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International Trumpet Guild Journal
Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD June 2014 • Page 6 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
About City Music Foundation
CITY MUSIC FOUNDATION SUMMER RESIDENCY 22 – 26 JULY 2019 1775.CITY MUSIC LEAFLET.indd 1 15/07/2019 13:53 1775.CITY MUSIC LEAFLET.indd 2 15/07/2019 13:53 ABOUT CITY MUSIC FOUNDATION CMF’s mission is ‘turning talent into success’. CMF Trustees & Advisory Board We select exceptional professional musicians Sir Roger Gifford, Founder & Trustee at the start of their careers when managing ‘the business of music’ can be a challenge and Sir Mark Boleat, Trustee support them with a comprehensive career Dr Kate Gee, Trustee development programme. We arrange mentoring, run workshops, do agency and management, Dr Andrew Parmley, Trustee make CDs, videos and websites, commission Guy Harvey, new music, secure airtime on BBC Radio 3 and Former Partner, Shepherd and Wedderburn promotion though online, print and social media, Wim Hautekiet, Managing Director, JP Morgan as well as showcasing our artists in our own recitals and concerts. CMF Alumni tell us of the Sir Nicholas Kenyon, many ways CMF has helped them during those Managing Director, Barbican Centre very fragile early stages of their professional Alastair King, careers. Getting the necessary visibility, Chairman, Naisbitt King Asset Management developing networks, gaining recognition in the industry, and having recordings – all this Kathryn McDowell CBE, Managing Director, LSO has allowed them to secure their careers as Ian Ritchie, Artistic Director, Setúbal Music Festival performers. Our aim is that CMF Artists are Sebastian Scotney, Editor, London Jazz News ready for four decades or more of contributing to society’s culture and well-being – reaching Adrian Waddingham, hundreds of thousands through live performance, Former Partner, Barnett Waddingham CDs, streaming, broadcasts, teaching and CMF Patrons mentoring – giving back a thousandfold what CMF has given them. -
Ons-Tafelmusik.Pdf
CENTER FOR THE PERFORMING ARTS AT PENN STATE ONSTAGE Don Lee, The Banff Centre Banff The Don Lee, Today’s performance is sponsored by Gay D. Dunne and James H. Dunne COMMUNITY ADVISORY COUNCIL The Community Advisory Council is dedicated to strengthening the relationship between the Center for the Performing Arts and the community. Council members participate in a range of activities in support of this objective. Nancy VanLandingham, chair Mary Ellen Litzinger Lam Hood, vice chair Bonnie Marshall Pieter Ouwehand William Asbury Melinda Stearns Patricia Best Susan Steinberg Lynn Sidehamer Brown Lillian Upcraft Philip Burlingame Pat Williams Alfred Jones Jr. Nina Woskob Deb Latta Eileen Leibowitz student representative Ellie Lewis Jesse Scott Christine Lichtig CENTER FOR THE PERFORMING ARTS AT PENN STATE presents Tafelmusik Baroque Orchestra Jeanne Lamon, director The Galileo Project: Music of the Spheres Conceived, programmed, and scripted by Alison Mackay Glenn Davidson, production designer Marshall Pynkoski, stage director John Percy, astronomical consultant Shaun Smyth, narrator 7:30 p.m. Wednesday, November 5, 2014 Schwab Auditorium The performance includes one intermission. This presentation is a component of the Center for the Performing Arts Classical Music Project. With support from The Andrew W. Mellon Foundation, the proj- ect provides opportunities to engage students, faculty, and the community with classical music artists and programs. Marica Tacconi, Penn State professor of musicology and Carrie Jackson, Penn State associate professor of German and linguistics, provide faculty leadership for the curriculum and academic components of the grant project. sponsors Gay D. Dunne and James H. Dunne support provided by Nina C. Brown Endowment media sponsor WPSU The Center for the Performing Arts at Penn State receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
