DOCSLIB.ORG

A Descriptive Catalogue of the Organ Works of Guy Bovet. Val Jeanne Phillips Louisiana State University and Agricultural & Mechanical College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Descriptive Catalogue of the Organ Works of Guy Bovet. Val Jeanne Phillips Louisiana State University and Agricultural & Mechanical College Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1997 A Descriptive Catalogue of the Organ Works of Guy Bovet. Val Jeanne Phillips Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Phillips, Val Jeanne, "A Descriptive Catalogue of the Organ Works of Guy Bovet." (1997). LSU Historical Dissertations and Theses. 6645. https://digitalcommons.lsu.edu/gradschool_disstheses/6645 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zed) Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A DESCRIPTIVE CATALOGUE OF THE ORGAN WORKS OF GUY BOVET A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Val Jeanne Phillips B.A., Iowa State Teachers College, 1945 M.M., Northwestern University, 1976 M.M., Valparaiso University, 1987 December, 1997 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9829448 Copyright 1997 by Phillips, Val Jeanne All rights reserved. UMI Microform 9829448 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©Copyright 1997 Val Jeanne Phillips All rights reserved ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS My hearty thanks go to all those who have made this paper possible: to Guy Bovet and Marisa Aubert for answering innumerable queries and for making scores and biographical material available; to the copyright owners Guy Bovet, Cantate Domino, and Oxford University Press who have generously given permission for the use of certain musical examples; to all the members of my supervising committee, especially Herndon Spillman and Jan Herlinger, for their time, guidance, and encouragement; and to my husband, Travis, for his unwavering support during this project. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGEMENTS ...................................... iii LIST OF MUSICAL EXAMPLES ................................... v ABSTPACT .................................................. vii CHAPTER ONE: GUY BOVET: AN ORGANIST OF MANY TALENTS . 1 CHAPTER TWO: THE ORGAN WORKS OF GUY BOVET ............... 11 Larger Organ Works ................................ 11 Smaller Organ Works in Collections ............... 65 CHAPTER THREE: STYLISTIC FEATURES:.......................85 Phrases, melodic arches, chromaticism, harmonic and rhythmic language .................. 85 Stylistic influences: improvisation, glosas, gestures, Spain, chorales, jazz.. .................. 95 REFERENCES ............................................... 113 APPENDIX A: ARTICLES BY GUY B O V E T ...................... 117 APPENDIX B: DISCOGRAPHY: GUY BOVET, ORGANIST .... 122 APPENDIX C: LETTERS OF PERMISSION ...................... 12 6 VITA. ..................................................... 128 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF MUSICAL EXAMPLES 1. Themes, Concertino Op. 7 .............................. 11 2. Themes, Suite a deux orgues sur des Psaumes huguenots Op. 1 4 .................................... 13 3. Themes, Concerto Russe .............................. 19 4. Romaneses patterns (from four sources)................ 23 5. Bovet, Variations Romanesques, incipits ........... 25 6. Themes, Hommage a Haendel ............................ 34 7. Passages from R i c e r c a t a .............................. 39 8. Themes, Concerto pour choeur et orgue ............. 44 9. Selected passages, Bachaphrase ...................... 50 10. Themes and cadenzas, Trois Preludes ............... 53 11. Titles and incipits, each piece of Suite pour S o u v i g n y ................................ 59 12. Incipits of 3 representative pieces, 1972 Pieces d'orgue .................................... 70 13. "Herzliebster Jesu," Intonations vol. 3, #293 . 76 14. Nouveau cahier de pieces d'orgue I. Psaumes and chorals, with incipits.............. 78 II. Pieces l i b r e s ................................... 82 15. Variations Romanesques, Var. 0 ....................... 87 16. "Louez 1'Eternel," Part II, from Pieces d'orgue . 92 17. "Salamanca," mm. 118-124, from Trois Preludes . 94 18. Andante pomposo, from Concertino Op. 7, mm. 33-39 .......................................... 96 19. "Cinco diferencias, Conde Claros" .................. 97 20. Opening of unornamented tiento, Tomas Sancta Maria ...................................... 99 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 21. Two sections, "Tiento lleno de 1° tono," by de H e r e d i a ........................................ 101 22. Sections of Tiento #60 by Correa de Arauxo .... 102 23. "Le Bolero du Divin Mozart," Nouveau cahier p. 14, i n c i p i t .............................. 105 24. "Fuga sopra un soggetto," Nouveau cahier p. 17, i n c i p i t .............................. 106 25. Variation incipits from Noel de M o u l i n s ............107 26. Second theme from third movement of Concertino Op. 7, mm. 5 - 7 .................................... 