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Romantic Listening Key
Name ______________________________ Romantic Listening Key Number: 7.1 CD 5/47 pg. 297 Title: Symphonie Fantastique, 4th mvmt Composer: Berlioz Genre: Program Symphony Characteristics Texture: ____________________________________________________ Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: timp start, high bsn solo Number: 7.2 CD 6/11 pg 339 Title: The Moldau Composer: Smetana Genre: symphonic poem Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: flute start Sections: two springs, the river, forest hunt, peasant wedding, moonlight dance of river nymphs, the river, the rapids, the river at its widest point, Vysehrad the ancient castle Name ______________________________ Number: 7.3 CD 5/51 pg 229 Title: Symphonie Fantastique, 5th mvmt (Dream of a Witch's Sabbath) Composer: Berlioz Genre: program symphony Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: funeral chimes, clarinet idee fix, trills & grace notes Number: 7.4 website Title: 1812 Overture Composer: Tchaikovsky Genre: concert overture Characteristics Texture: homophonic Text: _______________________________________________________ Voicing/Instrumentation: orchestra What I heard: soft beginning, hunter motive, “Go Napoleon”, the battle Name ______________________________ Number: 7.5 website Title: The Sorcerer's Apprentice -
OC 463 Roman Trekel Schwanengesang Booklet V03.Indd
FRANZ SCHUBERT (1797–1828) SCHWANENGESANG [01] Schwanengesang op. 23 Nr. 3 .........................02:34 [02] An den Mond .....................................03:03 [03] Der Wanderer an den Mond . 02:48 [04] Totengräbers Heimweh . 06:04 [05] Meeres Stille ......................................02:17 [06] Das Fischermädchen ................................02:08 [07] Am Meer .........................................03:36 [08] Die Stadt .........................................02:57 [09] Der Doppelgänger ..................................04:20 [10] Ihr Bild ..........................................02:51 [11] Der Atlas .........................................02:05 [12] Liebesbotschaft ....................................03:21 [13] Kriegers Ahnung ...................................05:18 [14] Frühlingssehnsucht .................................03:24 [15] Ständchen ........................................04:04 [16] Aufenthalt ........................................02:58 [17] Herbst ...........................................03:12 [18] In der Ferne .......................................05:40 [19] Abschied .........................................04:27 [20] Die Taubenpost ....................................04:08 ROMAN TREKEL, BARITON OLIVER POHL, KLAVIER total 71:24 3 LETZTE LIEDER VON FRANZ SCHUBERT winternden, den Hals etwas aufrechter tragenden Singschwan (Cygnus cygnus), den der ein Jahr nach Es singt der Schwan im Weiher Schuberts Tod geborene Alfred Brehm in seinem Und rudert auf und ab, Tierleben deshalb auch „Cygnus musicus“ genannt -
Unit 7 Romantic Era Notes.Pdf
The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music. -
January – February 2018 Concert Diary
JAN/ FEB 2017/18 SEASON www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office TICKETS 36 Wigmore Street, London W1U 2BP Unless otherwise stated, tickets are divided into five prices ranges: In Person Stalls C – M Highest price 7 days a week: 10am – 8.30pm. Stalls A – B, N – P 2nd highest price Days without an evening concert 10am – 5pm. Balcony A – D 2nd highest price No advance booking in the half hour prior to Stalls BB, CC, Q – S 3rd highest price a concert. Stalls AA, T – V 4th highest price Stalls W – X Lowest price By Telephone: 020 7935 2141 7 days a week: 10.00am–7.00pm. AA AA Days without an evening concert: AA STAGE AA AA AA 10.00am–5.00pm. BB BB There is a non-refundable £3.00 administration CC CC A A charge for each transaction. B B C C D D Online: www.wigmore-hall.org.uk E E F FRONT FRONT F STALLS STALLS 7 days a week; 24 hours a day. G G There is a non-refundable £2.00 administration H H I I charge. J J K K L L Standby Tickets M M N N Standby tickets for students, senior citizens and O O P P the unemployed are available from one hour Q Q before the performance (subject to availability) R R S S with best available seats sold at the lowest price. REAR REAR T STALLS STALLS T U U NB standby tickets are not available for V V Lunchtime and Coffee Concerts. -
