Johan Duijck Conductor Lauda Jerusalem, Psalmus , Op. ( )
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Let Me Be Your Guide: 21St Century Choir Music in Flanders
Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole. -
International Choral Bulletin Is the Official Journal of the IFCM
2011-2 ICB_ICB New 5/04/11 17:49 Page1 ISSN 0896 – 0968 Volume XXX, Number 2 – 2nd Quarter, 2011 ICB International CIhoCral BulBletin First IFCM International Choral Composition Competition A Great Success! Results and Interview Inside Dossier Choral Music in Malaysia, Indonesia, Singapore and Macau 2011-2 ICB_ICB New 5/04/11 17:49 Page2 International Federation for Choral Music The International Choral Bulletin is the official journal of the IFCM. It is issued to members four times a year. Managing Editor Banners Dr Andrea Angelini by Dolf Rabus on pages 22, 66 & 68 Via Pascoli 23/g 47900 Rimini, Italy Template Design Tel: +39-347-2573878 - Fax: +39-2-700425984 Marty Maxwell E-mail: [email protected] Skype: theconductor Printed by Imprimerie Paul Daxhelet, B 4280 Avin, Belgium Editor Emerita Jutta Tagger The views expressed by the authors are not necessarily those of IFCM. Editorial Team Michael J. Anderson, Philip Brunelle, Submitting Material Theodora Pavlovitch, Fred Sjöberg, Leon Shiu-wai Tong "When submitting documents to be considered for publication, please provide articles by CD or Email. Regular Collaborators The following electronic file formats are accepted: Text, Mag. Graham Lack – Consultant Editor RTF or Microsoft Word (version 97 or higher). ([email protected] ) Images must be in GIF, EPS, TIFF or JPEG format and be at Dr. Marian E. Dolan - Repertoire least 350dpi. Articles may be submitted in one or more of ([email protected] ) these languages: English, French, German, Spanish." Dr. Cristian Grases - World of Children’s and Youth Choirs ( [email protected] ) Reprints Nadine Robin - Advertisement & Events Articles may be reproduced for non-commercial purposes ([email protected] ) once permission has been granted by the managing Dr. -
PMMS Josquin Des Prez Discography June 2021
Josquin des Prez Discography Compiled by Jerome F. Weber This discography of Josquin des Prez (Josquin Lebloitte dit des Prez), who has been indexed as Josquin Desprez, Des Près, and Pres, adopts the format of the Du Fay discography previously posted on this website. It may be noted that at least three book titles since 2000 have named him simply “Josquin,” bypassing the spelling problem. Acknowledgment is due to Pierre-F. Roberge and Todd McComb for an exhaustive list of records containing Josquin’s music in www.medieval.org/emfaq. It incorporates listings from the work of Sydney Robinson Charles in Josquin des Prez: A Guide to Research (Garland Composer Resource Manuals, 1983) and Peter Urquhart in The Josquin Companion (ed. Richard Sherr, Oxford, 2000), which continued where Charles left off. The last two lists each included a title index. This work has also used the following publications already incorporated in the three cited discographies. The 78rpm and early LP eras were covered in discographic format by The Gramophone Shop Encyclopedia of Recorded Music (three editions, 1936, 1942, 1948) and The World’s Encyclopaedia of Recorded Music (three volumes, 1952, 1953, 1957). James Coover and Richard Colvig compiled Medieval and Renaissance Music on Long-Playing Records in two volumes (1964 and 1973), and Trevor Croucher compiled Early Music Discography from Plainsong to the Sons of Bach (Oryx Press, 1981). The Index to Record Reviews compiled by Kurtz Myers (G. K. Hall, 1978) provided useful information. Michael Gray’s classical-discography.org has furnished many details. David Fallows offered many valuable suggestions. -
The Low Countries. Jaargang 11
The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters. -
11Th INTERNATIONAL CHOIR COMPETITION ZADAR
