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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
The Blue Review Literature Drama Art Music
Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr. -
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
Looking Back at CHARM
Annual newsletter Issue 5 (April 2009) We set up CHARM because we thought that musicology was skewed towards the study of Looking back scores, that there was enormous untapped potential in the last century's heritage of recordings, and that bringing recordings to the forefront of the at CHARM discipline could help to transform it—not least in terms of overcoming the mismatch between a discipline focussed on written documents and a public for whom music means performed sound. Although reception theory and history had a major influence on post-war musicology, the focus remained on the written document. And although the 'performative turn' that swept through cultural studies in the last decades of the twentieth century also had an effect on musicology, it perversely served only to reinforce the conception of music as a form of writing. The historically informed performance movement brought documentary and other period evidence to bear upon performance practice, in effect subordinating playing to writing. Analytical approaches to performance did much the same by mapping score-based analysis onto performances. While ethnomusicology and popular music studies were more successful in adopting a performative approach, we felt that in the area of Western 'art' music there was the potential for a major transformative intervention. That was where we hoped CHARM might make a critical contribution. Although we saw CHARM as in essence a vehicle The CHARM website is undergoing a major for the development of a performative approach to redevelopment. Our new site will be hosted by King’s musicology, we saw significant advantages in College London, and will bring together the on-line focussing it specifically on recordings. -
JAVS 32.3.Pdf
Viola V33 N1.indd 302 5/8/17 10:10 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2017: Volume 33, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements p. 8 The Lionel ertis-JohnT White Collection p. 11 In Memoriam: Bernie Zaslav Feature Articles p. 13 The Genesis of BenjaminYusupov’s Viola Tango Rock Concerto: Dalton Competition Winner Andrea Carolina del Pilar Sánchez Ruiz presents her research on one of the first viola concertos to be premiered in the twenty-first century. p. 27 Grigori Frid and the Viola: In Conversation with the Composer: Elena Artamonova introduces a composer whose work is little known amongst violists, providing fascinating background and connections to twentieth-century Soviet Russian music. Departments p. 37 Outreach: Carol Rodland writes about her very practical and creative “If Music Be the Food…” program, for which volunteers and musicians donate their time to help raise monetary and non-perishable food donations for Foodlink, the Feeding America Hub of Western New York. p. 39 Health and Wellness: Our new Health and Wellness Editor, Jessica Ray King, introduces her new column with some of her more recent research. On the Cover: Joyce Lin Viola 24 x 36 inches Watercolor, graphite Joyce Lin is an artist and designer studying Furniture Design at the Rhode Island School of Design and Geology at Brown University as part of the Brown/RISD Dual Degree program. Her drawing is a full-scale technical rendering of her friend’s beloved viola, first drawn on a computer-aided design (CAD) program and then traced onto paper, as an exercise in measurement and detail. -
Vol. 18, No. 1 April 2013
Journal April 2013 Vol.18, No. 1 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2013 Vol. 18, No. 1 Editorial 3 President Julian Lloyd Webber FRCM Julia Worthington - The Elgars’ American friend 4 Richard Smith Vice-Presidents Redeeming the Second Symphony 16 Sir David Willcocks, CBE, MC Tom Kelly Diana McVeagh Michael Kennedy, CBE Variations on a Canonical Theme – Elgar and the Enigmatic Tradition 21 Michael Pope Martin Gough Sir Colin Davis, CH, CBE Dame Janet Baker, CH, DBE Music reviews 35 Leonard Slatkin Martin Bird Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 36 Christopher Robinson, CVO, CBE Frank Beck, Lewis Foreman, Arthur Reynolds, Richard Wiley Andrew Neill Sir Mark Elder, CBE D reviews 44 Martin Bird, Barry Collett, Richard Spenceley Chairman Letters 53 Steven Halls Geoffrey Hodgkins, Jerrold Northrop Moore, Arthur Reynolds, Philip Scowcroft, Ronald Taylor, Richard Turbet Vice-Chairman Stuart Freed 100 Years Ago 57 Treasurer Clive Weeks The Editor does not necessarily agree with the views expressed by contributors, Secretary nor does the Elgar Society accept responsibility for such views. Helen Petchey Front Cover: Julia Worthington (courtesy Elgar Birthplace Museum) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. -
