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Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Choir and Choral Music
Choral Research : A Global Bibliography Geisler, Ursula 2010 Link to publication Citation for published version (APA): Geisler, U. (2010). Choral Research : A Global Bibliography. Körcentrum Syd. http://www.korcentrumsyd.se/wp- content/uploads/Geisler-2010_Choral-Research_A-Global-Bibliography.pdf Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 Körforskning. En bibliografi Choral Research. A Global Bibliography Lund/Malmö, Körcentrum Syd, 2010 Dr. Ursula Geisler © Ursula Geisler 2 Choral Research. A Global Bibliography KOMMENTAR INLEDNING Detta är en körforskningsbibliografi. Den har sammanställts på uppdrag av Körcentrum Syd i syfte att kartlägga körforskningen i Sverige och globalt. Eftersom ett mål med Körcentrum Syds verksamhet är att stärka körlivet och körforskningen regionalt och utveckla den nationellt, har ett behov av att kartlägga körforskningen och dess status quo formulerats. -
Assemble Your Own All -Transistor
ASSEMBLE YOUR OWN BACH PASSIONS AND ORATORIOS ALL -TRANSISTOR Continued front preceding page from works other by Bach- principally Part II, it is as though a ray of sunshine Ycit the Trauerode -and fitted to as many had burst through clouds. Both Fritz portions of a libretto of the St. Mark Wunderlich, tenor, and Franz Crass, bass, Passion that Bach is known ELECTRONIC ORGAN to have used are on the same high level as the ladies. but whose music has been lost. The re- Wunderlich sings both the Evangelist's sult is plausible; some of the music, es- recitatives and the tenor arias with an pecially two big choruses from the Trau- unforced lyricism; in the long phrases 3 NEW MODELS erode, is very fine, and we may have of " Frolle Hirten" ( Part he Recital II) holds $1500 here a small portion of a third Passion Consolette Il $850 his own very well with the obbligato Spinet $550 by Bach. The solo singing is good enough, flute. Crass's voice lacks the brass needed but the two great choruses have been bet- for the trumpet aria in Part I but in ter performed on records in their other every other respect his performance is incarnation. entirely satisfactory. Chorus and orches- .St. A Luke Passion attributed to Bach tra are first -rate. Except for the over - is available on Lyrichord 110 or 7110, prominent sopranos in one chorus ( "Ehre This is the all - three discs. in a performance conducted sei Gott." Part II), the balances are just new, all- transis- by George Barati. -
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631
Our Lady of Guadalupe Church 900 West La Habra Boulevard ● La Habra, California 90631 Sunday Masses / Misas Dominicales Saturday Anticipatory / Sábado Anticipatoria 5:30 p.m.—English 7:00 p.m.—Español Sunday / Domingo: 6:30 a.m.—English 11:15 a.m.—English 7:45 a.m.—Español 1:00 p.m.—Español 9:30 a.m.—English 5:30 p.m.—English (Youth) Weekday Masses / Misas entre Semana: Monday/Lunes: 7:45 a.m.—English 5:30 p.m.—English Tuesday/Martes: 7:45 a.m.—English Wednesday/Miércoles: 7:45 a.m.—English 5:30 p.m.—English Thursday/Jueves: 7:45 a.m.—English Friday/Viernes: 7:45 a.m.—Español 5:30 p.m.—English Confessions / Confesiones: Saturday/Sábado: 4:00 p.m. Monday/Lunes: 8:15 a.m. December 17, 2017 Third Sunday of Advent Parish Staff / Personal Parroquial (562) 691-0533 olglahabra.org Rev. Edward Becker, Pastor Parish Office Hours / Rev. Benjamin Hoang, Parochial Vicar Horario de la Oficina Parroquial: Rev. Ruben Ruiz, Parochial Vicar Monday—Thursday: 8:30 am—7:30 pm Rev. Msgr. Justin MacCarthy, Pastor Emeritus de Lunes a Jueves Deacon José Luís Rodriguez, Deacon Friday & Saturday: 8:30 am—5:30 pm Deacon José Manuel Chavez, Deacon Viernes y Sábado Sunday / Domingo: 8:30 am—1:00 pm Scott Miller, Business Manager Doris von Rotz, Liturgy Director and Communications Adoration of the Blessed Sacrament: Director First weekday of each month Stephanie Ruiz, Director of Faith Formation for Pre- Adoración de la Santísimo Sacramento: school and Elementary Primer día laborable de cada mes Ray Hernandez, Youth Minister and Director of Faith For Baptisms, Weddings, Funerals and other Sacra- Formation for Junior High, High School and Young ments, please check the parish website or call the Adults parish office for more information. -
Stadtarchiv Wuppertal ND 1 Marie-Luise Baum