Schubert Heidenroslein for Voice and Guitar Sheet Music
Schubert Heidenroslein For Voice And Guitar Sheet Music Download schubert heidenroslein for voice and guitar sheet music pdf now available in our library. We give you 1 pages partial preview of schubert heidenroslein for voice and guitar sheet music that you can try for free. This music notes has been read 4060 times and last read at 2021-09-29 19:49:24. In order to continue read the entire sheet music of schubert heidenroslein for voice and guitar you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Classical Guitar, Guitar Tablature, Soprano Voice, Voice Solo Ensemble: Musical Ensemble Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar sheet music has been read 5237 times. Heidenroslein franz schubert 1797 1828 for voice and classical guitar arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 10:15:42. [ Read More ] Schubert Heidenroslein A Major Schubert Heidenroslein A Major sheet music has been read 2674 times. Schubert heidenroslein a major arrangement is for Beginning level. The music notes has 3 preview and last read at 2021-09-26 11:45:01. [ Read More ] Schubert Des Baches Wiegenlied For Voice And Guitar Schubert Des Baches Wiegenlied For Voice And Guitar sheet music has been read 2630 times. Schubert des baches wiegenlied for voice and guitar arrangement is for Intermediate level. The music notes has 2 preview and last read at 2021-09-29 18:17:29. -
2020 - 2021 Season Digital Concert Hall
2020 - 2021 SEASON DIGITAL CONCERT HALL Schubert TABLE OF CONTENTS SCHUBERT I. Die schöne Müllerin II. Nacht Bonus Concert III. Winterreise IV. Liebe V. Schwanengesang NEW VOICES FESTIVAL: Past/Present/Future I. II. III. TICKETING INFORMATION Schubert FOR ITS 11TH SEASON, Brooklyn Art Song Society celebrates the legacy of the first and greatest composer of Lieder. Six programs of over 100 songs show the brilliance, emotional breadth, and profound beauty of Schubert’s musical voice. TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, OCTOBER 10TH, 2020 | 7:30 PM Schubert One Die schöne Müllerin This groundbreaking story-in-song is a touching meditation on young love and heartbreak – a landmark in the history of Lieder. Franz Schubert: Die schöne Müllerin D. 795 TICKETS & DETAILS » Tyler Duncan, baritone; Erika Switzer, piano AVAILABLE FOR STREAMING SATURDAY, NOVEMBER 14TH, 2020 | 7:30 PM Schubert Two Nacht For Schubert, Night was at once a place of terror and wonder, of passion and repose, and the inspiration for some of his greatest songs. Franz Schubert: Selected songs including Wilkommen und Abschied, Daniel McGrew, Joseph Tancredi, tenor; Die Sterne, and Der Erikönig Mario Diaz-Moresco, Jorell Williams, baritone; Spencer Myer, Michael Brofman, piano TICKETS & DETAILS » AVAILABLE FOR STREAMING SATURDAY, DECEMBER 12TH, 2020 | 7:30 PM Schubert Bonus Concert This program includes some of Schubert's greatest hits not featured on the mainstage series. Tickets are pay what you will. Franz Schubert: Selected songs including Ave Maria, Die Forelle, and Auf dem Wasser du singen Sarah Craft Nelson, mezzo soprano; Nils Neubert, tenor; TICKETS & DETAILS » Nana Shi, piano AVAILABLE FOR STREAMING SATURDAY, JANUARY 16TH, 2021 | 7:30 PM Schubert Three Winterreise Schubert's magnum opus is a profound statement on loneliness and human suffering. -
Heidenroslein Franz Schubert 1797 1828 for Voice and Classical Guitar Sheet Music
Heidenroslein Franz Schubert 1797 1828 For Voice And Classical Guitar Sheet Music Download heidenroslein franz schubert 1797 1828 for voice and classical guitar sheet music pdf now available in our library. We give you 6 pages partial preview of heidenroslein franz schubert 1797 1828 for voice and classical guitar sheet music that you can try for free. This music notes has been read 5237 times and last read at 2021-09-29 10:15:42. In order to continue read the entire sheet music of heidenroslein franz schubert 1797 1828 for voice and classical guitar you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Voice Solo, Piano Accompaniment Ensemble: Mixed Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Schubert Heidenroslein For Voice And Guitar Schubert Heidenroslein For Voice And Guitar sheet music has been read 4071 times. Schubert heidenroslein for voice and guitar arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-30 10:04:46. [ Read More ] Der Tod Und Das Mdchen Death And The Maiden Lied By Franz Schubert Voice And Guitar Der Tod Und Das Mdchen Death And The Maiden Lied By Franz Schubert Voice And Guitar sheet music has been read 6755 times. Der tod und das mdchen death and the maiden lied by franz schubert voice and guitar arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-29 23:00:27. [ Read More ] Erlknig Erl King Lied Song By Franz Schubert Voice And Guitar Erlknig Erl King Lied Song By Franz Schubert Voice And Guitar sheet music has been read 3598 times. -
