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F' ~I!~~ Disc Edition TCO93-75
NEW PUBLICATIONS ARTICLES Block. Geoffrey. 'The Broadway Canon from Show Boat to West Side Story and the European Operatic Ideal." Journal ofMusicology 11, no. 4 (Fall 1993): 525-544. Brooks,Jeanice R. "Nadia Boulanger and the Salon ofthe Princesse de Polignac." Journal ofthe American Musicological Society 46, no. 3 (Fall 1993): 415-468. Dtimling, Albrecht. "Hearing, Speaking, Singing, Writing: The Meaning of Oral Tradi tion for Bert Brecht." In Music and Gennan Literature: Their Relationship Since the Middle Ages, edited by James M. McGiathery, 31~326. Columbia, SC: Camden House, 1992. Krabbe, Niels. "Pris Kulden, M0rket Og Fordrervet: Requiem for 20'ernes Berlin." In Musikken Har Ordet: 36 Musikalske Studier, redigeret af Finn Gravesen, 133-142. Copenhagen: Gads Forlag, 1993. Lipman, Samuel. ''Wby Kurt Weill?" In Music and More: Essays, 1975-1991. By Samuel Lipman, 3~49. Evanston, IL: Northwestern University Press, 1992. Margry, Karel. "'Theresienstadt' (1944-1945):The Nazi Propaganda Film Depicting the Concentration Camp as Paradise." Historical Journal ofFilm, Radio and Television 12, no. 2 (1992): 145-162. [A Gennan version appeared in: Kamy, Miroslav, ed. 11ieresienstadt: Jn der "Endlosung der Judenfrage." Prag: Panorama, 1992.) Schebera, Ji.irgen. '"Meine Tage in Dessau sind gezahlt .. .': Kurt Weill in Briefen aus seiner Vaterstadt." Dessauer Ka/ender 37 (1993): 18-24. Taruskin, Richard. 'The Golden Age ofKitsch: The Seductions and Betrayals ofWeimar Opera." The New Republic (21 March 1994): 28-36. BOOKS Green, Paul. A Southern life: Letters ofPaul Green: 1916-1981. Edited by Laurence G. Avery. Chapel Hill: University of North Carolina, 1994. Murphy, Donna B. and Stephen Moore. Helen Hayes: A Bio-Bibliography. -
Liner Notes, Visit Our Web Site: Recording: March 22, 2012, Philharmonie in Berlin, Germany
21802.booklet.16.aas 5/23/18 1:44 PM Page 2 CHRISTIAN WOLFF station Südwestfunk for Donaueschinger Musiktage 1998, and first performed on October 16, 1998 by the SWF Symphony Orchestra, conducted by Jürg Wyttenbach, 2 Orchestra Pieces with Robyn Schulkowsky as solo percussionist. mong the many developments that have transformed the Western Wolff had the idea that the second part could have the character of a sort classical orchestra over the last 100 years or so, two major of percussion concerto for Schulkowsky, a longstanding colleague and friend with tendencies may be identified: whom he had already worked closely, and in whose musicality, breadth of interests, experience, and virtuosity he has found great inspiration. He saw the introduction of 1—the expansion of the orchestra to include a wide range of a solo percussion part as a fitting way of paying tribute to the memory of David instruments and sound sources from outside and beyond the Tudor, whose pre-eminent pianistic skill, inventiveness, and creativity had exercised A19th-century classical tradition, in particular the greatly extended use of pitched such a crucial influence on the development of many of his earlier compositions. and unpitched percussion. The first part of John, David, as Wolff describes it, was composed by 2—the discovery and invention of new groupings and relationships within the combining and juxtaposing a number of “songs,” each of which is made up of a orchestra, through the reordering, realignment, and spatial distribution of its specified number of sounds: originally between 1 and 80 (with reference to traditional instrumental resources. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
Assisted by Katie Rowan, Accompanist