Stadtarchiv Wuppertal ND 1 Marie-Luise Baum Inhaltsverzeichnis VORWORT .............................................................................................................................................................. 4 KORRESPONDENZEN ........................................................................................................................................... 5 LEBENSDOKUMENTE ......................................................................................................................................... 23 SAMMLUNGEN UND OBJEKTE .......................................................................................................................... 30 WERKE ................................................................................................................................................................. 43 Vorwort Vorwort Marie-Luise Baum, geb. am 21.05.1887 in Hadersleben, gest. am 07.06.1979 in Wuppertal, Bibliothekarin, Eh- renmitglied des Bergischen Geschichtsvereins und Verfasserin biographischer Arbeiten zur Wuppertaler Ge- schichte. Der Nachlass hat einen Umfang von 12 Archivkartons. Korrespondenzen ND 1 Nr. 81 Korrespondenz, Materialien und Beiträge 1790 - 1816; über Carl Aders (1780-1846) und die Familie Aders; (1823 - 1825; Originalbriefe von Angehörigen der Familie Aders 1923); 1938 - Alte Archivsignatur: NDS 1972 1 Karton 12 Nr. 61 Stammbaum von Johann Kaspar Aders; Kor- respondenz vor allem mit Prof. Dr. Hertha Marquardt betr. einen gemeinsamen Beitrag über Carl Aders, mit -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Schütz Edition Has Been Published Containing Choral Collection, Loreley, Which Is Published As Part of the Various Individual Works
X | 201X CHCHORCHORALCHORMUSIKOR MUMUSIK MUSICSIK HEUTE HEUTHEUTETODAYE 2 | 2017 CARUSCARUS MagazinMagazine MOZART UNVOLLEN- DET Fragment c-Moll-Messe BACH COMPLETE EDITION GOUNOD GEISTLICH INTEGRATION MUSIKALISCH ChorwerkeThe Complete für die KircheSacred VocalKinderlieder Works für alle MUSICAL CAPITAL PARIS CULTURAL TREASURE Following Rossini and Gounod German folk songs in new arrangements C Carus Gioachino Rossini 1792–1868 150th anniversary of death 2018 Although first and foremost considered an opera composer, the Italian Gioachino Rossini composed an extensive range of sacred and secular vocal music. Well-known are the Stabat Mater and the Petite Messe solennelle. It is also worth discovering his many smaller choral works. Gioachino Rossini ROSSINI Petite Messe solennelle Stabat Mater Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 Stabat Mater komponierte Gioachino Rossini neben Kammermusik nur noch Carus 40.650 größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. Immer wieder hat Rossini die bildreiche Sprache der vermutlich aus dem 13. Jahrhundert stam- menden latenischen Dichtung Komponisten zu Vertonungen inspi- riert, darunter große Namen wie Pergolesi, Joseph Haydn und Verdi. In 10 Nummern vereinigt Rossini unterschiedliche Formen wie Arie, CHOIR Chor- und E AP Duett, Quartett und Chor, opernhaft ariose Schreibweise und stren- TH P Stabat Mater gen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Ensemblemusik Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works Carus 70.089 of church music. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
Expanding the Choral Conductor's Horizon
ABSTRACT Title of Dissertation: EXPANDING THE CHORAL CONDUCTOR’S HORIZON: THE APPLICATION OF SELECTED LITERARY THEORIES TO THE PROCESS OF CHORAL SCORE STUDY Gary B. Seighman, Doctor of Musical Arts, 2009 Dissertation directed by: Professor Edward Maclary School of Music The main premise of this document is that the various movements associated with literary theory can provide unique interpretative insights for the modern choral conductor during score study. Traditionally, score study involves making performance decisions based upon formal analysis, study of performance practices, examination of historical and stylistic information, and practical ensemble considerations. By adopting a stance that also acknowledges elements offered by literary theory, the conductor can begin to uncover those elements in the music that maximize the potential for the singer to have a meaningful musical experience. Literary theory deals critically with the process of interpretation and focuses especially on the relationship between the literary text and the reader. On one end of the literary theory spectrum, formalist studies of interpretation place value only on the words and notes and their grammatical relationship with one another while ignoring historical information as a determinant source for meaning. On the other end, Reader-Response Criticism focuses on the attributes of the reader, understood as part of the culture he belongs to, and through his personal background and experiences. Many branches of theory are located in the middle and consider how the properties of a text fuse with a reader’s expectations and guide him to a particular interpretation. The adaptation of these theories to music is not new, as shown by the sizeable corpus of books and articles devoted to musico-literary studies. -