11th INTERNATIONAL CHOIR COMPETITION ZADAR May 24 – 27, 2018 11th INTERNATIONAL CHOIR COMPETITION ZADAR May 24 – 27, 2018 CONTENTS 4 MAYOR’S ADDRESS 5 ORGANISATIONAL STRUCTURE 6 COMPETITION SCHEDULE 8 OPENING CEREMONY 10 RULES OF COMPETITION 10 SCORING PROCEDURES 11 AWARDS 12 ABBESS ČIKA’S CROSS 12 MEDAL 13 INTERNATIONAL JURY 16 PARTICIPANTS 36 FORMER LAUREATES OF THE INTERNATIONAL CHOIR COMPETITION IN ZADAR 41 REALISATION OF THE COMPETITION MAYOR’S ADDRESS Ladies and gentlemen, Dear musicians and friends of music, The City of Zadar is the proud host of the International Choir Competition for the eleventh time. As in all previous competitions, this cultural manifestation is going to tone our town with a rich spectre of colourful human voices for four days. Singing, being one of the most natural forms of artistic expression, has been an inevitable part of cultural heritage of Zadar and its citizens. I am deeply convinced that the joy of singing is being increasingly meliorated through this biennial manifestation and that singing and music are more successfully promoted through all the activities around the Competition. I particularly hope that these efforts will reach the youth! The international character of the Competition exceptionally pleases me. Our singers have the opportunity to meet with singers from all around the world and exchange invaluable experiences, which create genuine, not just momentarily trendy virtual connections. The City of Zadar and Zadar Concert Office, the organiser of the manifestation, are delighted to raise those numerous possibilities of connecting, whose common denominator is music – an art that is woven into the fabric of this town. -
Choral Societies and Nationalism in Europe
Choral Societies and Nationalism in Europe Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access National Cultivation of Culture Edited by Joep Leerssen Editorial Board John Breuilly – Ina Ferris – Patrick J. Geary John Neubauer – Tom Shippey – Anne-Marie Thiesse VOLUME 9 The titles published in this series are listed at brill.com/ncc Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access Choral Societies and Nationalism in Europe Edited by Krisztina Lajosi Andreas Stynen LEIDEN | BOSTON Krisztina Lajosi and Andreas Stynen - 9789004300859 Downloaded from Brill.com09/29/2021 07:51:02PM via free access This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https://creativecommons.org/licenses/by-nc-nd/4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. More information about the initiative can be found at www. knowledgeunlatched.org. This book is part 4 of the NISE proceedings. Cover illustration: Job Lot Cheap by William Michael Harnett, 1878. -
Una Enseñanza Para El Hombre, Sobre Sus Debilidades, Límites Y Alcances
Una enseñanza para el Hombre, sobre sus debilidades, límites y alcances. LA PUERTA DEL CIELO Una enseñanza para el Hombre, sobre sus debilidades, límites y alcances. COCHABAMBA — BOLIVIA 1996 Y 1998 Imprimatur: Mons. René Fernández Apaza Arzobispo De Cochabamba, Bolivia, 2 de abril 1998 Propiedad registrada © 1996. Todo derecho reservado. Este libro se publica en EEUU por Love and Mercy Publications en coordinación con El Apostolado de la Nueva Evangelización (ANE). De conformidad con los decretos del Papa Urbano VII, los editores reconocen y aceptan que la autoridad final sobre las revelaciones privadas a las que se hace referencia en este libro, la tiene la Santa Sede de Roma, a cuya decisión se someten totalmente. Si Jesús habló a tu corazón mientras leías este libro, por favor comparte estas palabras fotocopiándolo para difundirlo a las personas que quieran abrir su corazón a la Nueva Evangelización. Invoca al Espíritu Santo para que te guíe y te conceda los dones que necesitas para una buena conversión. Permiso es otorgado para reproducir este libro en su totalidad, sin haber sufrido cambios o adiciones, y siempre y cuando la reproducción y distribución sean hechas únicamente sin fines de lucro. Este documento está disponible sin costo ninguno, a través del Internet. Se puede entrar en línea e imprimir de los siguientes sitios en el WEB: www.LoveAndMercy.org Los libros están disponibles tanto en inglés como en castellano. También se pueden hacer pedidos de estos y otros ejemplares (Ver formulario en la ultima pagina) al siguiente ministerio de publicaciones religiosas que no tiene fines de lucro. -
BACHELARD-Gaston-La-Poetica-De
