegenlied (C) 2. Wohin? (E) 20. Des Baches Wiegenlied (Bb) 3. Halt! (Bb) Winterreise, Op. -
Tbeatthe HEAT!
THE SUNDAY STAR, Washington, D. C. SPMMT, «. TURNTABLE TALK E-4 MAKC* IMS | NEWS OF MUSIC Here Are New Sounds Mozart Cycle Billed JjfH At 4 For Speeding Guests RHBB plC' -• ww*lfe*' By JAMES G. DEANE ! work Is familiar In a version By Dirksen, Lywen Up InStamford. Conn., when for concert orchestra arranged he Is not out in the West In- with the composer’s approval By DAT THORPE States for an average of $16.43. dies or some other exotic spot by Gordon Jacobs, a pupil. The Certainly the most unusual Those interested in entering the contest should write Helen with a microphone and tape original Is no less Ingratiating. musical event for which the - N' Havener, National Federation recorder, there is a man named All told, there are really II Mocart anniversary will be Clubs, of Music 445 West Emory Cook who has a pen- pieces on the disc, which the responsible this year Is the Twenty-third street. New York chant fer miking recordings Eastman Symphonic Wind cycle of Mozart violin 11. N. Y. nobody else would think of. ' Ensemble performs with gus- and keyboard sonatas to be The other contest is the Merriweather Post Award of For posterity, Mr. Cook has to. The recorded sound is a ' played this spring and fall by ! SSOO cash and a S6OO scholar- magnetically enshrined the i model. Richard Dirksen and Werner ship ** * * SOPRANO WITH ARMY the Phillips Gal- to the Juilliard School of sound of ocean waves, earth- at Music. The National Sym- NEW BCHUBERTIAN BAND—Evelyn Sachs, who fcry quakes. -
THROUGH LIFE and LOVE Richard Strauss
THROUGH LIFE AND LOVE Richard Strauss Louise Alder soprano Joseph Middleton piano Richard Strauss (1864-1949) THROUGH LIFE AND LOVE Youth: Das Mädchen 1 Nichts 1.40 Motherhood: Mutterschaft 2 Leises Lied 3.13 16 Muttertänderlei 2.27 3 Ständchen 2.42 17 Meinem Kinde 2.52 4 Schlagende Herzen 2.29 5 Heimliche Aufforderung 3.16 Loss: Verlust 18 Die Nacht 3.02 Longing: Sehnsucht 19 Befreit 4.54 6 Sehnsucht 4.27 20 Ruhe, meine Seele! 3.54 7 Waldseligkeit 2.54 8 Ach was Kummer, Qual und Schmerzen 2.04 Release: Befreiung 9 Breit’ über mein Haupt 1.47 21 Zueignung 1.49 Passions: Leidenschaft 22 Weihnachtsgefühl 2.26 10 Wie sollten wir geheim sie halten 1.54 23 Allerseelen 3.22 11 Das Rosenband 3.15 12 Ich schwebe 2.03 Total time 64.48 Partnership: Liebe Louise Alder soprano 13 Nachtgang 3.01 Joseph Middleton piano 14 Einerlei 2.53 15 Rote Rosen 2.19 2 Singing Strauss Coming from a household filled with lush baroque music as a child, I found Strauss a little later in my musical journey and vividly remember how hard I fell in love with a recording of Elisabeth Schwarzkopf singing Vier Letze Lieder, aged about 16. I couldn’t believe from the beginning of the first song it could possibly get any more ecstatic and full of emotion, and yet it did. It was a short step from there to Strauss opera for me, and with the birth of YouTube I sat until the early hours of many a morning in my tiny room at Edinburgh University, listening to, watching and obsessing over Der Rosenkavalier’s final trio and presentation of the rose. -
UNIVERSITY of CALIFORNIA Los Angeles
