Krannert Center Debut Artist: Yunji Shim, Soprano
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Contemporary Romanian Music for Unaccompanied
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by KU ScholarWorks CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET BY 2009 Cosmin Teodor Hărşian Submitted to the graduate program in the Department of Music and Dance and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________ Chairperson Committee Members ________________________ ________________________ ________________________ ________________________ Date defended 04. 21. 2009 The Document Committee for Cosmin Teodor Hărşian certifies that this is the approved version of the following dissertation: CONTEMPORARY ROMANIAN MUSIC FOR UNACCOMPANIED CLARINET Committee: ________________________ Chairperson ________________________ Advisor Date approved 04. 21. 2009 ii ABSTRACT Hărșian, Cosmin Teodor, Contemporary Romanian Music for Unaccompanied Clarinet. Doctor of Musical Arts (Performance), May 2009. Romanian music during the second half of the twentieth century was influenced by the socio-politic environment. During the Communist era, composers struggled among the official ideology, synchronizing with Western compositional trends of the time, and following their own natural style. With the appearance of great instrumentalists like clarinetist Aurelian Octav Popa, composers began writing valuable works that increased the quality and the quantity of the repertoire for this instrument. Works written for clarinet during the second half of the twentieth century represent a wide variety of styles, mixing elements from Western traditions with local elements of concert and folk music. While the four works discussed in this document are demanding upon one’s interpretative abilities and technically challenging, they are also musically rewarding. iii I wish to thank Ioana Hărșian, Voicu Hărșian, Roxana Oberșterescu, Ilie Oberșterescu and Michele Abbott for their patience and support. -
1718Studyguidetosca.Pdf
TOSCA An opera in three acts by Giocomo Puccini Text by Giacosa and Illica after the play by Sardou Premiere on January 14, 1900, at the Teatro Constanzi, Rome OCTOBER 5 & 7, 2O17 Andrew Jackson Hall, TPAC The Patricia and Rodes Hart Production Directed by John Hoomes Conducted by Dean Williamson Featuring the Nashville Opera Orchestra CAST & CHARACTERS Floria Tosca, a celebrated singer Jennifer Rowley* Mario Cavaradossi, a painter John Pickle* Baron Scarpia, chief of police Weston Hurt* Cesare Angelotti, a political prisoner Jeffrey Williams† Sacristan/Jailer Rafael Porto* Sciarrone, a gendarme Mark Whatley† Spoletta, a police agent Thomas Leighton* * Nashville Opera debut † Former Mary Ragland Young Artist TICKETS & INFORMATION Contact Nashville Opera at 615.832.5242 or visit nashvilleopera.org. Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY SETTING: Rome, 1800 ACT I - The church of Sant’Andrea della Valle quickly helps to conceal Angelotti once more. Tosca is immediately suspicious and accuses Cavaradossi of A political prisoner, Cesare Angelotti, has just escaped and being unfaithful, having heard a conversation cease as she seeks refuge in the church, Sant’Andrea della Valle. His sis - entered. After seeing the portrait, she notices the similari - ter, the Marchesa Attavanti, has often prayed for his release ties between the depiction of Mary Magdalene and the in the very same chapel. During these visits, she has been blonde hair and blue eyes of the Marchesa Attavanti. Tosca, observed by Mario Cavaradossi, the painter. Cavaradossi who is often unreasonably jealous, feels her fears are con - has been working on a portrait of Mary Magdalene and the firmed at the sight of the painting. -
The Marriage of Figaro