La presente edición digital conserva la paginación que lleva el original impreso. Traducción de IDA VITALE GASTÓN BACHELARD LA POÉTICA DE LA ENSOÑACIÓN FONDO DE CULTURA ECONÓMICA MÉXICO Primera edición en francés, 1960 Primera edición en español, 1982 Segunda reimpresión, 1997 Se prohibe la reproducción total o parcial de esta obra —incluido el diseño tipográfico y de portada—, sea cual fuere el medio, electrónico o mecánico, sin el consentimiento por escrito del editor. Título original: La poétique de la revene D. R. © 1960, Presses Universitaires de France, Paris D. R. © 1982, Fondo de Cultura Económica D. R. © 1986, Fondo de Cultura Económica, S. A. de C. V. D. R. © 1997, Fondo de Cultura Económica Carretera Picacho‐Ajusco 227; 14200 México, D. F. ISBN 968‐16‐5338‐6 (rústica) ISBN 968‐16‐1190‐X (empastada) Impreso en México A MI HIJA INTRODUCCIÓN Méthode, Méthode, que me veux‐tu? Tu sais bien que jʹai mangé du fruit de lʹincons‐cient.* Jules Laforgue, ʺMoralités légendairesʺ, Mercure de Trance, p. 24 1 En un libro reciente, que completa libros anteriores consagrados a la imaginación poética, intentamos señalar el interés que ofrece el método fenomenológico para tales investigaciones. Según los principios de la fenomenología, se intentaba sacar a plena luz la toma de conciencia de un individuo maravillado por las imágenes poéticas. Esta toma de conciencia, que la fenomenología moderna quiere sumar a todos los fenómenos de la psiquis, parece otorgar un precio subjetivo duradero a imágenes que a menudo sólo tienen una objetividad dudosa, una objetividad fugitiva. Al obligarnos a cumplir un regreso sistemático sobre nosotros mismos y un es‐ fuerzo de claridad en la toma de conciencia, a propósito de una imagen dada por un poeta, el método fenomenológico nos lleva a intentar la comunicación con la conciencia creante ** del poeta. -
Danny Van Hoof Sopraan
Danny Van Hoof sopraan CURRICULUM VITAE DANNY VAN HOOF Danny Van Hoof started her vocal training under Rosette Van De Cauter and Ilona Van Brandt at the Stedelijke Academie voor Muziek, Woord en Dans; the music academy of her hometown Lier. The next step in her voice education took her to The Royal Conservatoire of Antwerp where she studied under Lucienne Van Deyck, Dirk Snellings, Werner Van Mechelen, Guy De Mey and Anne Cambier. She was awarded with a First Prize and a Master Degree of Singing. At present she herself teaches voice lessons at the academy in Lier. Danny had a longstanding participation with the choir Helicon, led by conductor Geert Hendrix. She has also collaborated with Collegium Vocale conducted by Philippe Herreweghe. With these choirs she performed both domestically and abroad. She has participated as a soloist in numerous recordings. She performed among others in: recordings of new liturgical music in Flanders and the Netherlands; the Helicon CD Op de hoogte; and various recordings for Radio Klara, the classical radio channel for the Flemish public in Belgium. As a soprano soloist, Danny performed in the well-known works of, amongst others, Bach, Mozart, Haydn, Brahms, Vivaldi and Orff. More contemporary work by Vic Nees, John Rutter, Tom Löwenthal and Jan Van der Roost belong in her repertoire as well. On regular occasions she brings recitals where she performs music written by Schubert, Haydn, Dowland, Britten, Gershwin, several Flemish composers and many others. At the invitation of the famous Italian tenor Marco Beasley in autumn 2005, Danny sang the soprano solo in the creation of the opera 'Una Odissea', a new composition by the Italian composer Guido Morini. -
La Experiencia Del Lenguaje En La Poesía De Antonio Gamoneda Y De Seamus Heaney
MINICURSOS Travesías: la experiencia del lenguaje en la poesía de Antonio Gamoneda y de Seamus Heaney Carlota Fernández-Jáuregui Rojas Universidad Autónoma de Madrid «Sin duda llegará un tiempo en que el labrador, trabajando sobre aque- llos campos la tierra con el corvo arado, hallará las armas carcomidas por la herrumbre áspera, o con los pesados rastros golpeará cascos vacíos y con- templará, admirado, sobre las abiertas tumbas gigantescas osamentas.» P. Virgilio Marón, Geórgicas 24 «Erguidas junto al horno en alcobas de hueso, las palabras, cual urnas, surgían del fuego.» Seamus Heaney, El nivel 25 «Allí los huesos lloran y su música se interpone entre los cuerpos. Final- mente, purificados por el frío, somos reales en la