UNIVERSITY OF CALIFORNIA Los Angeles Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Musicology by Ryan Isao Rowen 2015 © Copyright by Ryan Isao Rowen 2015 ABSTRACT OF THE DISSERTATION Transcending Imagination; Or, An Approach to Music and Symbolism during the Russian Silver Age by Ryan Isao Rowen Doctor of Philosophy in Musicology University of California, Los Angeles, 2015 Professor Mitchell Bryan Morris, Chair The Silver Age has long been considered one of the most vibrant artistic movements in Russian history. Due to sweeping changes that were occurring across Russia, culminating in the 1917 Revolution, the apocalyptic sentiments of the general populace caused many intellectuals and artists to turn towards esotericism and occult thought. With this, there was an increased interest in transcendentalism, and art was becoming much more abstract. The tenets of the Russian Symbolist movement epitomized this trend. Poets and philosophers, such as Vladimir Solovyov, Andrei Bely, and Vyacheslav Ivanov, theorized about the spiritual aspects of words and music. It was music, however, that was singled out as possessing transcendental properties. In recent decades, there has been a surge in scholarly work devoted to the transcendent strain in Russian Symbolism. The end of the Cold War has brought renewed interest in trying to understand such an enigmatic period in Russian culture. While much scholarship has been ii devoted to Symbolist poetry, there has been surprisingly very little work devoted to understanding how the soundscape of music works within the sphere of Symbolism. -
His Master's Voice Double-Sided Records
PRICES OF " His Master's Voice Double-Sided Records THE ROYAL RECORD (R.E. 284) THEIR MAJESTIES THE KING & QUEEN. 10 in. Double-sided, 5/6. THE ROYAL RECORD (R.D. 837) H.R.H. THE PRINCE OF WALES. 12 in. Double-sided 5/6. NURSERY Records-ORANGE Label (Serial Letters AS, 7-inch 1/6. (Each series of 6 records in album, 12/6. Decorated Album-with linen pockets -separate. 3/6.) PHYSICAL CULTURE Records.-Set complete in album, 12/-. Album and chart separate, 3/-. Se6al Colour of Label. 10-inch 112-inch e tter PLUM... 4/6 C ... BLACK 6/6 D ... RED 8/6 DB ... BUFFPALE 10/- DK GREEN 11/6 DM PALE BLUE... 13/6 DO WHITE 16/- DQ ... Unless otherwise stated "His .fasters Voice" Records should be played at a steed of 78. His .taster's Voice" hn.strz uta,,eons Speed Tester, shows instantly whether yo,rr motor is rnuznine correctly. "His Master's Voice" Records EVA PLASCHKE VON DER OSTEN & MINNIE NAST (with orchestral accompaniment) 12-inch double-sided Black Label. Ist ein Traum, kann nicht wirklich sein (Is it a dream ? truly I know not !)-Act 3 (" Der Rosenkavalier ") (In German) Richard Strauss D.1002 ... Mit ihren Augen voll Tränen (Those eyes filled with tears)-Act 2 ('" Der Rosenkavalier ") (In German)... Richard Strauss ... ... ... NEUES TONKÜNSTLER ORCHESTER 12-inch double-sided Plum I,abel C.1202 " Der Rosenkavalier "-Waltz, Parts 1 and 2 Richard Strauss DJ FR ROSENKA VALIER had such a sensational success in England last year that it was selected as the most suitable piece with which to open this year's season of Royal Opera at Covent Garden on May 18th. -
RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE
TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE RICHARD STRAUSS Eine Alpensinfonie Frankfurt Radio Symphony Andrés Orozco-Estrada TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS MORE Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 (Thunder and Tempest, Descent) Eine Alpensinfonie (An Alpine Symphony) (1915) 20 Sonnenuntergang (Sunset) 2. 31 21 Ausklang (Quiet Settles) 7. 17 1 Nacht (Night) 3. 36 22 Nacht (Night) 2. 19 2 Sonnenaufgang (Sunrise) 1. 43 3 Der Anstieg (The Ascent) 2. 20 Total playing time: 55. 32 4 Eintritt in den Wald (Entry into the Forest) 5. 