UNIVERSITY MUSICAL SOCIETY Charles A. Sink, President Lester McCoy, Conductor Gail W. Rector, Executive Director First Concert 1957-1958 Complete Series 3216 Twelfth Annual Extra Concert Series THE NBC OPERA COMPANY m THE MARRIAGE OF FIGARO MOZART SUNDAY EVENING, OCTOBER 6, 1957, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN THE CAST Count Almaviva WALTER CASSEL Countess Almaviva MARGUERITE WILLAUER Susanna, the Countess' maid JUDITH RASKIN Figaro, the Count's valet . MAC MORGAN Cherubino, the Count's page REGINA SARFATY Marcellina, an aged dame . RUTH KOBART Basilio, a music master LUIGI VELUCCI Don Curzio, a judge FRED CUSHMAN Bartolo, a doctor . EMILE RENAN Antonio, a gardener-Susanna's uncle EUGENE GREEN Barbarina, his daughter . BERTE GOAPERE Crier . RICHARD KRAUSE Country men and women, court attendants, hunters, and servants. (Cast subject to change) Conductor and Stage Director: PETER HERMAN ADLER Baldwin piano courtesy 0/ Maddy Music Company, Ann Arbor. A R S LON G A V I T A BREVIS THE MARRIAGE OF FIGARO By WOLFGANG AMADEUS MOZART Libretto by DAPONTE Based on a comedy by BEAUMARCHAIS English version: EDWARD EAGER Producer: SAMUEL CHOTZINOFF Music and Artistic Director: PETER HERMAN ADLER General Manager: CHANDLER COWLES Costumes: ALVIN COLT The action takes place in the castle and grounds of the Count and Countess Almaviva, near Seville. ACT I Count Almaviva, grown faithless to his Rosina after some years of marriage, has cast a roving eye upon her maid, Susanna, the bride-to-be of his valet, Figaro; while the Count's page, young Cherubino, has fallen in love, if you please, with the Countess herself. -
BEAVERT SYMPHONY Travis Hatton, Music Director
BEAVERT SYMPHONY Travis Hatton, Music Director Young Artists Concert: Rising Stars SVOBODA TCHAI Aishani Saha Natalie Tan Kira Wang 7:30pm Friday, May 18, 2018 3:00pm Sunday, May 20, 2018 beavertonsymphony.org 1-855-HEARBSO (1-855-432-7276) The Composers Greg Bartholomew Frédéric Chopin Leo Delibes Benjamin Britten Luigi Arditi Antonin Dvořák Jean Sibelius Beaverton Symphony Orchestra Travis Hatton, Music Director Greg Bartholomew Sunshine Music (2011) b. 1957 Sunshine in the Dooryard: Homage to a melody by David Paul Mesler Sunshine in the City Sunshine in the Mountains Antonin Dvořák Cello Concerto in b minor, Op. 104 – 3rd movement 1840 –1904 Kira Wang, cello Léo Delibes Les Filles de Cadix (1874) 1836 –1891 Benjamin Britten Be Kind and Courteous 1913 – 1976 from A Midsummer Night’s Dream Luigi Arditi Il Bacio (The Kiss) (1860) 1822 – 1903 Aishani Saha, soprano Frédéric Chopin Piano Concerto No. 2 in f minor, Op. 21 – 3rd movement 1810 –1849 Natalie Tan, piano Intermission Jean Sibelius Symphony No. 1 in e minor, Op. 39 (1899) 1865 –1957 Andante ma non troppo – Allegro energico Andante (ma non troppo lento) Scherzo: Allegro Finale (Quasi una fantasia) Our Young Artists Aishani Saha, soprano, is a 17 year old senior at Westview High School. She has been studying voice with Angela Niederloh for 4 years. Aishani is the 2017 State Champion in the Soprano Voice division of the OSAA Solo/Ensemble Competition. She got 2nd place in the 2016 State Competition. She was also a winner of the 2017 MetroArts Van Buren Young Artists Debut Competition. Aishani won 3rd place in the 2017 Schmidt Vocal Competition NW Region. -
AO, 7 W 3 Tiffi WARPOEMS: an INTERMEDIA COMPOSITION FOR
37? /iSI AO, 7W3 Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION FOR CHAMBER ORCHESTRA AND CHORUS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Karl W. Schindler, B.M. Denton, Texas August, 1997 Schindler, Karl W., The War Poems: an intermedia composition for chamber orchestra and chorus. Master ofMusic (Composition), August, 1997, 108 pp., 9 musical examples, 3 figures, 3 titles. Expanding on the concept of Richard Wagner's Gesamptkunstwerk, The War Poems was written to combine various elements for an intermedia composition, including music, five slide projectors, lighting, and costume. The War Poems was written for solo male voice, chamber orchestra, and chorus. Text used in the piece was taken from the writings of the English World War I poet, Siegfried Sassoon. The seven sections of the piece are designated by a specific poem of Sassoon's: Section 1. "Secret Music", 2. "The Kiss", 3. "The Dragon and the Undying", 4. "Dreamers", 5. "A Night Attack", 6. "Does It Matter?", and 7. "A Whispered Tale". Slides used came from two sources: public domain photographs from World War I and original photographs by Shannon Drawe. 