THE BELHAVEN UNIVERSITY DEPARTMENT OF MUSIC Dr. Stephen W. Sachs, Chair presents Morgan Robertson & Ellie Wise Junior Voice Recital assisted by Katie Rowan, Accompanist Tuesday, April 9, 2013 • 7:30 p.m. Belhaven University Center for the Arts • Concert Hall There will be a reception after the program. Please come and greet the performers. Please refrain from the use of all flash and still photography during the concert. Please turn off all pagers and cell phones. PROGRAM I Wish It So from Juno Marc Blitzstein • 1905 - 1964 My Ship from Lady in the Dark Kurt Weill • 1900 - 1950 Ira Gershwin • 1896 - 1983 Morgan Robertson, Soprano; Katie Rowan, Accompanist Out There from Hunchback of Notre Dame Stephen Schwarts • b. 1948 Alan Menken • b. 1949 There Won’t Be Trumpets from Anyone Can Whistle Stephen Sondhiem • b. 1930 Ellie Wise, Soprano; Katie Rowan, Accompanist Take Me to the World from Evening Primrose Stephen Sondheim The Girls of Summer from Marry Me a Little Morgan Robertson, Soprano; Katie Rowan, Accompanist Glamorous Life from A Little Night Music Stephen Sondheim My New Philosophy from You’re a Good Man, Charlie Brown Clark Gesner • 1938 - 2002 Ellie Wise, Soprano; Katie Rowan, Accompanist Mr. Snow from Carousel Richard Rodgers • 1902 - 1979 Oscar Hammerstein II • 1895 - 1960 Morgan Robertson, Soprano; Katie Rowan, Accompanist My Party Dress from Henry and Mudge Kait Kerrigan • b. 1981 Brian Loudermilk • b. 1983 Ellie Wise, Soprano; Katie Rowan, Accompanist INTERMISSION Always a Bridesmaid from I Love You, You’re Perfect, Now Change Jimmy Roberts Morgan Robertson, Soprano; Katie Rowan, Accompanist Music and the Mirror from A Chorus Line Joe DiPietro • b. -
The Ultimate On-Demand Music Library
2020 CATALOGUE Classical music Opera The ultimate Dance Jazz on-demand music library The ultimate on-demand music video library for classical music, jazz and dance As of 2020, Mezzo and medici.tv are part of Les Echos - Le Parisien media group and join their forces to bring the best of classical music, jazz and dance to a growing audience. Thanks to their complementary catalogues, Mezzo and medici.tv offer today an on-demand catalogue of 1000 titles, about 1500 hours of programmes, constantly renewed thanks to an ambitious content acquisition strategy, with more than 300 performances filmed each year, including live events. A catalogue with no equal, featuring carefully curated programmes, and a wide selection of musical styles and artists: • The hits everyone wants to watch but also hidden gems... • New prodigies, the stars of today, the legends of the past... • Recitals, opera, symphonic or sacred music... • Baroque to today’s classics, jazz, world music, classical or contemporary dance... • The greatest concert halls, opera houses, festivals in the world... Mezzo and medici.tv have them all, for you to discover and explore! A unique offering, a must for the most demanding music lovers, and a perfect introduction for the newcomers. Mezzo and medici.tv can deliver a large selection of programmes to set up the perfect video library for classical music, jazz and dance, with accurate metadata and appealing images - then refresh each month with new titles. 300 filmed performances each year 1000 titles available about 1500 hours already available in 190 countries 2 Table of contents Highlights P. -
Weill, Kurt (Julian)
Weill, Kurt (Julian) (b Dessau, 2 March 1900; d New York, 3 April 1950). German composer, American citizen from 1943. He was one of the outstanding composers in the generation that came to maturity after World War I, and a key figure in the development of modern forms of musical theatre. His successful and innovatory work for Broadway during the 1940s was a development in more popular terms of the exploratory stage works that had made him the foremost avant- garde theatre composer of the Weimar Republic. 1. Life. Weill‟s father Albert was chief cantor at the synagogue in Dessau from 1899 to 1919 and was himself a composer, mostly of liturgical music and sacred motets. Kurt was the third of his four children, all of whom were from an early age taught music and taken regularly to the opera. Despite its strong Wagnerian emphasis, the Hoftheater‟s repertory was broad enough to provide the young Weill with a wide range of music-theatrical experiences which were supplemented by the orchestra‟s subscription concerts and by much domestic music-making. Weill began to show an interest in composition as he entered his teens. By 1915 the evidence of a creative bent was such that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed by Weill‟s gifts that he undertook to teach him himself. For three years Bing and his wife, a sister of the Expressionist playwright Carl Sternheim, provided Weill with what almost amounted to a second home and introduced him a world of metropolitan sophistication. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