No. 58 – April 2016 Address for Communications
News In this issue ... Page Page Address for Communications 2 Elgar Birthplace: Interim Director 17 Keep in touch 2 Birthplace Report 18 Letter from the Chairman 3 Donald Hunt at the Birthplace 20 Elgar Society News: the future 4 From the Birthplace Archive 21 Nomination for Secretary 5 Obituaries 25 Elgar Society AGM Adeste Fideles by Elgar 31 and Birthday Weekend 6 Concert Reviews 32 Elgar Day at 3Choirs Festival 8 Brief items 35 Treasurer’s Notes 8 Delius Society 39 Website News 9 Branch Reports 40 From the Membership Secretary 11 LSO Concerts: special offer 50 Welcome to new members 12 Branch Events 51 Elgar Works 12 Dates for your Diary 55 A new EE recording! 14 Crossword 64 This is what I do 16 Trustees’ Annual Report T1 No. 58 – April 2016 Address for Communications Contributions for the August 2016 issue of the Elgar Society News should be e–mailed to both the compilers: Richard Smith: [email protected] Peter James: [email protected] Full contact details can be found on the back cover. The latest date for submissions for the August issue is 25 June 2016. Ernie Kay Some of you will already know that one of the compilers of previous issues of The Elgar Society News, Ernie Kay, is suffering from a non–reversible serious illness. He has had to move to a new address which is Perrins House, Moorlands Road, Malvern, WR14 2TZ but his telephone number, 01684 567917, remains the same. For this reason, Ernie can no longer play an active role in compiling the News. -
Breathtaking-Program-Notes
PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice. -
Music from the Golden Age Of
95917 Music from the Golden Age of 17th Century Music from The Netherlands Music from the Golden Age of Rembrandt Pieter Cornet (c.1575-1633) Tarquinio Merula (1595-1665) 13. Salve Regina (organ) 11’05 7. ’t Hane en ‘t Henne-gekray (2 violins & b.c) 1’55 CD1 65’21 Nicolaes Vallet Cornelis Schuyt (Leiden, 1557-1616) (Corbény, c.1583 - ? c.1645) CD2 66’40 Bernardon Barlasca From:Dodeci Padovane, et altretante Secretum Musarum II: Het tweede boeck Johan Albert Ban 8. Vijfde Fantasia 2’21 Gagliarde Composte nelli dodeci van de luyt-tablatuer ghenoemt ‘Het (Haarlem, 1597/98-1644) modi,Con due Canzone fatte alla gheheymenisse der sangh-goddinnen…’ 1. Me veux tu voir mourir 1640 (in Christian Herwich? Francese, per sonare à sei. Leiden 1611 Amsterdam 1616 contest with Boësset) 9. Concerto 1. Pavaen en gagliarda 10 8. Fortune angloise (lute) - Malle (tenor & b.c.) 1’16 (violin, viola da gamba & b.c.) 2’39 (six part consort) 3’44 Sijmen - Slaep, zoete Slaep 4’03 2. Pavaen en gagliarda 10 Jacob van Eijck (c.1590 – Utrecht, 1659) Constantijn Huygens (six part consort) 1’11 Cornelis Thymanszoon Padbrué From: Der Fluytenlusthof, beplant (Den Haag, 1596-1687) 3. Canzona ‘la Barca’ 2’04 (Haarlem, 1592-1670) met Psalmen, Allemanden, Couranten, From: Pathodia Sacra et Profana, From: Kusjes…den tweeden Druck Balletten, Airs, &c deel I, Paris, 1647 Jan Pieterszn Sweelinck vermeerdert ende verbetert met 5,4 ende Amsterdam, 1649 10. Usquequo,Domine (III) (Deventer, 1562 - Amsterdam, 1621) 3 stemmen, met een basso continuo… 2. Doen Daphne d’Over schoone (soprano & b.c.) 2’53 Livre troisième des Psaumes de David… Op.1, Amsterdam, 1641 Maegt (recorder) 7’14 11. -
The English Concert – Biography
The English Concert – Biography The English Concert is one of Europe’s leading chamber orchestras specialising in historically informed performance. Created by Trevor Pinnock in 1973, the orchestra appointed Harry Bicket as its Artistic Director in 2007. Bicket is renowned for his work with singers and vocal collaborators, including in recent seasons Lucy Crowe, Elizabeth Watts, Sarah Connolly, Joyce DiDonato, Alice Coote and Iestyn Davies. The English Concert has a wide touring brief and the 2014-15 season will see them appear both across the UK and abroad. Recent highlights include European and US tours with Alice Coote, Joyce