RCA Victor LCT 1 10 Inch “Collector's Series”
RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No. -
Toscanini VII, 1937-1942
Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down. -
The Rita Williams Popular Song Collection a Handlist
The Rita Williams Popular Song Collection A Handlist A wide-ranging collection of c. 4000 individual popular songs, dating from the 1920s to the 1970s and including songs from films and musicals. Originally the personal collection of the singer Rita Williams, with later additions, it includes songs in various European languages and some in Afrikaans. Rita Williams sang with the Billy Cotton Club, among other groups, and made numerous recordings in the 1940s and 1950s. The songs are arranged alphabetically by title. The Rita Williams Popular Song Collection is a closed access collection. Please ask at the enquiry desk if you would like to use it. Please note that all items are reference only and in most cases it is necessary to obtain permission from the relevant copyright holder before they can be photocopied. Box Title Artist/ Singer/ Popularized by... Lyricist Composer/ Artist Language Publisher Date No. of copies Afrikaans, Czech, French, Italian, Swedish Songs Dans met my Various Afrikaans Carstens- De Waal 1954-57 1 Afrikaans, Czech, French, Italian, Swedish Songs Careless Love Hart Van Steen Afrikaans Dee Jay 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Ruiter In Die Nag Anton De Waal Afrikaans Impala 1963 1 Afrikaans, Czech, French, Italian, Swedish Songs Van Geluk Tot Verdriet Gideon Alberts/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs Wye, Wye Vlaktes Martin Vorster/ Anton De Waal Afrikaans Impala 1970 1 Afrikaans, Czech, French, Italian, Swedish Songs My Skemer Rapsodie Duffy -
Michael Gielen EDITION 11 Künstlerbiographien | Artists’ Biographies ⊲ Sinfonie Nr
Michael 17 CD Mahler Gielen Complete Symphonies Das Lied von der Erde ▪ Des Knaben Wunderhorn ▪ Lieder eines fahrenden Gesellen ▪ Rückert-Lieder ▪ Kindertotenlieder SWR Sinfonieorchester Baden-Baden und EDITION Vol. 6 Freiburg 1988–2014 + DVD: Symphony No.9 Inhaltsverzeichnis deutsch english deutsch english deutsch english Table of Contents Des Knaben Wunderhorn 44 113 ⊲ Sinfonie Nr. 3 ⊲ Des Knaben Wunderhorn Das Lied von der Erde 47 117 O Mensch 60 128 Der Schildwache Nachtlied 70 138 Trackliste | Tracklisting 4 Es sungen drei Engel 60 128 Wer hat dies Liedlein erdacht? 71 139 Über die Michael Gielen EDITION 11 Künstlerbiographien | Artists’ Biographies ⊲ Sinfonie Nr. 4 Des Antonius von Padua Fischpredigt 71 139 About the Michael Gielen EDITION 81 Juliane Banse 51 119 Die himmlischen Freuden 61 128 Christiane Boesiger 51 119 ⊲ Sinfonie Nr. 8 Lied des Verfolgten im Turm 72 140 Michael Gielen – Lebenslauf 14 Eugenie Grunewald 51 120 Teil I 61 129 Rheinlegendchen 73 141 Michael Gielen Chronology 84 Christiane Iven 51 120 Teil II 62 130 Lob des hohen Verstandes 73 141 Siegfried Jerusalem 52 120 Trost im Unglück 74 142 Michael Gielen – Eine Biographie – ⊲ Lieder eines fahrenden mit eigenen Worten 15 Cornelia Kallisch 52 121 Gesellen Das irdische Leben 74 142 Michael Gielen – A Biography – Elisabeth Kulman 53 121 Wenn mein Schatz Hochzeit Der Tamboursg’sell 74 142 macht 66 134 in his own words 85 Peter Lika 53 122 Wo die schönen Trompeten Ging heut’ morgen übers Feld 66 134 blasen 75 143 Alessandra Marc 53 122 Texte | Liner notes deutsch english Ich hab’ ein glühend Messer 67 135 Das himmlische Leben 75 143 Peter Mattei 54 122 Sinfonie Nr. -
Boston Symphony Orchestra Concert Programs, Season 51,1931-1932, Trip
CARNEGIE HALL .... NEW YORK Thursday Evening, November 19, at 8.45 Saturday Afternoon, November 21, at 2.30 PRoGRTWVE "Ike BOSTON SYMPHONY ORCHESTRA: 188M931" By M. A. De WOLFE HOWE Semi'Centennial Edition It is seventeen years since M. A. De Wolfe Ilowe's history of the Boston Symphony Orchestra was published. The Fiftieth season of the Orches- tra seemed a fitting time to re-publish this prized narrative of its earlier days, and likewise to record, in additional chapters, the last years of Dr. Muck's conductorship, and those of Henri Rabaud, Pierre Monteux, and Dr. Serge Koussevitzky. Xew appendices include a complete list of the music played at the regular concerts, giving the dates of performances. The soloists and the personnel through fifty years are also recorded, and the address on Henry Lee Higginson made by Bliss Perry at the Bach Festival, March 25, 1931. Now on sale at the Box Office, or by money order to Symphony Hall, Boston Price $1.50 (postage included) CARNEGIE HALL - - - NEW YORK Forty-sixth Season in New York FIFTY-FIRST SEASON, 1931-1932 INC. Dr. SERGE KOUSSEVITZKY, Conductor THURSDAY EVENING, NOVEMBER 19, at 8.45 AND THE SATURDAY AFTERNOON, NOVEMBER 21, at 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B.