A Walt Whitman Sampler LEON BOTSTEIN, Conductor
Wednesday Evening, October 17, 2018, at 8:00 Isaac Stern Auditorium / Ronald O. Perelman Stage Conductor’s Notes Q&A with Leon Botstein at 7:00 presents A Walt Whitman Sampler LEON BOTSTEIN, Conductor OTHMAR SCHOECK Trommelschläge, Op. 26 BARD FESTIVAL CHORALE JAMES BAGWELL, Director KURT WEILL Four Walt Whitman Songs Beat! Beat! Drums! Oh Captain! My Captain! Come up from the Fields, Father Dirge for Two Veterans EDWARD NELSON, Baritone FRANZ SCHREKER Vom ewigen Leben (From Eternal Life) ANGEL BLUE, Soprano Intermission RALPH VAUGHAN A Sea Symphony (Symphony No. 1) WILLIAMS I. A Song for All Seas, All Ships II. On the Beach at Night Alone III. The Waves IV. The Explorers ANGEL BLUE, Soprano EDWARD NELSON, Baritone BARD FESTIVAL CHORALE JAMES BAGWELL, Director This performance is dedicated to the memory of Susana Meyer, long-time artistic consultant of the American Symphony Orchestra, respected colleague and friend. This evening’s concert will run approximately 2 hours and 20 minutes including one 20-minute intermission. This program has been made possible due in part to the Kurt Weill Foundation for Music, Inc., New York, NY. PLEASE SWITCH OFF YOUR CELL PHONES AND OTHER ELECTRONIC DEVICES. FROM THE Music Director Whitman and Democracy comprehend the English of Shakespeare by Leon Botstein or even Jane Austen without some reflection. (Indeed, even the space Among the most arguably difficult of between one generation and the next literary enterprises is the art of transla- can be daunting.) But this is because tion. Vladimir Nabokov was obsessed language is a living thing. There is a about the matter; his complicated and decided family resemblance over time controversial views on the processes of within a language, but the differences transferring the sensibilities evoked by in usage and meaning and in rhetoric one language to another have them- and significance are always developing. -
An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2011 An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill Elizabeth Rose Williamson Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Williamson, Elizabeth Rose, "An Analysis of Personal Transformation and Musical Adaptation in Vocal Compositions of Kurt Weill" (2011). Honors Theses. 2157. https://egrove.olemiss.edu/hon_thesis/2157 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. AN ANALYSIS OF PERSONAL TRANSFORMATION AND MUSICAL ADAPTATION IN VOCAL COMPOSITIONS OF KURT WEILL by Elizabeth Rose Williamson A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2011 Approved by Reader: Professor Corina Petrescu Reader: Professor Charles Gates I T46S 2^1 © 2007 Elizabeth Rose Williamson ALL RIGHTS RESERVED II ACKNOWLEDGEMENTS I would like to thank the people of the Kurt Weill Zentrum in Dessau Gennany who graciously worked with me despite the reconstruction in the facility. They opened their resources to me and were willing to answer any and all questions. Thanks to Clay Terry, I was able to have an uproariously hilarious ending number to my recital with “Song of the Rhineland.” I thank Dr. Charles Gates for his attention and interest in my work. -
New Real Book: Vol
New Real Book: Vol. 2 Title Composer / As Played By Page 26-2 John Coltrane 398 500 Miles High Chick Corea & Neville Potter 104 Afro-Centric Joe Henderson 1 After The Rain John Coltrane 3 After You've Gone Creamer & Layton 5 Ain't Misbehavin' Fats Waller, Harry Brooks & Andy Razaf 6 Along Came Betty Benny Golson 7 Asa (The Zoo Blues) Djavan 9 Avance Russell Ferrante 11 Baby It's Cold Outside Frank Loesser 13 Baja Bajo John Pattitucci & Chick Corea 15 Bass Blues John Coltrane 17 Beauty And The Beast Wayne Shorter 20 Bessie's Blues John Coltrane 21 Black And Blue Fats Waller, Harry Brooks & Andy Razaf 22 Black Coffee Paul Francis Webster & Sonny Burke 23 Blues For Alice Charlie Parker 26 Blues For Yna Yna Gerald Wilson 27 Body and Soul E Heyman, R Sour, F Eyton & J Green 29 Bolivia Cedar Walton 34 The Boy Next Door Hugh Martin & Ralph Blane 34 Bye Bye Blackbird Ray Henderson & Mort Dixon 34 Cafe Egberto Gismonti 37 Capim Djavan 39 Casa Forte Edu Lobo 41 Central Park West John Coltrane 43 Charmed Circle Cedar Walton 45 Cherokee Ray Noble 47 A Child Is Born Thad Jones 346 Choices Mike Stern 49 Chromazone Mike Stern 51 Clockwise Cedar Walton 55 Cold Duck Time Eddie Harris 56 Criss Cross Ray Obiedo 57 Day By Day Sammy Cahn, Axel Stordahl & Paul Weston 60 Dear Lord John Coltrane 61 Dee Song Enrico Pieranunzi 63 Delgado Eddie Gomez 66 Detour Ahead Lou Carter, Herb Ellis & John Frigo 68 Devil May Care T.P. -