DiDonato, David Daniels and Andreas Scholl as well as the orchestra’s first tour to mainland China. Harry Bicket directed The English Concert and Choir in Bach’s Mass in B Minor at the 2012 Leipzig Bachfest and later that year at the BBC proms, a performance that was televised for BBC4. Following the success of Handel’s Radamisto in New York 2013, Carnegie Hall has commissioned one Handel opera each season from The English Concert. Theodora followed in early 2014, which toured West Coast of the USA as well as the Théâtre des Champs Elysées Paris and the Barbican London followed by a critically acclaimed tour of Alcina in October 2014. Future seasons will see performances of Handel’s Hercules and Orlando. The English Concert’s discography includes more than 100 recordings with Trevor Pinnock for Deutsche Grammophon Archiv, and a series of critically acclaimed CDs for Harmonia Mundi with violinist Andrew Manze. Recordings with Harry Bicket have been widely praised, including Lucy Crowe’s debut solo recital, Il caro Sassone. -
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021
2021 WFMT Opera Series Broadcast Schedule & Cast Information —Spring/Summer 2021 Please Note: due to production considerations, duration for each production is subject to change. Please consult associated cue sheet for final cast list, timings, and more details. Please contact [email protected] for more information. PROGRAM #: OS 21-01 RELEASE: June 12, 2021 OPERA: Handel Double-Bill: Acis and Galatea & Apollo e Dafne COMPOSER: George Frideric Handel LIBRETTO: John Gay (Acis and Galatea) G.F. Handel (Apollo e Dafne) PRESENTING COMPANY: Haymarket Opera Company CAST: Acis and Galatea Acis Michael St. Peter Galatea Kimberly Jones Polyphemus David Govertsen Damon Kaitlin Foley Chorus Kaitlin Foley, Mallory Harding, Ryan Townsend Strand, Jianghai Ho, Dorian McCall CAST: Apollo e Dafne Apollo Ryan de Ryke Dafne Erica Schuller ENSEMBLE: Haymarket Ensemble CONDUCTOR: Craig Trompeter CREATIVE DIRECTOR: Chase Hopkins FILM DIRECTOR: Garry Grasinski LIGHTING DESIGNER: Lindsey Lyddan AUDIO ENGINEER: Mary Mazurek COVID COMPLIANCE OFFICER: Kait Samuels ORIGINAL ART: Zuleyka V. Benitez Approx. Length: 2 hours, 48 minutes PROGRAM #: OS 21-02 RELEASE: June 19, 2021 OPERA: Tosca (in Italian) COMPOSER: Giacomo Puccini LIBRETTO: Luigi Illica & Giuseppe Giacosa VENUE: Royal Opera House PRESENTING COMPANY: Royal Opera CAST: Tosca Angela Gheorghiu Cavaradossi Jonas Kaufmann Scarpia Sir Bryn Terfel Spoletta Hubert Francis Angelotti Lukas Jakobski Sacristan Jeremy White Sciarrone Zheng Zhou Shepherd Boy William Payne ENSEMBLE: Orchestra of the Royal Opera House, -
San Francisco Early Music Society
San Francisco Early Music Society Breathtaking: A Cornetto and a Voice Entwined WHEN: VENUE: Sunday, May 6, 2018 BInG 4:00 PM COnCERT HaLL Program Artists Maurizio Cazzati (1616 –1678) Hana Blažíková, Regina coeli soprano Bruce dickey, Nicolò Corradini (?–1646) cornetto Spargite flores Tekla Cunningham, Biagio Marini (1594 –1663) Ingrid Matthews, Sonata seconda a doi violini violin Joanna Blendulf, Sigismondo D’India (c1582 –1629) viola da gamba Dilectus meus Langue al vostro languir Michael Sponseller, organ and harpsichord Giovanni Battista Fontana (1589–1630) Stephen Stubbs, Sonata 11 a 2 theorbo and baroque guitar Tarquinio Merula (c 1594–1665) Nigra sum Giacomo Carissimi (1605 –1674) Summi regis puerpera —Intermission— Calliope Tsoupaki (b. 1963) Mélena imí (Nigra sum) , 2015 Gio. Battista Bassani (c1650 –1716) Three arias from La Morte Delusa (Ferrara, 1680) “Sinfonia avanti l’Oratorio” “Speranza lusinghiera” “Error senza dolor” Sonata prima a 3, Op. 5 Alessandro Scarlatti (1660–1725 Three arias from Emireno (Naples, 1697) Rosinda: “non pianger solo dolce usignuolo” Rosinda: “Senti, senti ch’io moro” Emireno: “Labbra gradite” PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 2 Notes Breathtaking: violoncelli. He was able, however, to which included innovative composers A Voice And A Cornetto Entwined attract excellent singers as well as such as Giovanni de Macque. d’India string players to the basilica. His travelled extensively, holding positions In the 16th and 17th centuries, the Regina coeli , from a collection of in Turin, Modena and Rome. His cornetto was fabled for its remarkable Marian antiphons published in 1667, monodies, for which he is primarily ability to imitate the human voice. -