37? /iSI AO, 7W3 Tiffi WAR POEMS: AN INTERMEDIA COMPOSITION FOR CHAMBER ORCHESTRA AND CHORUS THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Karl W. Schindler, B.M. Denton, Texas August, 1997 TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES iv LIST OF FIGURES v INTRODUCTION vi SIEGFRIED SASSOON vii TEXT ANALYSIS viii MUSIC ANALYSIS xv 1. -
122 a Century of Grand Opera in Philadelphia. Music Is As Old As The
122 A Century of Grand Opera in Philadelphia. A CENTURY OF GRAND OPERA IN PHILADELPHIA. A Historical Summary read before the Historical Society of Pennsylvania, Monday Evening, January 12, 1920. BY JOHN CURTIS. Music is as old as the world itself; the Drama dates from before the Christian era. Combined in the form of Grand Opera as we know it today they delighted the Florentines in the sixteenth century, when Peri gave "Dafne" to the world, although the ancient Greeks listened to great choruses as incidents of their comedies and tragedies. Started by Peri, opera gradually found its way to France, Germany, and through Europe. It was the last form of entertainment to cross the At- lantic to the new world, and while some works of the great old-time composers were heard in New York, Charleston and New Orleans in the eighteenth century, Philadelphia did not experience the pleasure until 1818 was drawing to a close, and so this city rounded out its first century of Grand Opera a little more than a year ago. But it was a century full of interest and incident. In those hundred years Philadelphia heard 276 different Grand Operas. Thirty of these were first heard in America on a Philadelphia stage, and fourteen had their first presentation on any stage in this city. There were times when half a dozen travelling companies bid for our patronage each season; now we have one. One year Mr. Hinrichs gave us seven solid months of opera, with seven performances weekly; now we are permitted to attend sixteen performances a year, unless some wandering organization cares to take a chance with us. -
Imi/SICAL Lized in "Tiie Redemption.” | Jersey
62 THE SUNDAY STAT?. WASHINGTON, D. C M MAY 27, 1028 -PART 4. THREE SOLOISTS IN GOUNOD'S “REDEMPTION” TOMORROW NIGHT | MUSIGRAPHS MUSIC rrilE choir of All Saints’ Church, ] linlst; Lester Eichncr. trombonist, and A Chevy Chase, will give a musical . James Nalley, cornctist, also will ac- service at 8 p.m. today, at which the < company the choir in the rendition of BY HELEN FETTER. numbers will be from “Elijah” and Gounod's "Unfold. Ye Portals,” from ‘‘The Hymn of Praise," by Mende’ss iftn. “The Redemption." Mr. Lindsay will j Emily Harrold. soprano, will sing | play “Arioso” tßachi. and Mr. Wallen's “Hear Ye, Israel”; Ccctle Sale, con- numbers will be “Lento” (Lalo>, “La- FRANCOIS GOU- I Mozart had as his fee for piano tralto. “O Rest in the Lord,” from mento" (Gabriel Marie) and "Autumn NOD is most widely known iessons, in 1781, 25 cents a lesson. “Elijah”; James T. Nicholson, tenor, Flower” (Popper) The choir also will composer of the The comment was added that, “If With All Your Hearts,” from "Eli- sing “O Lord. Thou Art Our God” as the jah.” and "The (Dickinson). favorite of French operas. "although he considered this am- ! Sorrows of Death.” j Deborah H Lawson will CHARLES’ from “Hymn of Praise,” and Robert H. sing “I Will Extol Thee,” from "Eli" Faust.” His "Romeo and Juliet” ple compensation, he gave his Davidson, that lie baritone, “Lord God of Abra- ; (Costai. and Gerald L. Whelan will also is a popular operatic work. pupils to understand ham” and "It Is Enough.” from ‘‘Elijah." sing "The Lord is My Light" lAilit- “Tobie," favor i His three oratorios, "Re- made this rate as a special A trio composed of Miss Harrold. -
