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Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue. -
A Book of Operas
A Book of Operas Henry Edward Krehbiel A Book of Operas Table of Contents A Book of Operas................................................................................................................................................1 Henry Edward Krehbiel...........................................................................................................................1 CHAPTER I. "IL BARBIERE DI SIVIGLIA"........................................................................................1 CHAPTER II. "LE NOZZE DI FIGARO"..............................................................................................7 CHAPTER III. "DIE ZAUBERFLÖTE"...............................................................................................14 CHAPTER IV. "DON GIOVANNI".....................................................................................................20 CHAPTER V. "FIDELIO".....................................................................................................................27 CHAPTER VI. "FAUST"......................................................................................................................34 CHAPTER VII. "MEFISTOFELE".......................................................................................................39 CHAPTER VIII. "LA DAMNATION DE FAUST".............................................................................47 CHAPTER IX. "LA TRAVIATA"........................................................................................................50 CHAPTER -
The Singer's Guide to German Diction: Supplements
The Singer’s Guide to German Diction Supplements Valentin Lanzrein and Richard Cross The Singer's Guide to German Diction: Supplements Contents LYRIC DICTION IN MUSICAL CONTEXT Vowels in Singing The Glottal Separation in Singing Diphthongs in Singing Schwa and Vocalic-R in Singing Word Stress in Singing Consonants in Singing Initial Consonant Anticipation Final Consonant Suspension Consonant Clusters Consonant Assimilation: Merges and Implosions Anticipation of Sustainable Consonants for Expressiveness SUPPLEMENTAL EXERCISES AND WORKSHEETS Musical Exercises Musical Exercises for [iː], [i], [i̯], and [ɪ] Musical Exercises for [eː], [ɛː], [ɛ], and [ə] Musical Exercises for [ɑː] and [a] Musical Exercises for [oː] and [ɔ] Musical Exercises for [uː] and [ʊ] Musical Exercises for [øː] and [œ] Musical Exercises for [yː] and [ʏ] Musical Exercises for [a͡e], [ɑ͡o], and [ɔ͡ø] Musical Exercises for [f] and [v] Musical Exercises for [s] and [z] Musical Exercises for [ʃ] and [ʒ] Musical Exercises for [ʝ], [ç], and [x] Musical Exercises for [h] and [ǀ] Musical Exercises for [p] and [b] Musical Exercises for [t] and [d] Musical Exercises for [k] and [ɡ] Musical Exercises for [m], [n], and [ŋ] Musical Exercises for [l] Musical Exercises for [r], [ɾ], and [ɐ] Musical Exercises for [p͡s], [p͡f], [ts],͡ [tʃ͡ ], [k͡s], and [k͡v] Worksheets Worksheet 2.5: Word Structure Worksheet 2.6: Word Stress Worksheet 4.1: [iː], [i], [i̯], and [ɪ] Worksheet 4.2: [eː], [e], [ɛː], [ɛ], and [ə] Worksheet 4.3: [ɑː] and [a] The Singer's Guide to German Diction: Supplements Worksheet 5.1: [oː], [o], and [ɔ] Worksheet 5.2: [uː], [u], and [ʊ] Worksheet 6.1: [øː] and [œ] Worksheet 6.2: [yː], [y], and [ʏ] Worksheet 7.1: [a͡e], [ɑ͡o], and [ɔ͡ø] Worksheet 9.1: [f] and [v] Worksheet 9.3: [s], [z], [ʃ], and [ʒ] Worksheet 9.4: [ʝ], [ç], and [x] Worksheet 9.6: [h] and [ǀ] Worksheet 10.3: [p], [b], [t], [d], [k], and [ɡ] Worksheet 11.3: [m], [n], and [ŋ] Worksheet 12.2: [l], [r], [ɾ], and [ɐ] Worksheet 13.1: [p͡s], [p͡f], [ts],͡ [tʃ͡ ], [k͡s], and [k͡v] Worksheet: Review Section II. -