LES 4 SAISONS DU LIED Récital De L’Été
Musée d’art et d’histoire, Fribourg Dimanche 30 août à 17 heures LES 4 SAISONS DU LIED Récital de l’été Une Schubertiade Julian Prégardien, Ténor Philippe Pierlot, Viole de gambe Marc Hantaï, Flûtiste Axel Wolf, Luthiste et Guitariste Avec le soutien de Schubertiade Aus «Schubert» von Peter Härtling (KiWi 1992) Moment Musical I (Auszug) Franz Schubert (1797 - 1828) Der Wanderer (von Lübeck) D 489 Klage an das Volk Morgenlied (Werner) D 685 aus opus 9 Tänze Nr. 1 und Nr. 6 Schäfers Klagelied (Goethe) D 121 Heidenröslein (Goethe) D 257 Aus «Ich bin zu Ende mit allen Träumen» von 20. August 1815 Michael Stegemann (Piper 1997) Wanderers Nachtlied (Goethe) D 224 Wenzel Matiegka (1773 - 1830) aus «Notturno» opus 21 Lento e patetico + Zingara Auf dem Strom (Rellstab) D 943 Sehnsucht (Mayrhofer) D 516 Johann C. Mertz (1806 - 1856) 20. August 1815 Wanderers Nachtlied (Goethe) D 224 Wenzel Matiegka (1773 - 1830) aus Nachtviolen opus 2 Andante espressivo Schwanengesang (Senn) D 744 Auf dem Wasser zu singen (Stolberg) D 774 Lachen und Weinen (Rückert) D 777 Johann B. Mayrhofer (1787 - 1836) Geheimnis (an Franz Schubert) Nachtviolen (Mayrhofer) D 752 aus «Schubert» von Peter Härtling (KiWi 1992) Moment Musical I (Auszug) Gesänge des Harfners (Goethe) Wer sich der Einsamkeit ergibt D 478 Wer nie sein Brot mit Tränen aß D 480 An die Türen will ich schleichen D 479 aus Klaviersonate D 894: Menuett Johann B. Mayrhofer (1787 - 1836) An Franz aus «Schwanengesang» D 957 Ständchen (Rellstab) Concert sans pause Julian Prégardien Julian Prégardien ist als Opern-, Konzert- und Liedsänger international gleichermaßen erfolgreich. -
A Guide to Franz Schubert's Religious Songs
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks A GUIDE TO FRANZ SCHUBERT’S RELIGIOUS SONGS by Jason Jye-Sung Moon Submitted to the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice December 2013 Accepted by the faculty of the Indiana University Jacobs School of Music in partial fulfillment of the requirements for the degree Doctor of Music in Voice. __________________________________ Mary Ann Hart, Chair & Research Director __________________________________ William Jon Gray __________________________________ Robert Harrison __________________________________ Brian Horne ii Copyright © 2013 by Jason Jye-Sung Moon All rights reserved iii Acknowledgements I would like to express my deepest gratitude to my committee chair and research director, Professor Mary Ann Hart, for the excellent guidance, caring, patience, and encouragement I needed to finish this long journey. I would also like to thank Dr. Brian Horne, who supported me with prayers and encouragement. He patiently corrected my writing even at the last moment. I would like to thank my good friend, Barbara Kirschner, who was with me throughout the writing process to help me by proofreading my entire document and constantly cheering me on. My family was always there for me. I thank my daughters, Christine and Joanne, my parents, and my mother-in-law for supporting me with their best wishes. My wife, Yoon Nam, deserves special thanks for standing by me with continuous prayers and care. I thank God for bring all these good people into my life. -
SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert’S Lieder