Mozart's Figaro and Don Giovanni, Operatic Canon, and National
MARTIN NEDBAL Figaro and Don Giovanni in Prague Mozart’s Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague MARTIN NEDBAL Between 1874 and 1916, the Czech opera en- considered one of the most important symbols semble in Prague celebrated the birthday of the of Bohemia’s cultural and intellectual refine- Austro-Hungarian emperor Franz Joseph I ev- ment ever since the late eighteenth century. In ery 18 August with a special opera performance their reports about late-nineteenth-century preceded by the national anthem and accompa- Czech performances of Don Giovanni and Le nied by special, festive lighting. The choice of nozze di Figaro, Prague’s theater critics repeat- opera varied, but most often it was an original edly mention the festive, celebratory atmo- Czech work, most prominently one by Bedˇrich sphere that supposedly electrified the audiences Smetana (his The Bartered Bride and Dalibor in the theater.1 For over two centuries, more- were performed on two occasions, Two Wid- ows on three, and The Kiss on four). The only two foreign operas used by the Czech ensemble 1This is the case especially with the reviews of Le nozze di to celebrate their emperor more than once were Figaro at the Provisional Theater between 1865 and 1883 Verdi’s Ernani (in 1874 and 1880) and Mozart’s in the journals Naˇse listy, Národní listy, and Politik, as well as the musical magazines Dalibor and Slavoj. Some Le nozze di Figaro (in 1876 and 1883). Whereas reports are so enthusiastic as to exaggerate the festivity of Ernani was most likely chosen for its depiction the performances. -
Full Volume 22
Ethnomusicology Review 22(1) From the Editors Samuel Lamontagne and Tyler Yamin Welcome to Volume 22, issue 1 of Ethnomusicology Review! This issue features an invited essay along with three peer-reviewed articles that cover a wide range of topics, geographical areas, methodological and theoretical approaches. As it seems to be a characteristic of ethnomusicology at large, this variety, even if it has become an object of critical inquiry itself (Rice, 1987, 2007; Laborde, 1997), has allowed the discipline, by grounding itself in reference to the context of study, to not take “music” for granted. It is in this perspective that we’d like to present this volume, and the variety of its contributions. In his invited essay, Jim Sykes asks what ramifications of the Anthropocece, understood as a socio-ecological crisis, hold for the field of music studies and the politics of its internal disciplinary divisions. Drawing upon scholars who assert that the Anthropocene demands not only concern about our planet’s future but also critical attention towards the particular, historically situated ontological commitments that engendered this crisis, Sykes argues that music studies both depends on and reproduces a normative model of the world in which music itself occupies an unproblematized metaphysical status—one that, furthermore, occludes the possibility of “reframe[ing] music history as a tale about the maintenance of the Earth system” (14, this issue) urgently necessary as anthropogenic climate change threatens the continuation of life as usual. By taking seriously the material and discursive aspects of musical practice often encountered ethnographically, yet either explained away by “the worldview embedded in our disciplinary divisions or . -
Casts for the Verdi Premieres in the US (1847-1976)