RIVER ROAD MOSES CEMETERY: a Historic Preservation Evaluation
Gibson Grove Cemetery, Montgomery County THE RIVER ROAD MOSES CEMETERY: A Historic Preservation Evaluation Report prepared for the River Road African American community descendants David S. Rotenstein, PhD Silver Spring, Maryland September 2018 [email protected] (404) 326-9244 Management Summary This report presents research on the River Road Moses Cemetery site in Bethesda, Maryland. It was prepared on behalf of the River Road African American descendant community. The following sections include a historic context divided into periods developed by the Maryland Historical Trust for the evaluation of historic properties. The historic context presents substantive archival and oral history research documenting the cemetery site, the community within which it is located, the fraternal organization that founded it, and its historical connections to Washington, D.C. The historic context is used as a baseline to evaluate the property against the Montgomery County criteria for designation in the Master Plan for Historic Preservation and the National Register of Historic Places. This report finds that the River Road Moses Cemetery appears to be eligible for designation in the Montgomery County Master Plan for Historic Preservation under four criteria: for its associations with the development of Montgomery County and the region; because it exemplifies multiple aspects of Montgomery County’s heritage; because it embodies distinctive characteristics typical of its historic property type; and, because it represents a distinguishable entity within a cultural landscape. The River Road Moses Cemetery furthermore appears to be eligible for listing in the National Register of Historic Places under three criteria. The site appears to be eligible for listing under Criterion A for its associations with African American and suburban history; Criterion C for its architectural and landscape qualities; and, Criterion D for its potential to yield significant new information in history. -
Amalie Joachim's 1892 American Tour
Volume XXXV, Number 1 Spring 2017 Amalie Joachim’s 1892 American Tour By the 1890s, American audiences had grown accustomed to the tours of major European artists, and the successes of Jenny Lind and Anton Rubinstein created high expectations for the performers who came after them. Amalie Joachim toured from March to May of 1892, during the same months as Paderewski, Edward Lloyd, and George and Lillian Henschel.1 Although scholars have explored the tours of artists such as Hans von Bülow and Rubinstein, Joachim’s tour has gone largely unnoticed. Beatrix Borchard, Joachim’s biographer, has used privately held family letters to chronicle some of Joachim’s own responses to the tour, as well as a sampling of the reviews of the performer’s New York appearances. She does not provide complete details of Joachim’s itinerary, however, or performances outside of New York. Although Borchard notes that Villa Whitney White traveled with Joachim and that the two performed duets, she did not realize that White was an American student of Joachim who significantly influenced the tour.2 The women’s activities, however, can be traced through reviews and advertisements in newspapers and music journals, as well as brief descriptions in college yearbooks. These sources include the places Joachim performed, her repertoire, and descriptions of the condition of her voice and health. Most of Joachim’s performances were in and around Boston. During some of her time in this city, she stayed with her Amalie Joachim, portrait given to Clara Kathleen Rogers. friend, the former opera singer Clara Kathleen Rogers.