ABSTRACT Title of Dissertation: FRENCH CHARACTER PIECES
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Geoffrey Baer, Who Each Friday Night Will Welcome Local Contestants Whose Knowledge of Trivia About Our City Will Be Put to the Test
From the President & CEO The Guide The Member Magazine Dear Member, for WTTW and WFMT This month, WTTW is excited to premiere a new series for Chicago trivia buffs and Renée Crown Public Media Center curious explorers alike. On March 26, join us for The Great Chicago Quiz Show hosted by 5400 North Saint Louis Avenue Chicago, Illinois 60625 WTTW’s Geoffrey Baer, who each Friday night will welcome local contestants whose knowledge of trivia about our city will be put to the test. And on premiere night and after, visit Main Switchboard (773) 583-5000 wttw.com/quiz where you can play along at home. Turn to Member and Viewer Services page 4 for a behind-the-scenes interview with Geoffrey and (773) 509-1111 x 6 producer Eddie Griffin. We’ll also mark Women’s History Month with American Websites wttw.com Masters profiles of novelist Flannery O’Connor and wfmt.com choreographer Twyla Tharp; a POV documentary, And She Could Be Next, that explores a defiant movement of women of Publisher color transforming politics; and Not Done: Women Remaking Anne Gleason America, tracing the last five years of women’s fight for Art Director Tom Peth equality. On wttw.com, other Women’s History Month subjects include Emily Taft Douglas, WTTW Contributors a pioneering female Illinois politician, actress, and wife of Senator Paul Douglas who served Julia Maish in the U.S. House of Representatives; the past and present of Chicago’s Women’s Park and Lisa Tipton WFMT Contributors Gardens, designed by a team of female architects and featuring a statue by Louise Bourgeois; Andrea Lamoreaux and restaurateur Niquenya Collins and her newly launched Afro-Caribbean restaurant and catering business, Cocoa Chili. -
CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY in 2018: a CENTENARY CELEBRATION
19-23/03/18 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION PROGRAMME Monday 19 - Friday 23 March 2018 CLAUDE DEBUSSY IN 2018: A CENTENARY CELEBRATION Patron Her Majesty The Queen President Sir John Tomlinson CBE Principal Professor Linda Merrick Chairman Nick Prettejohn To enhance everyone’s experience of this event please try to stifle coughs and sneezes, avoid unwrapping sweets during the performance and switch off mobile phones, pagers and digital alarms. Please do not take photographs or video in 0161 907 5555 X the venue. Latecomers will not be admitted until a suitable break in the 1 2 3 4 5 6 programme, or at the first interval, whichever is the more appropriate. 7 8 9 * 0 # < @ > The RNCM reserves the right to change artists and/or programmes as necessary. The RNCM reserves the right of admission. 0161 907 5555 X 1 2 3 4 5 6 7 8 9 * 0 # < @ > Welcome It gives me great pleasure to welcome you to Claude Debussy in 2018: a Centenary Celebration, marking the 100th anniversary of the death of Claude Debussy on 25 March 1918. Divided into two conferences, ‘Debussy Perspectives’ at the RNCM and ‘Debussy’s Late work and the Musical Worlds of Wartime Paris’ at the University of Glasgow, this significant five-day event brings together world experts and emerging scholars to reflect critically on the current state of Debussy research of all kinds. With guest speakers from 13 countries, including Brazil, China and the USA, we explore Debussy’s editions and sketches, critical and interpretative approaches, textual and cultural-historical analysis, and his legacy in performance, recording, composition and arrangement. -
The Poetry of Symbolism and the Music of Gabriel Fauré
THE POETRY OF SYMBOLISM AND THE MUSIC OF GABRIEL FAURÉ A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY LYNNELL LEWIS ADVISOR: DR MEI ZHONG BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 TABLE OF CONTENTS 1. Introduction ................................................................................... 1 2. Gabriel Fauré .................................................................................. 3 3. Fauré‟s Work and the Influences of Late 19th Century France .... 7 4. Paul Verlaine ................................................................................. 9 5. Fauré, Verlaine and Symbolism ..................................................... 14 6. Description of Songs and Performance issues ............................... 17 . Mandolin .............................................................................. 17 . En Sourdine .......................................................................... 18 . Green .................................................................................... 19 . A Clymène ........................................................................... 21 . C‟est l‟exstase ...................................................................... 23 7. Conclusion ...................................................................................... 25 Appendix of Poetry .............................................................................. 27 Mandoline ...................................................................................... -
Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL -
Scholarly Program Notes for the Graduate Voice Recital of Laura Neal Laura Neal [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2012 Scholarly Program Notes for the Graduate Voice Recital of Laura Neal Laura Neal [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp I am not submitting this version as a PDF. Please let me know if there are any problems in the automatic conversion. Thank you! Recommended Citation Neal, Laura, "Scholarly Program Notes for the Graduate Voice Recital of Laura Neal" (2012). Research Papers. Paper 280. http://opensiuc.lib.siu.edu/gs_rp/280 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES FOR MY GRADUATE VOCAL RECITAL by Laura S. Neal B.S., Murray State University, 2010 B.A., Murray State University, 2010 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters in Music Department of Music in the Graduate School Southern Illinois University Carbondale May 2012 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON MY GRADUATE VOCAL RECITAL By Laura Stone Neal A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters in the field of Music Approved by: Dr. Jeanine Wagner, Chair Dr. Diane Coloton Dr. Paul Transue Graduate School Southern Illinois University Carbondale May 4, 2012 ACKNOWLEDGMENTS I wish to thank first and foremost my voice teacher and mentor, Dr. Jeanine Wagner for her constant support during my academic studies at Southern Illinois University Carbondale. -
!I M~Cy ~E~D~N~
Donald F. Cook Recital Hall M.O. Morgan Building Sunday, 27 October, 1996 at 8:00p.m. SCHOOL Rosemarie Landry, soprano OF MUSIC Dalton Baldwin, piano L' origine de Ia harpe Hector Berlioz Villanelle (1803-1869) L'Absent Charles Gounod Serenade (1818-1893) Romance de Mignon Henri Duparc Chanson Triste (1848-1933) Serenade italienne Ernest Chausson (1855-1899) Les cigales Emmanuel Chabrier Romance de 1'etoile (1841-1894) INTEllUdiSSION Chanson d' avril Georges Bizet (1838-1875) Psyche Emile Paladilhe (1844-1926) Ouvre tes yeux bleus Jules Massenet (1842-1912) Au bade Gabriel Faure En sourdine (1845-1924) Musique Claude Debussy Apparition (1862-1918) Les Filles de Cadix Uo Delibes (1836-1891) !iM~ cy~~E~d~n~ 048-036-09-96-1 5.000 Rosmarie Landry is one of the world's leading interpreters of French art song. She is an especially apt recipient of an honorary degree this year, since 1996 marks the 20th anniversary of the admission of students to Memorial's School of Music. Dr. Landry was born in Timmins, Ontario, in 1946, but was raised in Caraquet, NB. Proud of her Acadian ancestry, she has toured the world as an ambassador of Acadian culture since winning the voice category of the CBC Talent Festival in 1976. One of Canada's most renowned and accomplished sopranos, she is at home performing in solo recitals, with chamber musicians, and orchestras. She has sung with most of Canada's principal orchestras, choirs and opera companies, and has performed for radio and television. Dr. Landry has also performed with Orchestre Radio-France, the Singapore Symphony Orchestra and Orchestra Musicum Collegium of Geneva. -
Faurã©, Through Boulanger, to Copland: the Nature of Influence
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 4 Issue 1 Article 9 January 2011 Fauré, through Boulanger, to Copland: The Nature of Influence Edward R. Phillips [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Phillips, Edward R. (2011) "Fauré, through Boulanger, to Copland: The Nature of Influence," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 4 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol4/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part III), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. FAURÉ, THROUGH BOULANGER, TO COPLAND: THE NATURE OF INFLUENCE EDWARD R. PHILLIPS Nymphs of the woods, Goddesses of the fountains, Expert singers of all nations, Change your voices, So clear and high, To cutting cries and lamentations Since Atropos, the very terrible satrap, Has caught in her trap your Ockeghem, True treasure of music . Dress in your clothes of mourning, Josquin, Piersson, Brumel, Compère, And cry great tears of sorrow for having lost Your dear father. n the late fifteenth century, Josquin set this text—“Nymphes des bois,” La déploration sur la I mort de Johannes Ockeghem—as a commemoration of the older composer, “le bon père” of Josquin and his contemporaries Brumel, Compère, and Pierre de la Rue. -