Handel-House-Talent-2017-Booklet.Pdf
ABOUT THE PROGRAMME The programme will run from 30 September 2017 to 31 October 2018 with an end of year concert in December 2018. Over the course of the year the group of successful candidates will be offered: • At least two opportunities for each participant to perform at a Handel House concert, including working with Handel House staff on planning these concerts • An individual open masterclass for each participant, with a leading professional of their instrument, including feedback and tuition. Other participants of the scheme and members of the public will be invited to observe • A group tutorial by baroque specialist Laurence Cummings focusing on interpreting baroque pieces for performance • Two specialist workshops at Handel House on practical topics associated with becoming a successful professional musician (devising concert programmes, communicating with audiences, promotion, dealing with agents, managing finances etc). External experts will be invited to lead these • Opportunities to practise and rehearse at Handel House in their own time – HANDEL HOUSE whenever rehearsal space is available • A final showcase concert at the end of the year for the six participants, to an invited audience including people with interest and influence in the world of classical music performance. This concert is to be devised, talent organised and created by the participants as a group, with back-up from Handel House staff where needed • Promotion as ‘alumni’ of the HH Talent Programme on our website, on Handel House will select singers and programme notes provided at Handel House concerts and other marketing instrumentalists with a particular interest in material produced by Handel House performing music from the baroque period to benefit from this free, year-long programme. -
– 413 – MATTHIAS SCHNEIDER University of Greifswald MONODIC
Matthias SCHNEIDER University of Greifswald MONODIC ORGAN CHORALES IN THE ŒUVRE OF JAN PIETERSZOON SWEELINCK’S PUPILS Girolamo Frescobaldi in Rome was to Southern Europe what the great Amsterdam organist and harpsichordist Jan Pieterszoon Sweelinck was to the North. He was regarded at the beginning of the 17th century as the most famous organist maker in Northern Europe. Many young German organists made pilgrimage to Amsterdam to receive instruction from Sweelinck in organ playing and in the art of composition. Heinrich Scheidemann and Jacob Praetorius from Hamburg, Samuel Scheidt from Halle, Andreas Düben from Leipzig (who later went on to Stockholm), and also Paul Siefert from Gdańsk, Melchior Schildt from Hannover, and probably Petrus Hasse (later organist at St. Mary’s church, Lübeck) were among these young musicians. But what were they expecting to find in Amsterdam? The town had become Calvinistic about 25 years before, and church music life especially had changed not- ably since then. Instrumental music was no longer allowed in church services, and for this reason Sweelinck also lost his position as an organist within the service. Henceforth he was engaged by the town of Amsterdam, the owner of the organs of the Oude Kerk, that Sweelinck now had to play twice a day (normally in the morning and in the evening or, on Sundays, before and after services). Sweelinck earned an impressive salary that ultimately reached the amount of 360 florins a year. But this was not his only income; indeed the students, who came to study with him, normally had to pay around 200 florins a year, including boarding and lodging in the house of the master.