35 5 Wanderung neben dem Bache (Wandering by the Brook) 0. 48 6 Am Wasserfall (At the Waterfall) 0. 14 7 Erscheinung (Apparition) 0. 46 8 Auf blumigen Wiesen (On Flowering Meadows) 1. 01 ← ← 9 Auf der Alm (On the Alpine Pasture) 2. 37 10 Durch Dickicht und Gestrüpp auf Irrwegen 1. 33 (Through Thickets and Undergrowth on the Wrong Path) 11 Auf dem Gletscher (On the Glacier) 1. 19 12 Gefahrvolle Augenblicke (Dangerous Moments) 1. 31 13 Auf dem Gipfel (On the Summit) 5. 46 14 Vision (Vision) 3. 55 15 Nebel steigen auf (Mists Rise) 0. 20 16 Die Sonne verdüstert sich allmählich 0. 52 (The Sun Gradually Becomes Obscured) 17 Elegie (Elegy) 2. 03 Frankfurt Radio Symphony 18 Stille vor dem Sturm (Calm Before the Storm) 3. 17 Conducted by Andrés Orozco-Estrada Richard Strauss (1864 – 1949) 19 Gewitter und Sturm, Abstieg 3. 58 Musical philosopher in ecstatic La mer, or Britten’s mysterious was highly interesting, individual and subjected to a detailed programmatic -
Festival Richard Strauss
RICHARD STRAUSS Torino, 2-25 febbraio 2018 Un progetto di CITTÀ DI TORINO TEATRO REGIO TORINO RICHARD-STRAUSS-ARCHIV GARMISCH RICHARD-STRAUSS-INSTITUT GARMISCH-PARTENKIRCHEN ASSOCIAZIONE AMICI DEL REGIO ARIANNA PER LA MUSICA AMBAscIATA DELLA REPUBBLICA FEDERALE DI GERMANIA A ROMA BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO ASSOCIAZIONE ABNUT - AMICI BIBLIOTECA NAZIONALE UNIVERSITARIA DI TORINO CONSERVATORIO “GIUSEPPE VERDI” DI TORINO ORCHESTRA FILARMONICA DI TORINO ASSOCIAZIONE BARETTI UNIONE MUSICALE ORCHESTRA DA CAMERA “GIOVANNI BATTISTA POLLEDRO” ACCADEMIA DEL SANTO SPIRITO I MUSICI DI SANTA PELAGIA ACCADEMIA CORALE STEFANO TEMPIA ASSOCIAZIONE CONCERTANTE - PROGETTO ARTE&MUSICA CIRCOLO DEGLI ARTISTI ORCHESTRA SINFONICA NAZIONALE DELLA RAI GOETHE-INSTITUT TURIN ACCADEMIA DI MUSICA DI PINEROLO UNIVERSITÀ DEGLI STUDI DI TORINO - CENTRO STUDI SUL TEATRO MUSICALE IL CIRCOLO DEI LETTORI ASSOCIAZIONE CULTURALE ORGANALIA ACADEMIA MONTIS REGALIS MARCHESATO OPERA FESTIVAL - COMUNE DI SALUZZO - FONDAZIONE SCUOLA APM DI SALUZZO ASSOCIAZIONE ANTIDOGMA MUSICA MUSEO NAZIONALE DEL CINEMA INPOETICA - FESTIVAL TRASVERSALE DELLE ARTI Dopo il successo del Festival Alfredo Casella, che nel 2016 si è aggiudicato il Premio Abbiati dell’Associazione Nazionale dei Critici Musica- li per l’originalità del progetto, e del Festival Antonio Vivaldi l’anno scorso, il 2018 è l’an- no di Richard Strauss. Al compositore tedesco più in vista e di successo nella prima metà del Novecento viene dunque dedicato il terzo festi- val monografico, interdisciplinare e collegiale realizzato a Torino: interdisciplinare perché nei 33 appuntamenti che lo costituiscono sono coin- volte più forme artistiche; collegiale perché tutto il programma è frutto di una vasta sinergia che coinvolge circa trenta istituzioni culturali. Richard Strauss (1864-1949) ebbe un forte lega- me con l’Italia e la sua cultura, come testimonia la mostra documentaria allestita per l’occasione e che significativamente inaugura il Festival. -
A Senior Recital