Verdi Forum Number 2 Article 5 12-1-1976 Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Martin Chusid New York University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Chusid, Martin (1976) "Casts for the Verdi Premieres in the U.S. (1847-1976)" (Part 1), AIVS Newsletter: No. 2, Article 5 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Keywords Giuseppe Verdi, opera, United States This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss2/5 Casts for the Verdi Premieres in the U.S. (1847-1976), Part 1 by Martin Chusid 1. March 3, 1847, I lombardi alla prima tioni (London, 1862). See also U.S. pre croclata (Mi~, 1843). New York, Palmo's mieres of Due Foscari, Attila, Macbeth and Opera House fn. 6 6 Salvatore Patti2 (Arvino) conducted w.p. Aida (Cairo, 1871). See Giuseppe Federico de! Bosco Beneventano 3 also U.S. premieres in note S. Max Maret (Pagano) zek, Crochets and Quavers (l8SS), claims Boulard (Viclinda) that Arditi was Bottesini's assistant. Clotilda Barili (Giselda) The most popular of all Verdi's early operas A. Sanquirico3 (Pirro) in the U.S. (1847-1976) Benetti Riese (Prior) 3. -
Verdi Handbuch
Verdi Handbuch VERDI HANDBUCH 2., überarbeitete und erweiterte Auflage Herausgegeben von Anselm Gerhard und Uwe Schweikert Metzler Bärenreiter Bibliografische Information der deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.d-nb.de> abrufbar. ISBN 978-3-476-02377-3 (Metzler) ISBN 978-3-476-05186-8 (eBook) DOI 10.1007/978-3-476-05186-8 Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2013 Springer-Verlag GmbH Deutschland Ursprünglich erschienen bei J.B. Metzler’sche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart 2013 www.metzlerverlag.de [email protected] Inhalt Vorbemerkung . XI Zum Gebrauch dieses Buches . XIII Abgekürzt zitierte Ausgaben von Briefen von und an Verdi . XIV Zeittafel (Vincenzina C. Ottomano und Anselm Gerhard) . XV EINLEITUNG Verdi-Bilder (Anselm Gerhard) . 2 Verdis Selbststilisierung 2 ›Self-made-man‹ 6 »Un orso« – ein Bär 8 »Un compositore rozzo« – ein roher Komponist 9 Der »Leierkasten«-Musiker 11 Der Antipode Wagners 14 »Der Komponist der italienischen Revolution« 16 Der Nationalkomponist 19 Der »Bauer« von Sant’Agata 20 Der me- lancholische Witwer 21 Autonomie 24 VERDIS WIRKEN IM ITALIENISCHEN 19. JAHRHUNDERT Italien zwischen Restauration, Risorgimento und nationaler Einheit (Martina Grempler) . 30 Zwischen Revolution und Restauration 31 Mailand als neues Zentrum 33 Risorgimento 34 Von der Idee zur Realität: Die italienischen Einigungskriege 35 Der Nationalstaat 38 Nachwirkungen des Risorgimento 40 Eine nationale Sprache für Verdis Opern (Vittorio Coletti) . -
Download Booklet
572284bk Bottesini:570034bk Hasse 4/3/10 11:03 AM Page 4 Thomas Martin Thomas Martin studied in America under Harold Roberts, Oscar Zimmerman, and Roger Scott, and has held leading positions with the Buffalo Philharmonic and Israel Philharmonic Orchestras and as a principal with l’Orchestre Symphonique de Montréal, the Academy of St Martin-in-the-Fields, the English Chamber Orchestra, the City of Birmingham Symphony Orchestra, and latterly, the London Symphony Orchestra. He has been Principal Double Bassist with the Oxford Philomusica since its first season. He now also pursues an interest in solo playing, appearing in recitals and concertos with orchestras around the globe. He is Professor of Double Bass at London’s Royal College of Music and was appointed International Fellow of Double Bass at the Royal Scottish Academy of Music in September 2007, gives master-classes internationally, and is responsible for many editions of music for double bass. He has BOTTESINI served on many International Competition juries, and is also well known as a luthier, having so far made over 140 basses. Fantasia on Timothy Cobb Outside of his duties as principal bass of the Met Orchestra and Double Bass Faculty Chair at the Juilliard School, double bassist Timothy Cobb maintains a busy schedule of chamber collaborations and solo appearances. He themes of Rossini collaborates with well known quartets and distinguished colleagues. His festival appearances include most of the major summer festivals in the United States, and he serves as solo bassist for the St Barth’s Music Festival in January each year. He is also on the faculty of the Sarasota Music Festival each June, coaching and performing chamber Passioni amorose music.