Download Program Notes
Select Songs Franz Schubert and Richard Strauss n the refined, jewel-like genre of the Lied, bert’s lifetime a few composers were creat - Ithe German art song, the name of Franz ing symphonic arrangements of songs orig - Schubert stands indisputably at the top of a inally written for voice and piano. Most of list that would wend through the 19th cen - these early arrangers are little known today, tury and into the 20th, encompassing such but by the 1860s famous names such as eminences as Schumann, Mendelssohn, Berlioz, Liszt, and Brahms were adding to Brahms, Wolf, Mahler, and Richard Strauss. the repertoire. The set of songs heard in this Matthias Goerne has assembled a set of songs concert affords a glimpse of how gifted by the first and last of those figures, who, in composers paid tribute to Schubert and the classic tradition of the Lied, originally Strauss by adapting their songs to the evolv - crafted their songs for voice with piano. ing orchestral aesthetics of their own Songs with full orchestral accompani - times, as well as to how Strauss crafted ment flourished in the later 19th century, symphonic versions of some songs he had the contributions of Strauss and Mahler originally composed with accompaniments being exemplary — but already in Schu - by piano alone. An Silvia, D.891 Des Fischers Liebesglück, D.933 Greisengesang, D.788 Franz Schubert Born: January 31, 1797, in Liechten thal, then a suburb of Vienna, Austria, now part of the city Died: November 19, 1828, in Vienna Works composed and premiered: An Silvia was composed in early July 1826, and Des Fischers Liebesglück in November 1827; premieres unknown, as Schubert songs were typically unveiled at private gatherings in Vienna, with the composer as piano accompanist to solo vocalists; Alexan - der Schmalcz’s orchestrations were introduced on April 25, 2015, at the Great Hall of the Vienna Musikverein, by the Vienna Symphony Orchestra, Philippe Jordan, conductor, Matthias Goerne, baritone . -
110789 Bk Bjorling5eu 10/02/2005 12:15Pm Page 8
110789 bk Bjorling5EU 10/02/2005 12:15pm Page 8 TOSTI: SCHUBERT: ADD ¡ Ideale (1882) 3:16 ¢ Die Forelle, D. 550 1:51 GREAT SINGERS • BJÖRLING 11th April 1952 – LM 1771 11th April 1952 – LM 1771 8.110789 SCHUBERT: from Schwanengesang, D. 957 1-8 with Harry Ebert, Piano ™ Ständchen (Leise flehen meine Lieder) 4:29 9-24 with Frederick Schauwecker, Piano 11th April 1952 – LM 1771 All items performed in German, except for SCHUBERT: Die schöne Müllerin, D. 795 7-8, 14 & 17, in Swedish Jussi £ Die böse Farbe 2:23 9 & 10 in Norwegian 11th April 1952– LM 1771 20, in English 21, in Italian BJÖRLING Collection, Vol. 5 Lieder and Songs 1939-1952 You are welcome to contact one of the Jussi Björling Societies! * The Jussi Bjorling Society-USA www.jussibjorlingsociety.com. To join, write to Daniel Shea, Schubert 3337 Conservancy Lane, Middleton WI 53562 USA Tel 608-836-6911, E-mail: [email protected] R. Strauss * The Jussi Bjorling Appreciation Society To join, write to Eric Wimbles, Glenaire, 58 Mill Road, Crowle, North Wolf Lincolnshire, DN17 4LN, UK, or email him at [email protected] Grieg * Jussi Björlingsällskapet (The Scandinavian Jussi Björling Society) www.jussibjorlingsallskapet.com. To join, contact the Jussi Björling Museum (see below). Rachmaninov You are welcome to visit or contact the Jussi Björling Museum, Sibelius which has the world’s largest collection related to Jussi Björling. Address: Borganäsvägen 25, SE-78433 Borlänge, Sweden. http://www.borlange.se/kommun/jussi/ Liszt 8.110789 8 110789 bk Bjorling5EU 10/02/2005 12:15pm Page 2 Jussi Björling: Collection, Vol. -