Senior Recitals Recitals 12-1-2007 A Senior Recital Lohol Gonzales University of Nevada, Las Vegas Kanako Yamazaki University of Nevada, Las Vegas Mika Brunson University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/music_senior_recitals Part of the Music Performance Commons Repository Citation Gonzales, L., Yamazaki, K., Brunson, M. (2007). A Senior Recital. 1-2. Available at: https://digitalscholarship.unlv.edu/music_senior_recitals/34 This Music Program is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Music Program in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Music Program has been accepted for inclusion in Senior Recitals by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. The University of Nevada, Las Vegas College of Fine Arts Department of Music Presents A Senior Recital Loh61 Gonzales soprano with Kanako Yamazaki, piano Mika Brunson, oboe Saturday, 1 December 2007 4:30P.M. Doc Rando Recital Hall Beam Music Center Program "Seufzer, Tranen, Kummer, Not." 1ohann Sebastian Bach from lch hatte vie! Bekiimmernis. BWV 21 (1685-1750) Mika Brunson, Oboe An die Musik, Op. 88, No. 4 Franz Schubert Lied der Mignon, Op. 62, No.4 (1797-1828) Gretchen am Spinnrade, Op. -
Schubert's Winterreise in Nineteenth-Century Concerts
Detours on a Winter’s Journey: Schubert’s Winterreise in Nineteenth-Century Concerts NATASHA LOGES Downloaded from http://online.ucpress.edu/jams/article-pdf/74/1/1/465161/jams_74_1_1.pdf by American Musicological Society Membership Access user on 03 June 2021 Introduction For a time Schubert’s mood became more gloomy and he seemed upset. When I asked him what was the matter he merely said to me “Well, you will soon hear it and understand.” One day he said to me “Come to Schober’s to-day, I will sing you a cycle of awe-inspiring songs. I am anxious to know what you will say about them. They have affected me more than has been the case with any other songs.” So, in a voice wrought with emotion, he sang the whole of the “Winterreise” through to us.1 In 1858, Schubert’s friend Josef von Spaun published a memoir of Schubert that included this recollection of the composer’s own performance of his Winterreise,D.911.Spaun’s poignant account is quoted in nearly every pro- gram and recording liner note for the work, and many assume that he meant all twenty-four songs in the cycle, roughly seventy-five uninterrupted minutes of music, presented to a rapt, silent audience—in other words, a standard, modern performance.2 Spaun’s emotive recollection raises many questions, however. The first concerns what Spaun meant by “the whole of the ‘Winter- reise,’” and this depends on the date of this performance, which cannot be established. As many scholars have observed, Schubert most likely sang only the twelve songs he had initially composed.3 Susan Youens recounts that the 1. -
Art Song Repertoire List
Regan Heather Russell Art Song Repertoire List An asterisk (*) indicates a completed song set/cycle. I. Sprightly Mrs. Grasshopper II. Just before the Lights are Lit English Starlight Tale of the Wind Argento, Dominick To Mirza *Six Elizabethan Songs When Love is Over Barab, Seymour Bridge, Frank Lullaby Love Went a-Riding, H. 114 Barber, Samuel Britten, Benjamin Op. 10 How sweet the answer III. I hear an army The little old table Op. 13 On This Island, Op. 11 I. A Nun Takes the Veil III. Seascape III. Sure on this shining night IV. Nocturne IV. Nocturne V. As it is, plenty Hermit Songs, Op. 29 A Charm of Lullabies, Op. 41 I. At Saint Patrick’s Purgatory V. The Nurse’s Song III. St. Ita’s Vision V. The Crucifixion Burleigh, Harry Thacker Op. 45 My Lord, what a mornin’ II. A Green Lowland of Pianos *Five Songs of Laurence Hope III. O Boundless, Boundless Evening Busch, Carl Beach, Amy Marcy Cheney Orpheus with his lute Three Shakespeare Songs, Op. 37 II. Take, O Take Those Lips Away Butterworth, George Three Browning Songs, Op. 44 Six Songs from a Shropshire Lad I. The Year’s at the Spring I. Loveliest of Trees II. Ah, Love, but a Day! VI. Is My Team Plowing? Berger, Jean Charles, Ernest Four Songs When I have sung my songs II. Heart Cipullo, Tom Bolcolm, William *Another Reason Why I Don’t Keep a Gun in the House Cabaret Songs, Vol. 1 V. Song of Black Max (as told by the deKooning Conte, David Boys) *American Death Ballads Bowles, Paul Copland, Aaron Blue Mountain Ballads *Twelve Poems of Emily Dickinson I. -