desaparición.» Antonio Gamoneda, Arden las pérdidas 26 La voz de Antonio Gamoneda avanza como un rumor que viene de lejos, y a la vez de algún lugar íntimo a nuestra conciencia, como un recuerdo que es también presentimiento táctil, resonancia sensible. «El olvido se posó en mi lengua como el sabor de una desaparición» (Gamoneda, 2004: 173). Sabor de desaparición desde el primer verso de Descripción de la mentira. Quizá sea porque su poesía incor- pora lo vivido y detiene ese movimiento en el espacio del poema. Algo hubo ahí, que queda todavía convocado, pero esa experiencia ha ingresado en experiencia del lenguaje y se muestra ya indescifrable; solo el verso es transparente consigo mismo y opaco con su referente. Su verdad es verdad lingüística. Partiendo del lúcido análisis de Jordi Doce 27 acerca de los poemas en prosa de Antonio Gamoneda, Seamus Heaney y Geoffrey Hill, nos detendremos en la 24 «Scilicet et tempus ueniet, cum finibus illis / agricola incuruo terram molitus aratro / exesa inueniet sca- bra robigine pila, / aut grauibus rastris galeas pulsabit inanis / grandiaque effossis mirabitur ossa sepulcris», P. -
1041 Katalog.Pdf
PB 1 WWW.PHAEDRACD.COM · 1992 - 2012 Phaedra’s Whys and Wherefores !is catalog simultaneously lists and celebrates the achievements of Phaedra in the twenty years of its existence. At "rst blush publishing just over one hundred CDs in twenty years time may not look impressive. But it is very impressive, as you will see once you know the whys and wherefores of Phaedra. It is the purpose of this introduction to tell you about them. In spite of the .com extension in the URL of its website (www.phaedracd.com), Phaedra is not a commercial undertaking. It is part of a non-pro"t organization, Klassieke Concerten vzw. It was started by one man, and it still is almost entirely the work of one man. He has no sta#, not even a part-time secretary. His o$ce is a room in his house; his storage space, another room. He does everything himself. He decides which music Phaedra will publish, often searching out totally unknown works, including quite a few that are available only as manuscripts. He chooses the performers, in consultation with the composers if these are still alive. He takes care of the logistics of the recording sessions, and of the production process, of the covers and booklets as well as of the CDs proper. He is in charge of all publicity and of marketing Phaedra. It is impossible to justly evaluate the achievements of Phaedra without knowing it is a one-man operation. Like most Flemish non-pro"t organizations, it is also a shoestring operation. -
BENELUX and SWISS SYMPHONIES from the 19Th Century to the Present
BENELUX AND SWISS SYMPHONIES From the 19th Century to the Present A Discography of CDs And LPs Prepared by Michael Herman JEAN ABSIL (1893-1974) BELGIUM Born in Bonsecours, Hainaut. After organ studies in his home town, he attended classes at the Royal Music Conservatory of Brussels where his orchestration and composition teacher was Paul Gilson. He also took some private lessons from Florent Schmitt. In addition to composing, he had a distinguished academic career with posts at the Royal Music Conservatory of Brussels and at the Queen Elisabeth Music Chapel and as the long-time director of the Music Academy in Etterbeek that was renamed to honor him. He composed an enormous amount of music that encompasses all genres. His orchestral output is centered on his 5 Symphonies, the unrecorded ones are as follows: No. 1 in D minor, Op. 1 (1920), No. 3, Op. 57 (1943), No. 4, Op. 142 (1969) and No. 5, Op. 148 (1970). Among his other numerous orchestral works are 3 Piano Concertos, 2 Violin Concertos, Viola Concerto. "La mort de Tintagiles" and 7 Rhapsodies. Symphony No. 2, Op. 25 (1936) René Defossez/Belgian National Orchestra ( + Piano Concerto No. 1, Andante and Serenade in 5 Movements) CYPRÈS (MUSIQUE EN WALLONIE) CYP 3602 (1996) (original LP release: DECCA 173.290) (1958) RAFFAELE D'ALESSANDRO (1911-1959) SWITZERLAND Born in St. Gallen. After some early musical training, he studied in Paris under the tutelage of Marcel Dupré (organ), Paul Roës (piano) and Nadia Boulanger (counterpoint). He eventually gave up composing in order to earn a living as an organist.