Voice Syllabus / 2012 Edition
74058_MDP_SyllabusCovers_RELEASE2_Layout 1 13-02-06 11:14 AM Page 56 74058_MDP_SyllabusCovers_RELEASE2_LayoutVoice 1 13-02-06 11:14 AM Page 56 VoiceSYLLABUS EDITION SYLLABUS EDITION S35_Voice Syllabus_2016.indd 2 2016-10-17 4:12 PM Contents Message from the President . 5 Register for an Examination Examination Sessions and Registration Deadlines . 106 Getting Started Online Registration . 106 What’s New . 6 Examination Fees . 106 Contact Us . 6 Examination Centers . 106 Examination Scheduling . 106 About Us The Royal Conservatory . 7 Examination Regulations The Royal Conservatory Examinations and Examination Procedures . 107 The Achievement Program . 7 Credits and Refunds for Missed Examinations . 107 The College of Examiners . 7 Candidates with Special Needs . 108 Examinations Offered . 7 Examination Results . 108 Notable Alumni . 8 Tables of Marks . 109 Strengthening Canadian Society Since 1886 . 8 Supplemental Examinations . 110 Musicianship Examinations . 111 Quick Reference— Practical Examination Certifi cates . 111 Examination Requirements Second ARCT Diplomas . 111 School Credits . 111 Certifi cate Program Overview . 9 Medals . 111 Theory Examinations . 10 RESPs . 112 Co-requisites and Prerequisites . 11 Editions . 112 Examination Repertoire . 12 Substitutions . 113 Technical Requirements . 15 Abbreviations . 114 Ear Tests and Sight Singing . 15 Thematic Catalogs . 115 International Phonetic Alphabet (IPA) Symbols . 16 Resources Grade-by-Grade Requirements General Resources . 117 Preparatory . 17 General Reference Works . 118 Grade 1 . 18 Voice Resources . 118 Grade 2 . 21 Grade 3 . 24 Grade 4 . 28 Frequently Asked Questions Grade 5 . 32 Practical Examinations . 122 Grade 6 . 37 Theory Co-requisites . 123 Grade 7 . 42 Grade 8 . 49 Practical Examination Day Grade 9 . 58 Checklist for Candidates Grade 10 . 70 Before you Leave Home . -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany. -
Madama Butterfly
The end ! / The beginning ! 0001 ALBANESE Licia HMV DB 21406 A: Madama Butterfly : Ancora un passo (D9-RC-1769) 86 B: Madama Butterfly : Con onor muore (D9-RC-1770) 0002 ALBANESE Licia RCA-Victor 12-0625 A: Manon : Adieu notre petite table () 87 B: H´erodiade : Il est doux () 0003 ALBANESE Licia RCA-Victor 11-9175 A: La Traviata : Imponete with Robert MERRILL () 94 B: La Traviata : Dite alla giovine with Robert MERRILL () 0004 ALBANESE Licia RCA-Victor 11-9331 A: La Traviata : E strano (1) () 94 B: La Traviata : E strano (2) () 0005 ALBANESE Licia HMV DB 21236 A: I Pagliacci : Duet with Robert MERRILL () 94 B: I Pagliacci : Duet with Robert MERRILL () 0006 ALBANESE Licia HMV DB 21111 A: La Traviata : Libiamo with Jan PEERCE () 94 B: La Traviata : Alfredo with Jan PEERCE () 0007 ALBANESE Licia VdP DA 5390 A: Turandot : Tu che di bel () 86 B: Turandot : Signore ascolta () 0008 ALCAIDE Tomaso Columbia LX 108 A: Pˆecheurs de perles : Je crois entendre () 29 B: La Favorita : Spirito gentil () 0009 ALDA Frances Victrola 66184 ss: Guglielmo Tell : Selva opaca () 81 0010 ALDA Frances Victrola 74335 ss: Madama Butterfly : Un bel di vedremo () 25 0011 ALDA Frances Victrola 74651 ss: Mefistofele : L’Altra notte () 24 0012 ALDA Frances HMV DA 136 A: Madama Butterfly : Ancora un passo () 38 B: Gianni Schicchi : O mio babbino caro () 0013 ALESSIO Roberto d’ Columbia D 14696 A: Arlesiana : Lamento di Federico () 53 B: Elisir : Una furtiva lagrima () 0014 ALEXANDROVITCH Mikhail ccc A: (17578) 49 B: Zaza : (17579) 0015 ALEXANDROVITCH Mikhail CCCP A: I PAgliacci -
