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Guitar Syllabus
TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and -
Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals
Technological University Dublin ARROW@TU Dublin Concert Programmes Conservatory of Music and Drama 2012 Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals Una Hunt DIT Conservatory of Music and Drama, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscp Part of the Arts and Humanities Commons Recommended Citation William Vincent Wallace Bicentenary Recitals Programme (Wexford Festival Opera, October-November 2012) This Other is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Concert Programmes by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License 24 October–4 November, 2012 Concert | William V Wallace Recital Sponsors & Funders William V Wallace Recital Thursday 25 October | 15:30 JEROME HYNES THEATRE Grant-aided by the Arts Council Friday 2 November | 11:00 Image of William V Wallace is reproduced courtesy of the National Library of Ireland (call number EP WALL-WI (1) III) Festival supported by Fáilte Ireland WILLIAM VINCENT WALLACE (1812–1865) THE DELIUS TRUST Songs and piano music from the William Vincent Wallace Album Máire Flavin (Mezzo-soprano, 25 October) | Rachel Kelly (Mezzo-soprano, 2 November) Lead Production Sponsor Print Media Sponsor & Production Sponsor Production Sponsor Una Hunt (Piano) L’Arlesiana -
Michael William Balfe Maid of Artois
2A that still attract audiences. There is a touch of lightness in Balfe's work that still endears the Maid of Artois to the attentive listener and which makes it an important contribution to the musical history of this land. John Stewart Allitt Michael William Balfe - nicht nur The Bohemian Girl Eine Neuaufnahme der Maid of Artois bei Campion Cameo Records Der Ire Michael Balfe ("Bolf'sagen unsere britischen Vettern) ist auf dem Kontinent (von dem die Briten immer noch sprechen, wenn sie Europa und nicht sich selber meinen) nur durch sein Bohemian Girl bekannt, das nach dem Krieg Thomas Beecham und nach ihm (sehr bodenlastig und und gar nicht interessant) Richard Bonynge auf CD bei Decca zu Ehren gebracht haben. Das muB gut besetzt sein und hat seine Liingen, vor allem wegen des (bei Decca leider eben nicht vorhandenen) Dialogs. Balfe selber (1808 - 70) war ein interessanter Mann, ein schiiner sogar, der seine Zeit in Italien auch zu (Damen)Bekanntschaften nutzte und der griindlich in der Tradition des Belcanto zu Hause war. Er wuchs als Violinwunderkind in Dublin auf, kam mit 14 nach London und begann seine Karriere als Geiger in Drury Lane, wo er schnell zum Orchesterleiter aufstieg. Ein Miizen in Gestalt von Graf Mazzara brachte ihn nach Paris und dann Italien, wo seine Ausbildung in Mailand stattfand, was sich in einem ercten Ballett ("La P6rouse") fiir die Scala niederschlug. In Paris sang er Rossini mit seiner schcinen Baritonstimme das'Largo al factotum'vor, was diesen beeindruckte und Balfe zu einer Gesangsausbildung zuraten lieB. Dieser trat danach als Rossinis Figaro, auch als Conte in Bellinis Sonnambula in Palermo auf. -
A Unique and Extremely Important Collection of Autograph Letters and Manuscripts of the World's Greatest Composers
z 42 P319u A A I ! 1 i 2 I 3 ! 9 I 5 I 1 i 5 I Collection of Autograph Letters and Manuscripts of the World's Greatest Composers THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES A UNIQUE AND EXTREMELY «!) r IMPORTANT COLLECTION OF AUTOGRAPH LETTERS AND MANUSCRIPTS OF THE WORLD'S GREATEST COMPOSERS 9 J. 'PEARSON & CO. 5, PALLTV1ALL PLACE, LONDON, S.W. Telegraphic and Cable Address: "Parabola, London" ALL THE IT£MS IN THIS" CATALOGUE ARE ENTIRELY FREE OF DUTY Loo<4oC> ^^rsoOj £\* tt^b«* takers s ^ A UNIQUE AND EXTREMELY IMPORTANT COLLECTION OF AUTOGRAPH LETTERS AND MANUSCRIPTS OF THE WORLD'S GREATEST COMPOSERS ON SALE BY J. PEARSON fif CO. 5, PALL MALL PLACE, LONDON, S.W. Telegraphic and Cable Address: " Parabola, London" Wf ALL THE ITEMS IN THIS CATALOGUE ARE ENTIRELY FREE OF DUTY FOREWORD HIS unique and extremely remarkable collection of autograph letters and original manuscripts of the world's greatest composers comprises no less than seventy-five examples. These letters and manuscripts represent the finest pro- curable examples of such supremely important masters as Handel (a splendid manuscript); Mozart (of whom there are two very early letters written when he was only thirteen years old, being addressed to his mother and sister); Bach; Arne; Wagner (a splendid letter of great length); Beethoven ; Gluck (the finest known letter); Haydn; Mendelssohn; Chopin (very important); Brahms; Liszt; Rossini; Meyer- beer; Cherubini; Donizetti; Schubert (a superb letter); Schumann; Spohr; Spontini; Elgar; Gounod, etc. This noble collection is principally based upon the famous Meyer Cohn cabinet. -