The Bach Experience
Marsh Chapel at Boston University THE BACH EXPERIENCE Listeners’ Companion 2018|2019 THE BACH EXPERIENCE Listeners’ Companion 2018|2019 Notes by Brett Kostrzewski Contents Foreword v September 30, 2018 Herr, gehe nicht ins Gerichtmit deinem Knecht BWV105 1 November 18, 2018 Schauet doch und sehet, ob irgendein Schmetz sei BWV46 5 February 10, 2019 Herr Jesu Christ,wahr’ Mensch und Gott BWV 127 9 April 7, 2019 Liebster Gott, wenn werd ich sterben? BWV8 13 Foreword The 2018–2019 Bach Experience at Marsh Chapel marks my fourth year of involvement as annotator, and the second that we have produced this expanded Listeners’ Companion. I remain as grateful, as I was in 2015, for Dr. Scott Allen Jarrett’s invitation to contribute my writing to the Bach Experience, and I am honored to share with you the fruits of my continued study of Johann Sebastian Bach’s remarkable corpus of church cantatas. This year’s Bach Experience divides neatly into two pairs. The first two cantatas were heard on successive Sundays in Leipzig—on 25 July and 1 August 1723, respectively—and you are fortunate to hear them in succession here. The pair, composed only two months after Bach took on his post as Thomaskantor, represent two of his finest accomplishments of the genre, all the more remarkable for appearing on ordinary Sundays in the middle of the summer. I point out some of the compositional elements that link the two cantatas; perhaps you will discover more. The second pair of cantatas were composed during Bach’s second full year in Leipzig, when he took to composing a complete cycle of cantatas primarily based on Lutheran chorales, known as his “chorale cantatas.” I often find the chorale cantatas difficult to write about at length; while their technical aspects are fascinating, particularly Bach’s integration of the chorale melodies, I find their aural experience far more rewarding than anything I could contribute in these notes. -
Die Werke Georg Friedrich Händels in Göttingen
Die Werke Georg Friedrich Händels in Göttingen Eine Darstellung der Sammlung G. F. Händels in der Niedersächsischen Staats- und Universitätsbibliothek Göttingen unter Berücksichtigung des identischen Bestandes in weiteren ausgewählten Göttinger Institutionen T e x t von Poupak Amirazodi Göttingen, November 2005 I N H A L T S V E R Z E I C H N I S Seite Vorwort Einleitung 1 1 Allgemeines 1.1 Die Niedersächsische Staats- und Universitätsbibliothek Göttingen 4 1.1.1 Anfänge 5 1.1.2 Das 20. Jahrhundert 9 1.2 Die Musiksammlung 11 1.2.1 Umfang 12 1.2.2 Aufstellung – Signierung 15 2 Übersicht über die Kataloge der Universitätsbibliothek 17 2.1 Der Akzessionskatalog 18 2.2 Alphabetische Kataloge 21 2.3 Systematische und Sachkataloge 24 2.4 Sonderkataloge 26 2.5 Der Ars-Musica-Katalog 28 2.5.1 Der Ars Musica Catalogus realis 29 2.5.2 Der Ars Musica Catalogus alphabeticus 33 2.5.3 Besonderheiten der Katalogisierung im Göttinger Musikalienkatalog 36 3 Musikalien und Musikliteratur 38 3.1 Die Ära Notendrucke und musikalische Literatur 38 3.2 Musiksammlungen und Musikbibliotheken 40 3.3 Musik in der bibliothekarischen Praxis 43 4 Georg Friedrich Händel 45 4.1 Lebensgeschichte 46 4.2 Werke 49 5 Das Projekt G. F. Händel 50 5.1 Bericht über die Arbeit 51 5.2 Händel in der SUB Göttingen 55 5.2.1 Umfang des Händel-Bestandes 55 5.2.2 Aufbau und Erschließung 58 6 Musik und Händel in Göttingen 60 6.1 Musikwissenschaft und Musikpflege in Göttingen 61 6.2 Musikwissenschaftliche Institutionen 63 6.3 Das Musikwissenschaftliche Seminar der Universität Göttingen 64 6.3.1 Die Bibliothek 65 6.3.2 Der Händel-Bestand 67 6.4 Die Göttinger Händel-Gesellschaft 68 6.4.1 Entwicklung der Gesellschaft 69 6.4.2 Die Händel-Festspiele Göttingen 69 6.4.3 Bestandsaufbau und Erschließung 71 6.5 Das Stadtarchiv Göttingen 72 6.5.1 Geschichte des Stadtarchivs 72 6.5.2 Händel im Stadtarchiv 75 6.6 Die Werke Händels im Programm des Göttinger Symphonie Orchesters 75 7 Zusammenfassung 76 8 Literaturverzeichnis 8.1 Literatur 79 8.2 Internet-Veröffentlichungen 85 8.3 Unveröffentlichtes Material 87 9. -
LBW: Public-2
Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T.