Schubert in Love Rosemary Standley L'ensemble Contraste 3 Février 2022
SCHUBERT IN LOVE ROSEMARY STANDLEY & L'ENSEMBLE CONTRASTE 3 FÉVRIER 2022 ROUEN, CHAPELLE CORNEILLE Franz Schubert Durée 1h15 An Sylvia ; Auf dem Wasser zu singen; Ave Maria ; Der Tod und das Mädchen ; Du bist die Ruh ; Tarif C Nacht und Traüme ; Ständchen… De 10 à 32€ Distribution La voix envoûtante de Rosemary Standley donne un éclairage Chant Rosemary Standley original aux Lieder de Schubert à travers des arrangements Ensemble Contraste aussi subtils qu’inédits. Mise en espace Vincent Huguet Création lumières Anne Muller On a tous en nous quelque chose de Schubert. De La Truite au Trio Création costumes Clémence Renaud opus 100 qui parcourt le film Barry Lyndon, qui n’a jamais succombé à cette musique mélancolique, imagée et poétique ? Rosemary Standley, Production chanteuse du groupe Moriarty, a rencontré l’œuvre du musicien L’enregistrement est réalisé en co- viennois quand elle avait douze ans, autour du Lied Le Roi des Aulnes. production avec l’Abbaye de Noirlac – Centre culturel de rencontre, et Avec la complicité de l’Ensemble Contraste, elle réinterprète les Outhere music – Alpha Classics sublimes mélodies que sont An Sylvia, Winterreise ou Der Tod und das Mädchen. Tenant compte des influences diverses de la chanteuse et de Le concert est coproduit par l’Abbaye de Noirlac – Centre culturel de ses musiciens (folk, classique, pop, jazz), Johan Farjot a concocté des rencontre, le Théâtre de Saint arrangements inédits pour les cordes, le piano ou les percussions. Quentin en Yvelines, Contraste Une lecture originale et vivifiante où les instruments s’émancipent et Productions. Production déléguée : Contraste improvisent parfois autour de pièces instrumentales comme Productions la Symphonie inachevée ou la Sonate Arpeggione. -
Johann Michael Vogl's Alterations to Schubert's "Die Schonë Mullerin̈ "
University of Iowa Iowa Research Online Theses and Dissertations Spring 2009 Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ " Joseph R Matson University of Iowa Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons Copyright 2009 Joseph R Matson This thesis is available at Iowa Research Online: https://ir.uiowa.edu/etd/251 Recommended Citation Matson, Joseph R. "Johann Michael Vogl's alterations to Schubert's "Die schonë Mullerin̈ "." MA (Master of Arts) thesis, University of Iowa, 2009. https://doi.org/10.17077/etd.xsg0v6p1 Follow this and additional works at: https://ir.uiowa.edu/etd Part of the Music Commons JOHANN MICHAEL VOGL’S ALTERATIONS TO SCHUBERT’S DIE SCHÖNE MÜLLERIN by Joseph R. Matson A thesis submitted in partial fulfillment of the requirements for the Master of Arts degree in Music in the Graduate College of The University of Iowa May 2009 Thesis Supervisor: Associate Professor Marian Wilson Kimber Copyright by JOSEPH R. MATSON 2009 All Rights Reserved Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL __________________________ MASTER’S THESIS _________________ This is to certify the Master’s thesis of Joseph R. Matson has been approved by the Examining Committee for the thesis requirements for the Master of Arts degree in Music at the May 2009 graduation. Thesis Committee: ___________________________________ Marian Wilson Kimber, Thesis Supervisor ___________________________________ Christine Getz ___________________________________ Katherine Eberle ACKNOWLEDGMENTS I wish to acknowledge the support of several people. The faculty, staff, and student body in the School of Music gave me the opportunity and support to pursue my research, in spite of the flood that closed the music building in 2008. -