Charles Koechlin Manuscripts, 1905-1945
http://oac.cdlib.org/findaid/ark:/13030/tf558004dg No online items Inventory of the Charles Koechlin manuscripts, 1905-1945 Processed by Robert Orledge; machine-readable finding aid created by Xiuzhi Zhou Hargrove Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives © 1999 The Regents of the University of California. All rights reserved. Inventory of the Charles Koechlin ARCHIVES KOECHLIN 1 1 manuscripts, 1905-1945 Inventory of the Charles Koechlin Manuscripts, 1905-1945 Collection number: ARCHIVES KOECHLIN 1 Contact Information Hargrove Music Library University of California, Berkeley Berkeley, California, 94720-6000 Phone: (510) 642-2623 Email: [email protected] URL: https://guides.lib.berkeley.edu/music_library_archives Processed by: Robert Orledge Date Completed: ca. 1986 Encoded by: Xiuzhi Zhou © 1999 The Regents of the University of California. All rights reserved. Descriptive Summary Title: Charles Koechlin Manuscripts Date (inclusive): 1905-1945 Collection number: ARCHIVES KOECHLIN 1 Creator: Koechlin, Charles, 1867-1950 Extent: Number of containers: 6 boxes Repository: The Music Library Berkeley, California 94720-6000 Shelf location: For current information on the location of these materials, please consult the Library's online catalog. Language: English. Donor: From the estate of Charles Shatto, received in the spring of 1983. See also the collections in this catalog under Charles Shatto and Catherine Urner. Access Collection is open for research. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the Head of the Music Library. Preferred Citation [Identification of item], Charles Koechlin manuscripts, ARCHIVES KOECHLIN 1, The Music Library, University of California, Berkeley. -
OS COMPOSITORES E SEU TEMPO Normando Carneiro
Normando Carneiro OS COMPOSITORES E SEU TEMPO Normando Carneiro Natal 2018 1 Os Compositores de seu tempo Normando Carneiro Vivaldi, Antonio (1678-1741) Compositor e violinista italiano, o mais influente de sua época. Nasceu em 04/03/1678 em Veneza, estudou com seu pai, violinista na catedral de San Marcos. Ordenou-se sacerdote em 1703, chamavam-no interprete russo (o cura ruivo), e começou a ensinar no Ospedale della Pietá que era um estabelecimento para meninas órfãs. Trabalhou ali como diretor musical até 1740, como professor e compunha concertos e oratórios para os concertos semanais através dos que conseguiu uma fama internacional. A partir de 1713 Vivaldi também trabalhou como compositor e empresário de óperas em Veneza e viajava a Roma, Mantua e outras cidades para supervisionar as representações de suas óperas. Para 1740 entrou ao serviço do corte do imperador Carlos VI em Viena. Faleceu nesta cidade o 28 de julho de 1741. Composições Vivaldi escreveu mais de 500 concertos e 70 sonatas, 45 óperas, música religiosa como o oratório Judithatriumphans (1716), a Glória em re (1708), missas e motetes. Suas sonatas instrumentais são mais conservadoras que seus concertos e sua música religiosa com frequencia reflete o estilo operístico da época e a alternância de orquestra e solistas que ajudou a introduzir nos concertos. Johann SebastianBach, contemporâneo seu, embora algo mais jovem, estudou a obra de Vivaldi em seus anos de formação e de alguns dos concertos para violino e sonatas de Vivaldi só existem as transcrições (em sua maior parte para clavecín) de Bach. 2 Os Compositores de seu tempo Normando Carneiro Johann Sebastian Bach (Eisenach, 21/03/1685 — Leipzig, 28/07/1750) Compositor, cravista, Kapellmeister, regente, organista, professor violinista e violista oriundo do Sacro Império Romano-Germânico, atual Alemanha. -
Collections of Musicians' Letters in the UK and Ireland: a Scoping Study