109 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Guy Bovet, b. 1942, has a compositional output including over 130 instrumental and vocal works. His organ compositions are comparatively few. Nonetheless, these are of great value to the recital organist looking for new material, the church organist looking for meritorious psalm- and hymn-tune settings, and for the organ student of one to three years needing challenging but not-too- difficult music (some of which can be played on one manual with no pedals), clearly marked with registration instructions. This composer/performer/teacher/writer/scholar, winner of numerous competitions in performance and improvisation, was born into a family well-known in Swiss musical circles. He is active in many Swiss musical societies, and is keenly interested in historical organs and organ music of Latin countries. This interest has led not only to three series of recordings but also to sponsorship of first the Swiss government, then the United Nations Educational, Scientific and Cultural Organization, for a survey of Mexican and Brazilian organs of the early Colonial period. This paper is a descriptive presentation of Bovet's organ works. Chapter One is a biography; Chapter Two is a descriptive listing of (1) larger organ works (concertos, vii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. works for two organs, solo works for one organ); and (2) 95 smaller organ works for organ solo (chorale settings, psalm tune settings, brief descriptive pieces, free pieces). Chapter Three is a brief consideration of stylistic features in the organ works. The composer's forms often derive from late Rennaisance/early Baroque forms, particularly the Spanish diferencias. He uses chromaticism, polytonality, and polymeter within the framework of classically balanced phrases that are often lengthened by virtuosic ornamental passages to which
Load more

Recommended publications
  • Download Document (Pdf 145
    The Focus-Abengoa Foundation celebrates the 22nd edition of the master concerts series in the chapel of the Hospital de los Venerables • The series entitled, “The baroque organ: a means of communication between peoples”, will be given by Guy Bovet, Paolo Crivellaro and Carolyn Shuster, three eminent and admired European organists. • These annual performances, which feature the world’s most respected organists and composers, have made the Los Venerables organ one of the most important and prestigious platforms in the world. Seville, 4th February 2013.- Tomorrow Tuesday 5th February, the Focus-Abengoa Foundation will open the 22nd edition of the master concerts series, which has become an essential event in the diaries of the world’s finest organists. The new series, entitled The baroque organ: a means of communication between peoples will feature Guy Bovet, Paolo Crivellaro and Carolyn Shuster, three brilliant and well-known organists who have studied at some of the most important schools in the world. The first concert will be on Tuesday 5th February and will be given by Guy Bovet from Switzerland, a renowned organist who was titular at the Colegial de Neuchâtel church in Switzerland until 2009. On Tuesday 12th February, the baton will be handed over to the Italian, Paolo Crivellaro, professor of organ at Universität der Künste , Berlin’s university of the arts. Finally, Tuesday 19th February will be the turn of the Franco- American organist and musicologist, Carolyn Shuster, renowned for her clear and precise technique. The repertoire chosen by the organists includes works from their countries of origin designed to showcase new cultures, styles and musical influences.
    [Show full text]
  • Jean Langlais Remembered
    Trials and Joys ! ! ! ! ! ! ! ! ! !CHAPTER!10! !!Trials!and!Joys!(197021984)! The composer and concert performer between baroque and modernism The American tours represented only one facet, although certainly glorious, of Jean Langlais' concert career. Europe also sought and celebrated his concerts, and he performed in Great Britain, Germany and the Netherlands, in Switzerland, Italy and Scandinavia. These few headlines suggest the responses: "WONDERBAATLIJK ORGELSPEL VAN JEAN LANGLAIS IN GOUDA" ("Marvellous Recital by Jean Langlais in Gouda) Gerderlander, Gouda (The Netherlands), July 18, 1969. "A GREAT MASTER AT THE KEYS" Derek Robinson, Bristol (England), June 22, 1971. "OVATIONEN FUR GROSSEN MUSIKER" ("Ovation for a Great Musician") Neue Aachener Zeitung, Aix-la-Chapelle (Germany), December 11, 1972. True to his own aesthetic choices and sailing against the tide of current fashions, Langlais continued to honor, with brilliance, the music of his predecessors in Sainte-Clotilde, whose various anniversaries he celebrated with brilliance: in 1970, the centenary of Tournemire, and two years later, the 150th anniversary of Franck's birth. For the latter occasion, he played Franck’s complete Douze Pièces for organ in two concerts at Sainte-Clotilde, April 26 and May 3, 1972. As Langlais’ international reputation grew, foreigners thronged around him and his popularity in Europe as well as in America was at its zenith. Nevertheless, it was not until April 15, 1970 that his first organ recital devoted solely to his work took place--at St. Severin Church in Paris, organized by the French Association for the Protection of the Ancient Organ (A.F.S.O.A, created in 1967).