Macfarren 2 660306-07 Bk Macfarren 16/08/2011 14:22 Page 16
660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 16 2 CDs George Alexander MACFARREN Robin Hood Spence • Jordan • Ashman • Mackenzie-Wicks Hulbert • Molloy • Hurst • Knox John Powell Singers Victorian Opera Chorus and Orchestra 8.660306-07 16 Ronald Corp 660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 2 George Alexander MACFARREN (1813-1887) Robin Hood A romantic English Opera in three acts Libretto by John Oxenford (1812-1877) Performing Edition by Valerie Langfield Robin Hood (in disguise as Locksley) . Nicky Spence, Tenor Sir Reginald d’Bracy (Sheriff of Nottingham) . George Hulbert, Baritone Hugo (Sompnour, Collector of Abbey dues) . Louis Hurst, Bass Allan-a-Dale (a young peasant) . Andrew Mackenzie-Wicks, Tenor Little John John Molloy, Bass (Outlaws) Much, the Miller’s son} { Alex Knox, Baritone Marian (daughter of Sheriff) . Kay Jordan, Soprano Alice (her attendant) . Magdalen Ashman, Mezzo-soprano Villagers, Citizens and Greenwood men . John Powell Singers and Victorian Opera Chorus Knighted at Windsor Castle on the same day in 1883 George Macfarren was knighted for his services to English music at the same time as Arthur Sullivan, composer (another Royal Academy of Music alumnus), and George Grove, first director of the Victorian Opera Orchestra Royal College of Music and Grove!s Musical Dictionary founder. Ronald Corp Musical Director: Ronald Corp Assistant Conductor: Duncan Ward • Chorus-masters: Marc Hall and John Powell Executive Producer: Raymond J Walker • Research: David Chandler -
The Maid of Artois (Canpion Cameo - Cam€O 2042-3)
L7 Kay Jordan does very well indeed with a title-role straight out of the Guinness Book of Records, the beautiful sounds she makes truly evoke the glamour of its unique progenitor and would have justified this project even if the orchestra and conductor had not been so good. In fact both are excellent. The presentation of the recording, its packaging, its sound quality, its notes with complete libretto, all are first-rate. As an example of resource, of clarity, of sheer resiliance, Victorian Opera from its Northem fastness shows the inert Metropolis what can be done with modest means. Is it too much to hope that the latter will one day learn some lessons? A\ry The Maid of Artois (Canpion Cameo - Cam€o 2042-3) We live in a strange land whcre the collective mind seems to revolve around cars, beer to excess, the latest chipboard kilchens, golf and the media. The remarkable thing is that amidst this cultural desert there are people who care and who have an enthusiasm that often puts oth€l nations io shame. I think of the Avison Ensemble in Newcastle reviving the music of Charles Avison (1709-1790), a fine baroque comlnser who proves that there were others than simply Handel composing music of worth in 'the land without music'. Now we can add to Newcastle, Wilmslow. Wilmslow? Where's that? It's somewhere up North. What good has ever come out of Wilmslow? Quite simply the revival of William Balfe's The Maid ol Artois! But then I guess most people in this educationally impoverished country have never heard of Balfe, less still of his opera composed for Malibran in 1836. -
William Vincent Wallace Bicentenary Festival Programme, National Concert Hall, 15 October 2012
Technological University Dublin ARROW@TU Dublin Concert Programmes Conservatory of Music and Drama 2012-10-15 William Vincent Wallace Bicentenary Festival Programme, National Concert Hall, 15 October 2012 Una Hunt Dr DIT Conservatory of Music and Drama, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscp Part of the Arts and Humanities Commons Recommended Citation William Vincent Wallace Bicentenary Festival (National Concert Hall Dublin, 15 October 2012) This Other is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Concert Programmes by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License William Vincent Wallace Bicentenary Festival Day Souvenir Programme Monday 15 October 2012 including the launch of the 