Collections of musicians’ letters in the UK and Ireland: a scoping study Katharine Hogg, Rachel Milestone, Alexis Paterson, Rupert Ridgewell, Susi Woodhouse London December 2011 1 Acknowledgements The authors would like to thank all those who gave their time and expertise to make this scoping study possible. They include: the staff of organisations and individuals responding to the survey, staff at the BBC Written Archives, Oxford University Press, the London Symphony Orchestra, Cheltenham Festivals, Royal Festival Hall, Royal Academy of Music, Royal Society of Musicians, and those who kindly agreed to be interviewed on their use and perception of archives of letters. © Music Libraries Trust 2012 2 Contents 1. Introduction ...................................................................................................................................... 5 2. Rationale ........................................................................................................................................... 5 2.1. The resource................................................................................................................................................ 5 2.2. Repositories ................................................................................................................................................ 5 2.3. Resource discovery...................................................................................................................................... 6 2.4. Data integration.......................................................................................................................................... -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Riccardo Muti Conductor Xavier De Maistre Harp Chabrier España
PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Pierre Boulez Helen Regenstein Conductor Emeritus Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Tuesday, September 29, 2015, at 7:30 Riccardo Muti Conductor Xavier de Maistre Harp Chabrier España Ginastera Harp Concerto, Op. 25 Allegro giusto Molto moderato Liberamente capriccioso—Vivace XAVIER DE MAISTRE INTERMISSION Charpentier Impressions of Italy Serenade At the Fountain On Muleback On the Summits Napoli Ravel Boléro CSO Tuesday series concerts are sponsored by United Airlines. This work is part of the CSO Premiere Retrospective, which is generously sponsored by the Sargent Family Foundation. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Emmanuel Chabrier Born January 18, 1841, Ambert, France. Died September 13, 1894, Paris, France. España España is the sole survivor several of his canvases, including his last major of a once-prestigious work, the celebrated Bar aux Folies-Bergère, career. The only work by which he hung over his piano. (At the time of his Emmanuel Chabrier that death in 1894, Chabrier owned a small museum’s is still performed with any worth of significant art, including seven oils by regularity, it began as a Manet, six by Monet, three by Renoir, and one simple souvenir of six by Cézanne.) months in Spain. Although Chabrier dabbled in composition Chabrier and his wife from childhood and became a pianist of impres- spent the latter half of sive virtuosity, at first he followed the family tra- 1882 traveling the country, stopping in Toledo, dition and pursued law as his profession. -
Charles Koechlin, Professor De Camargo Guarnieri Revista Do Instituto De Estudos Brasileiros, Núm
Revista do Instituto de Estudos Brasileiros ISSN: 0020-3874 [email protected] Universidade de São Paulo Brasil Camargo Toni, Flávia Mon chèr élève: Charles Koechlin, professor de Camargo Guarnieri Revista do Instituto de Estudos Brasileiros, núm. 45, septiembre, 2007, pp. 107-122 Universidade de São Paulo São Paulo, Brasil Disponível em: http://www.redalyc.org/articulo.oa?id=405641267007 Como citar este artigo Número completo Sistema de Informação Científica Mais artigos Rede de Revistas Científicas da América Latina, Caribe , Espanha e Portugal Home da revista no Redalyc Projeto acadêmico sem fins lucrativos desenvolvido no âmbito da iniciativa Acesso Aberto revista do ieb n 45 p. 107-122 set 2007 Mon chèr élève: Charles Koechlin, professor de Camargo Guarnieri1 Flávia Camargo Toni2 Resumo Compositor de ofício, Camargo Guarnieri ganhou uma bolsa de estudos para se aperfeiçoar e elegeu Charles Koechlin, autor de sólida bibliografia, como professor. Nas memórias cole- cionadas pelo músico brasileiro, no entanto, o caderno das aulas indica que o aluno trabalhou noções elementares de harmonia e contraponto, o que não condiz com o gabarito de nenhum deles. A análise da documentação pertencente aos acervos dos dois ar- tistas tenta elucidar quais motivos levaram Guarnieri a escolher aquele que foi, coincidentemente, mestre de Fernando Lopes- Graça, autor português. Palavras-chave Camargo Guarnieri, Fernando Lopes-Graça, Charles Koechlin, Mário de Andrade, música brasileira, musicologia. 1 Texto resultante de apresentações orais que focalizaram a relação de amizade e trabalho entre Camargo Guarnieri e Fernando Lopes-Graça, e entre Camargo Guarnieri e Charles Koechlin, em colóquios ocorridos em abril (O artista como intelectual: no centenário de Fernando Lopes Graça, Universidade de Coimbra, Portugal) e novembro de 2006 (Colloque International Charles Koechlin, Sorbonne, França), respectivamente.