SINGING GRADES: Requirements and Information
SINGING GRADES: requirements and information T his section provides a summary of the most important points that teachers and candidates need to know when taking ABRSM graded Singing exams. Further details, as well as administrative information relating to the exams, are given in ABRSM’s Information & Regulations (available at www.abrsm.org/regulations) which should be read before an exam booking is made. Changes in the 2018 syllabus (Grades 6–8) T here are changes to the structure and some of the requirements at Grades 6–8. T he changes are: • T he number of repertoire lists has been expanded (from four to five). • Candidates perform three songs (rather than four), chosen from any three of the five lists. • All songs are marked out of 30. • Candidates are no longer required to sing in two languages or to sing certain songs in their original language. • Any song may be sung by any voice type and in any key. Entering for an exam Eligibility: T here are eight grades for Singing and candidates may be entered for any grade irrespective of age and without previously having taken any other grade in Singing. Candidates for a Grade 6, 7 or 8 exam must already have passed ABRSM Grade 5 (or above) in Music T heory, Practical Musicianship or a solo Jazz subject; for full details, including a list of accepted alternatives, see Regulation 1d at www.abrsm.org/examregulations. Access: ABRSM endeavours to make its exams as accessible as possible to all candidates, regardless of sensory impairments, learning difficulties or particular physical needs. -
History of the German Struggle for Liberty. Illustrated with Drawings By
Digitized by the Internet Archive in 2009 with funding from University of Toronto http://www.archive.org/details/histofgermimg01bige I QUEEN LUISE HISTORY OF THE GERMAN STRUGGLE FOR LIBERTY By POULTNEY BIGELOW, B.A. ILLUSTRATED WITH DRAWiyoS By R. CATOX WOODVILLE AND WITH PORTRAITS ASD MAPS IN TWO VOLUMES Vol. I. LONDON OSGOOD. 31cILVAI^E & CO. 45, Albkmarlk Strkkt, W. 1896 §03 01 Copyright, 1896, bv- HAxm k BRormnu. An HflUt mtrwtd. Printed at New York, U. S. A. TO CARIBEE MY CRUISING* CANOE III lier I have slept by night and Bailed by day for weeks and months at a time, exploriiij? the beautiful waterways of tlie German Fatherland. She has made me friends witli every kind of man—the bargee, the raftsman, the peasant, the wood-chopper, tlie weaver, the gendarme, the parish parson, the miller, the tax-collector—and many more of the types that make life interesting to the contemplative traveller. By the aid of Caribee I learned to foel how Germans feel. Without her this book would not have been written. CONTENTS OF VOL. I onAPTsn r*aa I. Execution ok John Palm, Bookselleu 1 II. Queen Luise op Pkussia Befoke Jena 6 III. What Sout op a Bhingingup had Queen Luise . 13 IV. Queen Luise Enters Berlin in Triumph .... 20 V. TiiE Two Piiilosopiieus op Jena—Hegel and Napo- leon 30 VI. The Eve op Jena, October 13. 1806 33 VII. The Great Prussian Stampede from Jena and Auerstadt 43 VIII. What Sort op Army Fought the French at Jena ? 54 IX. A Prussian Chronicle of Noble Criminals ..