Text in Bewegung
TEXT IN BEWEGUNG. ZU PANTOMIME, TANZ UND FILM BEI HUGO VON HOFMANNSTHAL Inauguraldissertation zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich Neuere Philologien (10) der Johann-Wolfgang-Goethe-Universität zu Frankfurt am Main vorgelegt von Claas Junge aus Groß-Gerau Einreichungsjahr: 2006 2007 1. Gutachter: Prof. Dr. Andreas Thomasberger 2. Gutachter: PD Dr. Tanja Michalsky Tag der Promotion: 19. Juli 2006 2 Inhalt Einleitung 4 TEIL EINS: HOFMANNSTHALS SYSTEM DER KÜNSTE 10 Kapitel 1: Das Bild im Text: Die Briefe des Zurückgekehrten 13 Kapitel 2: Der Raum des Theaters 23 Hofmannsthal und die Theaterreform um 1900 23 „Das fließende Ich“ des Schauspielers 35 Kapitel 3: Einklang. Sprache und Musik 43 Zum Verhältnis von Wort und Ton – Hofmannsthal und Strauss 45 Programmatik und Selbstdeutung: Das Gespräch über ‚Die Ägyptische Helena’ 48 Kapitel 4: Das choreographische Gedicht - Tanz und Pantomime 55 Standbild. Moderner Bühnentanz zwischen Mimesis und Selbstbezüglichkeit 58 Über die Pantomime 66 Furcht. Gespräch zweier Tänzerinnen: Der Tanz als Metapher des Imaginären 70 Kapitel 5: Traumfabrik. Film als Hypostasierung des Imaginären 77 TEIL ZWEI: SZENARIEN FÜR PANTOMIME, TANZ UND FILM 93 Kapitel 6: Der erinnernde Körper 93 Zeit der Erinnerung: Der Triumph der Zeit 93 Achilles tanzt und erinnert sich: Achilles auf Skyros 107 Kapitel 7: Der Schüler: Mimesis oder die Kunst der Täuschung 113 Kapitel 8: Marionetten und Puppen 122 Der Tanz am Seil: Das fremde Mädchen und die Josephslegende 122 Die Macht der Musik und der Tanz -
François Rabelais
François Rabelais Gargantua und Pantagruel Erstes Buch. Das unschätzbare Leben des grossen Gargantua, Vaters Pantagruelis, weiland verfaßt durch Meister Alcofribas Nasier den Abstractor der Quintessenz. Ein Büchlein voller Pantagruelismus. Den Lesern. Ihr Leser dieses Buches lobesan Thut ab von euch Affect und Leidenschaft, Und wann ihrs leset, ärgert euch nicht dran: Denn es kein Unheil noch Verderben schafft. Die Wahrheit zwar zu sagen, musterhaft Ist wenig drinn, wenn wir nicht Lachen meinen. Den Text erwählt mein Herz, und weiter keinen. Seh ich den Kummer, der euch nagt und frißt, Handl ich von Lachen lieber denn von Weinen, Dieweil des Menschen Fürrecht Lachen ist. Des Authors Prologus. Sehr treffliche Zecher, und ihr meine kostbaren Venusseuchling, (denn euch und sonst niemandem sind meine Bücher zugeschrieben) Alcibiades, in dem Gespräch des Platon die Zech betitelt, sagt unter anderen Reden zum Lob seines Meisters Sokrates, welcher ohnstreitig der Weltweisen Kaiser und König war, daß er sey gleich den Silenen gewesen. Silenen waren vor diesem kleine Büchslein, wie wir sie heut in den Läden der Apotheker sehen, von außen bemalet mit allerlei lustigen, schnakischen Bildern, als sind Harpyen, Satyrn, gezäumte Gänslein, gehörnte Hasen, gesattelte Enten, fliegende Böck, Hirschen die an der Deichsel ziehen, und andre derley Schildereyen mehr, zur Kurzweil konterfeyet um einen Menschen zu lachen zu machen: wie denn des guten Bacchus Lehrmeister Silenus auch beschaffen war. Hingegen im Innersten derselben verwahrt' man die feinen Spezereyen,