    [Show full text]
  • GUY BOVET Biography
    GUY BOVET Biography Guy Bovet has become one of the most respected organists of our times. He is equally at home in any kind of repertoire from the earliest to the most recent, and combines scholarship, musicianship and originality with a constant curiosity and a delightful sense of humor. He keeps a busy schedule of over 50 recitals a year all over the world and often combines his performances with workshops on topics as different as Mediaeval music, early Spanish and French music, Brahms, Liszt, Franck, Jehan Alain, Bach, improvisation and organ transcriptions. He serves on the juries of the greatest organ competitions such as Geneva, Calgary, Dallas, Tokyo, and St. Albans, and has designed and advised for many new organs in Europe, the United States and Japan. Mr. Bovet’s organ compositions are becoming increasingly popular and are being performed and recorded by the world’s outstanding organists. Notable among his compositions are Three Preludes (including the popular “Salamanca”), his Suite for Souvigny and his Twelve Ecclesiastical Tangos. He has over 160 compositions in total including many works for stage and film, plus symphonic and chamber works. Mr. Bovet has just retired from the Musikhochschule of Basel, Switzerland, where he has taught students from five continents over the past 20 years. He has held positions at several American universities as well as the University of Salamanca, Spain. He still teaches improvisation (since 2005) at the Conservatory of Bologna in Italy. At home, Mr. Bovet is editor of the Swiss organ journal La Tribune de l’Orgue and a member of the Swiss Commission for Historic Organs.
    [Show full text]
  • Historic Organs of SWITZERLAND
    Historic Organs of SWITZERLAND May 12-25, 2014 with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible through the generosity of Mr. and Mrs. Wesley C. Dudley, by a grant from the MAHADH Fund of HRK Foundation, by the contributions of listeners to American Public Media stations, and through the support of the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of !ne instruments heard throughout the country and abroad, with information on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Historical Background - Organs Page 3-6 Alphabetical List of Organ Builders Page 7-10 Historical Background - Organists Page 11-13 Organ Observations: Some Useful Terms Page 14-16 Discography Page 17-19 Bios of Hosts and Organists Page 20-23 Tour Itinerary Page 24-27 Organ Sites Page 28-128 Rooming List Page 129 Traveler Bios Page 130-133 Hotel List Page 134 Map Inside Back Cover !anks to the following people for their valuable assistance in creating this tour: Els Biesemans in Zurich Valerie Bartl, Janelle Ekstrom, Cynthia Jorgenson, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site speci"c websites, we gratefully acknowledge the following sources for this booklet: Orgelverzeichnis Schweiz by Peter Fasler: www.orgelverzeichnis.ch Orgues et Vitraux by Charles-André Schleppy: www.orgues-et-vitraux.ch PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael..
    [Show full text]
  • JULY, 2010 the Yankton College Memorial Organ United Church Of
    THE DIAPASON JULY, 2010 The Yankton College Memorial Organ United Church of Christ-Congregational Yankton, South Dakota Cover feature on pages 26–27 July 2010 Cover.indd 1 6/9/10 10:29:26 AM July 2010 pp. 2-19REV.indd 2 6/9/10 10:30:58 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 7, Whole No. 1208 JULY, 2010 On Teaching This article serves as a nostalgic re- Established in 1909 ISSN 0012-2378 BRAVO!! I just fi nished reading the minder for us “older” folk; however, I An International Monthly Devoted to the Organ, “On Teaching” column by Gavin Black believe that it also serves as a clear indi- the Harpsichord, Carillon, and Church Music in the May issue. I will be looking for- cator of what people refer to as a “clas- ward to the future articles about the sical education.” Dr. Heaton literally Buxtehude and Boëllmann organ selec- had daily access to some of the greats tions that will be discussed. Mr. Black is in organ music and composition as well CONTENTS Editor & Publisher JEROME BUTERA [email protected] to be commended for his teaching abili- as “down the street” access to some of 847/391-1045 ties and communication skills in order the most important pipe organs of the FEATURES to achieve this worthwhile project. His 20th century. Organbuilders and research: Associate Editor JOYCE ROBINSON prior columns, in my opinion, have al- Dr. Heaton’s diary entries should Another point of view [email protected] ways been “fi rst rate!” Best wishes for serve as an example to the young or- by John M.
    [Show full text]
  • The University of Kansas, School of Music, Division of Organ and Church Music
    The Newsletter of the Division of Organ and Church Music - The University of Kansas - Fall 2010 CLARION The University of Kansas, School of Music, Division of Organ and Church Music Bales Organ Recital Hall 785.864.2797, Dr. James Higdon: [email protected], Dr. Michael Bauer: [email protected] www.organ.ku.edu Welcome to Clarion, the newsletter of the Division of Organ and Church Music at the University of Kansas. The past two years have been a wonderful time for our program and for our alumni, several of whom have done very well in national and international competitions and a third who is serving two terms as president of the American Guild of Organists. We are fortunate to have had many great students at KU over the years who have gone on to distinguished careers and are serving our profession each in their own unique way. We celebrate the accomplishments of all our alumni and hope that you will stay in touch and let us know about what you are doing each year. Finally, it has been a time of exciting programs and growth at KU and we look forward to more of the same in the coming year. Read about the many activities that have gone on the past two years and find out what we are planning for this year. A special focus of this year is our celebration of Jim Higdon’s thirty-year teaching career at KU on March 4-5, 2011. We hope to see you at this event, giving you an opportunity to renew your relationship with Jim Higdon and with one another.
    [Show full text]
  • Greenwood Organ Company Recitals Charlom, NORTH CAROLINA 21205
    THE DIAPASON il.N ~NTERNATIONAL MONTHLY DEVOTED TO THE ORGil.N, THE HARPSICHORD il.ND CHURCH MUSIC Sixty·Filth Year, No. 11 - Whole No. 779 OCTOBER. 1974 The Fourth International Harpsichord Competition and Festival in Brugge July 27 - August 2 by Larry Palmer In the pattern ot me it is now a habit (or me to travel to Belgium every third summer to spend a week. in the tem­ por:ny capital of the harpsichord world. Top I.ft: Alan Curtis playing th. harpsj.. As readers of Tile DIAPASON know. this chord by Keith Hill. yea~ marks tlle: third time 1 have cov­ ered this impOrl.::ml international C\'cnt in Brugge. Perhaps the most intercsting MiddJe: "nalilh and jury ",em,",. (I. to of the observations lhis time arc cen­ r.) - Martin Pearlman, Erie.Lynn Kelley, tered about the activities of the harpsi. Alan Curtil, Gordon Murray, Larry Phillips, chord builders, (or it seemed that this Kenneth Gilbert, Gustav Leonhardt. Hedwig year they were the stars of the festival. Bilgram. Mlsling from photo - Henlr: Cup­ As wua! for Brugge. there was no £int­ p.,I, Calin Tilney, Christiane JanoHet. place winner in the solo competition; with only four entrants in the basso­ continuo competition no one reached a Boltam right: Henk Cuppe" playing Bach sc:cond round; so, while some: of the solo Concerto with Collegium Instruntentale playing was certainly of a high level. it Brusenl.. Patrick Peir., conduding. Oowd may be seen lbat there was no·one of harplichord. star magnitude to grab tile imagination of the audience. and tbe truly exciting events of the week had to be sought else­ Pl':ota.
    [Show full text]
  • Dombresson St Martin
    Dombresson à l’orgue : Viviane Loriaut Guy Bovet St Martin à l’orgue : Guy Bovet CD-1609 CD-1610 livret ST Martin Dombresson V14.indd 1 18.02.2020 10:04:46 Programme Dombresson Alessandro Scarlatti Toccata N° 11, la majeur 8‘30 1660-1725 1. Allegro 3’18 – 2. Presto 1’40 – 3. Partita alla Lombarda 1’19 4. Fuga 2’13 Domenico Scarlatti 3 Sonates pour orgue 1685-1757 5. K 287, per Organo da Camera con due Tastatura (sic) 1’44 6. K 328, sol majeur 2’53 7. K 255, do majeur 3’14 Antonio Vivaldi Concerto en ré mineur, transcrit pour orgue par J.-S. Bach 10’36 1678-1741 8. [Allegro] 1’03 – 9. Grave 0’37 – 10. Fuga 3’23 11. Largo e spiccato 2’18 - 12. [Allegro] 3’15 Giovanni Morandi Introduzione, Tema, e Variazioni, pour orgue à 4 mains 8’21 1777-1856 (avec la précieuse collaboration de Viviane Loriaut) 13. Maestoso 1’03 – 14. Tema 0’43 15. Imitazione del Clarinetto 0’44 16. Imitazione del Flauto, e Fagotto 1’02 17. Imitazione delle Viole 1’18 18. Imitazione dei Campanelli 0’47 19. Imitazione del Flauto ottavino ‘0’50 20. IImitazione di Banda militare 1’54 Padre Davide da Bergamo 4 Divertimenti à 4 mains (in saeculo Felice Moretti) (avec la précieuse collaboration de Viviane Loriaut) 19’17 1791-1863 21. Divertimento breve di stile fugato 4’16 22. Pastorale a quattro mani 3’49 23. Divertimento a quattro mani, Tempo di Waltz 6’38 24. Divertimento marziale 4’34 Antonio Diana 25.
    [Show full text]
  • View PDF Editionarrow Forward
    THE DIAPASON AUGUST 2016 Christ Church in Short Hills Short Hills, New Jersey Cover feature on pages 26–27 WWW.CONCERTARTISTS.COM 860-560-7800 [email protected] PO BOX 6507, DETROIT, MI 48206-6507 CHARLES MILLER, President [email protected] PHILLIP TRUCKENBROD, Founder [email protected] ANTHONY & BEARD ADAM BRAKEL THE CHENAULTS JAMES DAVID CHRISTIE PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART JEREMY FILSELL MICHAEL HEY CHRISTOPHER HOULIHAN BARCELONA DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAMÍREZ JEAN-BAPTISTE ROBIN HERNDON SPILLMAN CAROLE TERRY Longwood Gardens International Organ Competition BENJAMIN SHEEN JOHANN VEXO BRADLEY WELCH JOHANNES ZEINLER 2013 2015 LONGWOOD GARDENS ST. ALBANS WINNER WINNER THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Seventh Year: No. 8, In this issue Whole No. 1281 Among the offerings in this issue, Stephanie Burgoyne intro- AUGUST 2016 duces us to the fi ve organ sonatas of Charles Villiers Stanford. Established in 1909 Laurence Libin presents a helpful compendium of suggestions Joyce Robinson ISSN 0012-2378 for ensuring a pipe organ’s longevity—these can be categorized 847/391-1044; [email protected] as disaster preparation, instrument documentation, and pro- www.TheDiapason.com An International Monthly Devoted to the Organ, moting appreciation of the instrument. the Harpsichord, Carillon, and Church Music Larry Palmer reports on the East Texas Pipe Organ Festival, your favorite students? Student subscriptions are just $20. You held last November. Gavin Black continues his commentary on can also sponsor subscriptions for a group of students.
    [Show full text]
  • ORGANO | ORGAN | 20 11 M International Symposium on the Importance and Future of the Organ | September 8–11, 20 11 in Zurich PROGRAMME
    M M A R G O R P h c i r ü Z n i 1 1 0 2 r e b m e t p e S . 1 1 – . 8 | l e g r O r e d t f n u k u Z d n u g n u t u e d e B r u z m u i s o p m y S s e l a n o i t a n r e t n I P R 11 0 2 | N A G R O | O N A G R O | E U G R O | L E G R O O G R A M M E | O R G E L | O R G U E | O R G A N O | O R G A N | 2 0 1 1 | P R O G R A M ORGEL | ORGUE | ORGANO | ORGAN | 20 11 M International Symposium on the Importance and Future of the Organ | September 8–11, 20 11 in Zurich PROGRAMME D 2 D2 ORGEL | ORGUE | ORGANO | ORGAN | 20 11 International Symposium on the Importance and Future of the Organ | September 8–11, 2011 in Zurich PROGRAMME www.orgel2011.ch Patroness and Patronage Committee Patroness and Patronage Committee Patroness Corine Mauch, Mayor of Zurich Patronage Committee Council of States Christine Egerszegi-Obrist Nikolaus Harnoncourt Michael Haefliger Mons. Kurt Cardinal Koch Pastor Michel Müller-Zwygart, President of the Ecclesiastical Council Dr. Elmar Weingarten Prof. Dr. Dr. h.c. Christoph Wolff E4 Words of Welcome Words of Welcome from Corine Mauch Mayor of Zurich Welcome to Zurich! Zurich today is a city of music.
    [Show full text]
  • Historic Organs of Spain
    Historic Organs of Spain Historic organs OF May 13-25, 2013 13 DAYS Spain with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from the National Endowment for the Arts, by a gift from Mr. and Mrs. Wesley C. Dudley, by a grant from the MAHADH Fund of HRK Foundation, by the contributions of listeners to American Public Media stations, and through the support of the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of fine instruments heard throughout the country, on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Historical Background Page 3-14 Alphabetical List of Organ Builders Page 15-18 Organ Observations: Some Useful Terms Page 19-20 Discography Page 21-25 Bios of Hosts and Organists Page 26-30 Tour Itinerary Page 31-35 Organ Sites Page 36-103 Rooming List Page 104 Traveler Bios Page 105-108 Hotel List Page 109 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Natalie Grenzing, Laia Espuña and Isabel Lavandeira in Barcelona; Sam Kjellberg of American Public Media; Valerie Bartl, Janelle Ekstrom, Cynthia Jorgenson, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts. We also gratefully acknowledge the following sources for this booklet: Asociación Antonio de Cabezón, Asociación Fray Joseph de Echevarria de Amigos del Organo de Gipuzkoa.
    [Show full text]
  • Bibliographie Der Filmmusik: Ergänzungen II (2014–2020) Zusammengestellt Von Hans J
    Medienwissenschaft: Berichte und Papiere 197, 2020: Filmmusik: Ergänzungen II (2014–2020). Redaktion und Copyright dieser Ausgabe: Hans J. Wulff u. Ludger Kaczmarek. ISSN 2366-6404. URL: http://berichte.derwulff.de/0197_20.pdf. CC BY-NC-ND 4.0. Letzte Änderung: 19.10.2020. Bibliographie der Filmmusik: Ergänzungen II (2014–2020) Zusammengestell !on "ans #$ %ul& und 'udger (aczmarek Mit der folgenden Bibliographie stellen wir unseren Leser_innen die zweite Fortschrei- bung der „Bibliographie der Filmmusik“ vor die wir !""# in Medienwissenschaft: Berichte und Papiere $#% !""#& 'rgänzung )* +,% !"+-. begr/ndet haben. 1owohl dieser s2noptische 3berblick wie auch diverse Bibliographien und Filmographien zu 1pezialproblemen der Filmmusikforschung zeigen, wie zentral das Feld inzwischen als 4eildisziplin der Musik- wissenscha5 am 6ande der Medienwissenschaft mit 3bergängen in ein eigenes Feld der Sound Studies geworden ist. Eine ganze 6eihe themenbezogener wissenschaftlicher 7eit- schri5en erscheint inzwischen weltweit, 4agungen und 8emenbände zur Film- und wei- ter zur „Medienmusik“ haben geradezu e9ponentiell zugenommen. Es deutet sich an, dass die in der Praxis von ;unst, <nterhaltung und 1piel längst zusammengewachsenen 1in- nesmodalitäten auch in der akademischen 6e=e9ion endlich die Beachtung als multimoda- le und s2nthetische ;unstform >nden, die sie verdienen ? in der @ufnahme eines Aiszipli- nengrenzen übergreifenden ProBekts0 Aie Menge der <ntersuchungen nachzuhalten, ist aufwendig und erfordert enormen 6e- cherche-@ufwand0 Cir biDen darum alle Nutzer_innen, uns auf 3bersehenes hinzuweisen, uns auf Be eigene Beiträge aufmerksam zu machen und uns spezielle bibliographische 1ammlungen zur FerG/gung zu stellen. Es ist geplant, das bibliographische ProBekt der „Bi- bliographie der Filmmusik“ fortzuschreiben, weil es ? auch aufgrund der multidiszipli- nären Beiträge ? zunehmend schwieriger wird das Feld in seiner ganzer Breite zu doku- mentieren.
    [Show full text]