1854 Commemorative Music Album and CD Respectfully dedicated to The Ladies of the United States by William Vincent Wallace Facsimile edited by Úna Hunt ÚNA HUNT, piano MÁIRE FLAVIN, mezzo-soprano THE ROYAL IRISH ACADEMY OF MUSIC VOCAL TRIO Limited edition Wallace Facsimile Music Album and CD available from The Music Box at the National Concert Hall and from the RTÉ online shop, www.rte.ie/shop. This publication is generously supported by the Department of Arts, Heritage and the Gaeltacht. Welcome he National Concert Hall is delighted to have the opportunity to honour the Irish composer William Vincent Wallace with a day of festivities celebrating the bi-centenary of his birth. -
Original Song Settings of Irish Texts by Irish Composers, 1900-1930
Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
Music (Opportunities for Research in the Watkinson Library)
Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society. -
Symphonic Constructions of American National Identity, 1840–1870
MUSIC OF A MORE PERFECT UNION: SYMPHONIC CONSTRUCTIONS OF AMERICAN NATIONAL IDENTITY, 1840–1870 Douglas William Shadle A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2010 Approved By: Mark Evan Bonds, Chair Annegret Fauser Jon Finson Mark Katz Philip Vandermeer ABSTRACT DOUGLAS SHADLE: Music of a More Perfect Union: Symphonic Constructions of American National Identity, 1840–1870 (Under the direction of Mark Evan Bonds) The genre of the symphony has long been recognized as a medium for constructing national identities in German, French, and Russian culture, yet little is known about the genre’s history in the United States. Between 1840 and 1870, the era of the first generation of American orchestral composers, it served as a potent means of expressing American national identity. During this period of American cultural history, two separate processes shaped conceptions of national identity: decolonization from Great Britain and a nascent sense of imperial expansionism. This dissertation explores how mid-century American symphonic composers musically constructed national identities reflecting these conceptions and argues that this practice continued well into the twentieth century. Composers who focused on decolonization generally employed one of two separate strategies. The first was emulation, or copying European symphonic models with the intention of continuing the symphonic tradition. George Frederick Bristow (1825– 1898), for example, wrote symphonies that might be mistaken for music by Mendelssohn or Schumann. The second strategy was exceptionalism, or selectively omitting traditional stylistic elements in order to pave new musical pathways. -
Musical Women and Identity-Building in Early Independent Mexico (1821-1854)
Musical Women and Identity-Building in Early Independent Mexico (1821-1854) Yael Bitrán Goren Thesis submitted for the degree of PhD Music Department, Royal Holloway, University of London 2012 1 Declaration of Authorship I, Yael Bitrán Goren, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: 13 April 2012 Abstract This thesis investigates music in Mexico City, with an emphasis on women's relationship to Romanticism, education, consumption, domestic music-making and public performance. During the first decades after independence in 1821, Mexicans began the process of constructing an identity, which musically speaking meant an expansion of the secular musical world. Such construction involved the development of internal activity alongside a conditional receptivity to external influence in the form of the visits of Italian opera companies such as those of Manuel García and Max Maretzek, and travelling virtuosi such as pianist virtuoso Henri Herz, who brought new repertoire and performance practices to Mexican theatres and homes. As consumers and as musicians, women were at the centre of such developments. In Mexico, both European music and that of local musicians was disseminated by means of ladies’ journals and imported and locally-printed sheet music by foreign and Mexican composers, in order to supply a growing home market for amateurs. Abundant surviving repertoire for the home, the widespread availability of musical instruction as revealed through advertisements, and witness accounts of soirées and concerts in the theatre reveal a budding musical world that has hitherto been overlooked and which occurred during a period generally deemed of little importance in Mexican musical history.