SCHUBOT: Machine Learning Tools for the Automated Analysis of Schubert's Lieder by Dylan J. Nagler '14 submitted in partial fulfillment of the requirements for an AB degree with honors in Computer Science and Music Departments of Computer Science and Music Harvard College March 3, 2014 ABSTRACT This paper compares various methods for automated musical analysis, applying machine learning techniques to gain insight about the Lieder (art songs) of com- poser Franz Schubert (1797-1828). Known as a rule-breaking, individualistic, and adventurous composer, Schubert produced hundreds of emotionally-charged songs that have challenged music theorists to this day. The algorithms presented in this paper analyze the harmonies, melodies, and texts of these songs. This paper begins with an exploration of the relevant music theory and ma- chine learning algorithms (Chapter 1), alongside a general discussion of the place Schubert holds within the world of music theory. The focus is then turned to automated harmonic analysis and hierarchical decomposition of MusicXML data, presenting new algorithms for phrase-based analysis in the context of past research (Chapter 2). Melodic analysis is then discussed (Chapter 3), using unsupervised clustering methods as a complement to harmonic analyses. This paper then seeks to analyze the texts Schubert chose for his songs in the context of the songs' relevant musical features (Chapter 4), combining natural language processing with feature extraction to pinpoint trends in Schubert's career. Table of Contents Chapter 1{Introduction A Brief Explanation of Tonal Harmony . 4 Hierarchical Musical Analysis . .6 Descriptive Theories of Schubert's Harmony . 9 A Primer on Machine Learning Algorithms . -
Angelika Kirchschlager, Mezzo-Soprano Malcolm Martineau
Cal Performances Presents Program Sunday, April 19, 2009, 3pm Erich Wolfgang Korngold (1897–1957) Five Songs, Op. 38 (1948) Hertz Hall Glückwunsch Der Kranke Alt-Spanisch Angelika Kirchschlager, mezzo-soprano Alt-English My Mistress’ Eyes Malcolm Martineau, piano Kurt Weill (1900–1950) Stay Well, from Lost in the Stars (1949) Complainte de la Seine (1934) Der Abschiedsbrief (1933) PROGRAM Je ne t’aime pas (1934) Franz Schubert (1797–1828) Fischerweise, D. 881, Op. 96, No. 4 (1826) The concert is part of the Koret Recital Series and is made possible, in part, Der Wanderer an den Mond, D. 870 (1826) by Patron Sponsors Nancy and Gordon Douglass, in honor of Robert Cole. Bertas Lied in der Nacht, D. 653 (1819) Wehmut, D. 772, Op. 22, No. 2 (1823) Cal Performances’ 2008–2009 season is sponsored by Wells Fargo Bank. Frühlingsglaube, D. 686 (1820) Im Frühling, D. 882, Op. 101, No. 1 (1826) Schubert Die Sterne, D. 939, Op. 96, No. 1 (1815) Lied der Anne Lyle, D. 830, Op. 85, No. 1 (1825) Abschied, D. 475 (1816) Rastlose Liebe, D. 138 (1815) Klärchen’s Lied, D. 210 (1815) Geheimes, D. 719 (1821) Versunken, D. 715 (1821) INTERMISSION CANCELED CANCELED 6 CAL PERFORMANCES CAL PERFORMANCES 7 Program Notes Program Notes Franz Schubert (1797–1828) suggests both the vigorous activity and the deep fashionable music lovers, and, in appreciation, his verses when Johann Schickh published some of Selected Songs contentment of the trade. he set five of Collin’s poems, including Wehmut them in his Zeitschrift für Kunst, Literatur, Theater Johann Gabriel Seidl (1804–1875), teacher, (“Sadness”) in 1823. -
THE SORCERER's APPRENTICES: AUTHORSHIP and SOUND AESTHETICS in WALT DISNEY's FANTASIA by Daniel Fernandez a Thesis Submitted
THE SORCERER’S APPRENTICES: AUTHORSHIP AND SOUND AESTHETICS IN WALT DISNEY’S FANTASIA by Daniel Fernandez A Thesis Submitted to the Faculty of the Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Masters of Arts Florida Atlantic University Boca Raton, FL May 2017 Copyright by Daniel Fernandez 2017 ii ACKNOWLEDGEMENTS I would like to thank my committee members for all of their guidance and support, especially to my advisor Anthony Guneratne for his helpful suggestions during the writing of this manuscript. I am also grateful to a number of archival collections, particularly those of Yale University for providing me with some of the primary sources used for this manuscript. Likewise, I would like to acknowledge Stephanie Flint for her contribution to the translation of German source material, as well as Richard P. Huemer, Didier Ghez, Jennifer Castrup, the Broward County Library, the University of Maryland, the Fales Library at New York University, and Zoran Sinobad of the Library of Congress, for the advice, material assistance, and historical information that helped shape this project. iv ABSTRACT Author: Daniel Fernandez Title: The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia Institution: Florida Atlantic University Thesis Advisor: Dr. Anthony Guneratne Degree: Masters of Arts in Communications Year: 2017 This thesis makes three claims new to the critical literature on Walt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements.