Thomas Christian David
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Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Books About Music
J & J LUBRANO MUSIC ANTIQUARIANS BOOKS ABOUT MUSIC Biographies & Critical Studies of Composers & Musicians Music History & Criticism Musical Instruments Opera & Dance Reference Works, Bibliographies, Catalogues, &c. 6 Waterford Way, Syosset, NY 11791 USA [email protected] Telephone 516-922-2192 www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all material is in good antiquarian condition unless otherwise described. All items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website at www.lubranomusic.com by entering the inventory numbers of desired items in the SEARCH box at the upper right of our homepage. We ask that you kindly wait to receive our invoice to ensure availability before remitting payment. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. New York State sales tax will be added to the invoices of New York State residents. We accept payment by: - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Checks in U.S. dollars drawn on a U.S. bank - International money order - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. -
Phonographic Bulletin
lasa• International Association of Sound Archives Association Internationale d' Archives Sonores Internationale Vereinigung der Schallarchive phonographic bulletin no. 53/March 1989 PHONOGRAPHIC BULLETIN Journal of the International Association of Sound Archives IASA Organe de l'Association Internationale d'Archives Sonores IASA Zeitschrift der Internationale Vereinigung der Schallarchive IASA Editor: Grace Koch, Australian Institute of Aboriginal Studies, PO Box 553, Canberra, ACf 2601, Australia. Editorial board: Co-editor, Mary McMullen, National Film and Sound Archive, Acton ACT 2601, Australia. Review and Recent Publications Editor, Or R.O. Martin Elste, Regensburger Strasse Sa, 0-1000 Berlin 30. The PHONOGRAPHIC BULLETIN is published three times a year and is sent to all members of IASA. Applications for membership in IASA should be sent to the Secretary General (see list of officers below). The annual dues are at the moment SEK 125 for individual members and SEK 290 for institutional members. Back copies of the PHONOGRAPHIC BULLETIN from 1971 are available on application. Subscriptions to the current year's issues of the PHONOGRAPHIC BULLETIN are also available to non-members at a cost of SEK 165. Le Journal de l'Association internationale d'archives sonores, le PHONOGRAPHIC BULLETIN, est publie trois fois l'an et distribue a tous les membres. Veuillez envoyer vos demandes d'adhesion au secretaire dont vous trouverez l'adresse ci dessous. Les cotisations annuelIes sont en ce moment de SEK 125 pour les membres individuels et SEK 290 pour les membres inslitutionelles. Les numeros preceeenlS (8 panir de 1971) du PHONOGRAPHIC BULLETIN sont disponibles sur demande. Ceux qui ne sont pas membres de l'Association peuvent obtenir un abonnement du PHONGRAPHIC BULLETIN pour l'annee courante au coilt de SEK 165. -
Hugo Distler (1908-1942)
HUGO DISTLER (1908-1942): RECONTEXTUALIZING DISTLER’S MUSIC FOR PERFORMANCE IN THE TWENTY-FIRST CENTURY by Brad Pierson A dissertation Submitted in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Geoffrey P. Boers, Chair Giselle Wyers Steven Morrison Program Authorized to Offer Degree: School of Music © Copyright 2014 Brad Pierson ii Acknowledgements It has been an absolute joy to study the life and music of Hugo Distler, and I owe a debt of gratitude to many people who have supported me in making this document possible. Thank you to Dr. Geoffrey Boers and Dr. Giselle Wyers, who have served as my primary mentors at the University of Washington. Your constant support and your excellence have challenged me to grow as a musician and as a person. Thank you to Dr. Steven Morrison and Dr. Steven Demorest for always having questions and forcing me to search for better answers. Joseph Schubert, thank you for your willingness to always read my writing and provide feedback even as you worked to complete your own dissertation. Thank you to Arndt Schnoor at the Hugo Distler Archive and to the many scholars whom I contacted to discuss research. Your thoughts and insights have been invaluable. Thank you to Jacob Finkle for working with me in the editing process and for your patience with my predilection for commas. Thank you to my colleagues at the University of Washington. Your friendship and support have gotten me through this degree. Finally, thank you to my family. You have always supported me in everything I do, and this journey would not have been possible without you. -
Johann Nepomuk David Und Seine Leipziger Zeit1 Maren Goltz
Johann Nepomuk David und seine Leipziger Zeit1 Maren Goltz Vorbemerkung Dass die Aufarbeitung der NS-Vergangenheit von Hochschulen und Universitäten nach wie vor ein schwieriges und zum Teil hoch emotio- nales Forschungsfeld ist, zeigt nicht nur im Großen die heftig geführte Auseinandersetzung auf dem Frankfurter Historikertag 1998, sondern im Kleinen auch das Leipziger Symposium zu Johann Nepomuk David. Während in Frankfurt der Aufsehen erregenden Sektion „Historiker in der NS-Zeit – Hitlers willige Helfer?“ die Vergangenheit einiger Grün- derväter der BRD-Geschichtswissenschaft thematisiert wurde2 und die Feststellung, es habe zum Teil „ein[en] Verlust der Substanz“ gegeben und einzelne Vertreter des Faches seien gar „Vordenker der Vernichtung“ gewesen, massive Empörung im Publikum hervorrief, fiel in Leipzig insbesondere die Atmosphäre nonverbaler bis hin zu offen artikulier- ter Ablehnung gegenüber quellenorientierten Forschungsergebnissen auf. Dass sich die (mittlerweile längst emeritierten) Schüler noch immer stark mit ihren Lehrern – und im Falle Leipzigs sogar deren ehemali- gen Kollegen (!) – identifizieren und sich persönlich angegriffen fühlen, wenn Untersuchungen zu deren Haltung im Nationalsozialismus prä- sentiert werden, ist möglicherweise gerade in dieser Generation – offen- bar bis heute im Osten wie im Westen – besonders ausgeprägt und stellt für sich betrachtet ein eigenes, hochinteressantes Forschungsthema dar. Dass sich im Nachgang im hochschuleigenen MT-Journal allenfalls ein 1 Bei den folgenden Ausführungen handelt es sich um überarbeitete Teile aus meiner Schrift Musikstudium in der Diktatur. Das Landeskonservatorium der Musik / die Staatliche Hochschule für Musik Leipzig in der Zeit des Nationalsozialismus 1933– 1945, Stuttgart 2013. 2 Volker Ullrich, Späte Reue der Zunft. Endlich arbeiten die deutschen Historiker die braune Vergangenheit ihres Faches auf, in: Die Zeit, 17. -
Hanns Eisler's "Das Vorbild" and the Rebuilding of Musical Culture in the German Democratic Republic
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses Dissertations and Theses July 2015 Hanns Eisler's "Das Vorbild" and the Rebuilding of Musical Culture in the German Democratic Republic Alyssa Wells University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/masters_theses_2 Part of the Musicology Commons, and the Other German Language and Literature Commons Recommended Citation Wells, Alyssa, "Hanns Eisler's "Das Vorbild" and the Rebuilding of Musical Culture in the German Democratic Republic" (2015). Masters Theses. 222. https://doi.org/10.7275/6934696 https://scholarworks.umass.edu/masters_theses_2/222 This Open Access Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. HANNS EISLER’S DAS VORBILD AND THE REBUILDING OF MUSICAL CULTURE IN THE GERMAN DEMOCRATIC REPUBLIC A Thesis Presented by ALYSSA B. WELLS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2015 Department of Music & Dance © Copyright by Alyssa B. Wells 2015 All Rights Reserved HANNS EISLER’S DAS VORBILD AND THE REBUILDING OF MUSICAL CULTURE IN THE GERMAN DEMOCRATIC REPUBLIC A Thesis Presented by ALYSSA B. WELLS Approved as to style and content by: ______________________________________ Erinn E. Knyt, Chair _______________________________________ Johanna F. Yunker, Member _______________________________________ Marianna Ritchey, Member ____________________________________ Jeff Cox, Department Head Department of Music & Dance ACKNOWLEDGEMENTS There are a number of people and institutions that made this thesis possible. -
The University Musical Society of the University of Michigan
The University Musical Society of The University of Michigan Presents Munich Chamber Orchestra HANS STADLMAIR, Conductor FRIDAY EVENING, MARCH 12, 1971 , AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PRO G RAM Concerto for String Orchestra, Op. 40, No.2 (1950) J. N. DAVID Allegro con brio Moderato Vivace Concerto for Two Violins in D minor (S. 1043) J. S. BACH Vivace Largo, rna non tanto Allegro LUKAS DAVID and MAURICE DENTON, Violinists INTERMISSION Serenata Notturna in D major, for Two Small Orchestras and Kettledrums, KV. 239 MOZAIn Marcia (maestoso) Menuelto Rondo (allegretto) Second Symphony for String Orchestra in A (1960) H. G ENZMER Andante, allegro Adagio Burleske Andante, allegro Deu.tsc he Gramlnophon Gesellschaft Records Seventh Conce rt Ei"hth Annual Chamber Arts Series Complete Program 3 719 PROGRAM NOTES Second Concerto for String Orchestra, Op. 40, No.2 JOHANN NEPOMUK DAVID David, born in Austria in 1895, is one of the most significant German-speaking composers at the present time. He grew up as choirboy at the Augustinerstift in St. Florian near Linz, centre of activity of Anton Bruckner, and his development was influenced by the spirit of the composer. His educational work as Professor of Composition and as Director of tbe Leipzig Conservatorium (1934-45) brought him into direct contact with the works of J. S. Bach. In 1945, after the war, the composer was appointed Director of the Mozarteum in Salzburg. Three years later he accepted a Professorship at the Hochschule fiir Musik in Stuttgart, where he is still living. The Second Concerto for Strings was written in 1950. -
Verdehr Trio Walter Verdehr, Violin Elsa Ludewig Verdehr, Clarinet Gary Kirkpatrick, Piano
SONOKLECT '96-'97 A Concert Series of Twentieth-Century Music Terry Vosbein, Director Verdehr Trio Walter Verdehr, violin Elsa Ludewig Verdehr, clarinet Gary Kirkpatrick, piano Donald Erb Guest Composer WASHINGTON AND LEE UNIVERSITY KELLER THEATRE• 8:00 P.M. • 15 MARCH 1997 PROGRAM Trio Concertante (1985) William Wallace Commissioned by the Verdehr Trio Serbelloni Serenade (1996) Jonathan D. Kramer Commissioned by the Verdchr Trio and Michigan State University Trio No. 3 (Persian) (1995) T. C. David Vivace A11da11te Moderato Commissioned by the Verdehr Trio - INTERMISSION - Drei disparate Essays (1995) Georg Katzer !11troversio11 DisparateEreig11issc und Stille Extraversio11 Commiss ioned by the Verdchr Trio ,md Michigan State University Sunlit Peaks and Dark Valleys (1995) Donald Erb J= 144 Children's Song-for the children of Oklahoma City _j= 132 Comm issioned by the Verdehr Trio ;ind Michig;,n State University J PROGRAM NOTES Trio Concertante William Wallace It was both a challenge and a pleasure to write for this unusual but highly effective combination of instruments . (And a pleasure it was as well to assist the Verdehr Trio in its efforts to expand the literature for such a natural grouping.) Trio Concertante is a single movement work falling into three sections . In the first, the basic thematic materials appear in somewhat traditional fashion. In the extensive third section, these materials recur in a highly developmental way, with much use made of canon as well as less strict imitative devices. The middle section is devoted to unaccompanied solos for clarinet and violin. At the conclusion of the third section a brief clarinet solo followed by a climax for all three instruments brings the work to a close. -
Interpretenporträt Lukas David
Institut für Österreichische Musikdokumentation Österreichische für Institut Musiksammlung der Österreichischen Nationalbibliothek Österreichischen der Musiksammlung Interpretenporträt Lukas David Donnerstag, 12. März 2015, 19:30 Uhr Palais Mollard, Salon Hoboken 1010 Wien, Herrengasse 9 Eintritt frei Programm Johann Nepomuk David Introduction e Capriccio (Violine, Klavier) Das Werk für Violine und Klavier ist eines der wenigen Werke mit Klavier meines Vaters. Das Werk basiert auf dem letzten Satz der Flötensolosonate, der in früheren Jahren als schlecht spielbar angesehen wurde. Inzwischen hat sich das jedoch geändert. Es gibt einige Flötisten, die diese Sonate wunderbar beherrschen. (L. David) Thomas Christian David Drei Intermezzi (Violine, Klavier) Das Werk entstand 1964. In den Jahren der Entstehung hatte ich eine rege Konzerttätigkeit mit meinem Bruder als Pianisten. Durch diese Gelegenheit des gemeinsamen Auftretens angeregt, ist dieses Werk entstanden und wurde in all den Jahren mehrfach aufgenom- men und von meinem Bruder und ebenso von anderen Pianisten und anderen Geigern gespielt. (L. David) Maximilian Kreuz Schubert Paraphrasen (Violine, Klavier) Der Paraphrasen-Gedanke ist frei angewendet und bezieht sich auf das „Trinklied“ für Männerchor von Franz Schubert, D.847. Der Text stammt aus dem 16. Jahrhundert vom Dichterduo Rittgräff. (M. Kreuz) Paul Hertel Moonlight (Violine) Der Virtuose steht am Fenster der Dachveranda. Er braucht keine Noten, er braucht kein Licht. Klänge die in ihm sind, und zur hell durch den Mond erleuchteten Nachtstimmung passen, fließen aus seinen Gedanken direkt in die Finger. Romantik? Postmoderne? Neue Klassik? Zeitgemäß ... (P. Hertel) 2 Programm Heinrich Gattermeyer Besenbinder Variationen (Violine) Das Werk ist auf Anregung des exzellenten Geigers Lukas David entstanden. Das Thema für die sieben Variationen und Coda ist einer Fernsehpantomime aus dem Jahre 1968 entnommen, in der ein Besenbinder die zentrale Figur eines russischen Märchens ist („Alexander und der Bär“). -
University Microfilms, Inc., Ann Arbor, Michigan the UNIVERSITY of OKLAHOMA
This dissertation has been microfihned exactly as received 70-2315 JOHNS, David Otto, 1931- THE ORGAN - REFORM MOVEMENT: A FORMATIVE INFLUENCE UPON TWENTIETH CENTURY CHURCH MUSIC COMPOSITION, PRACTICE, AND PEDAGOGY. The University of Oklahoma, D.Mus.Ed., 1969 Music University Microfilms, Inc., Ann Arbor, Michigan THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE ORGAN-REFORM MOVEMENT: A FORMATIVE INFLUENCE UPON TWENTIETH CENTURY CHURCH MUSIC CCMPOSITION, PRACTICE, AND PEDAGOGY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY DAVID O: JOHNS Norman, Oklahoma 1969 THE ORGAN-REFORM MOVEMENT: A FORMATIVE INFLUENCE UPON TWENTIETH CENTURY CHURCH MUSIC COMPOSITION, PRACTICE, AND PEDAGOGY APPROVED BY DISSERTATION COMMITTEE ACKNOWLEDGMENTS The purpose of this dissertation, which has been done In partial fulfillment of the requirements for the degree of Doctor of Music Edu cation at the University of Oklahoma, Is to Identify some of the contri butions resulting from the Organ Reform Movement In Germany at the begin ning of the twentieth _entury. Suggestions are offered as to the direc tion of development of pedagogical procedures and materials for organists. I wish to express my sincere thanks to the chairman of my advisory committee. Dr. Robert C. Smith, for his patient counseling; to Dr. Ernest Trurable and Dr. Margaret Haynes for their desire to help me learn; and to Miss Mildred Andrews for her unique ways of helping one discover hidden abilities. My thanks go to Prof. Roy Barlag, St. John's College, Winfield, Kansas, who by his translations of German text brought much more light to this dissertation; to Prof. -
American Choral Review
AMERICAN CHORAL REVIEW JOURNAL OF THE AMERICAN CHORAL FOUNDATION, INC. VOLUME XII · NUMBER 2 • APRIL, 1970 AMERICAN CHORAL REVIEW ALFRED MANN, Editor ALFREDA HAYS, Assi.rtant Editor Associate Editors BoWARD TATNALL CANBY ANDREW C. MINOR RICHARD F. FRENCH MARTIN PICKER RICHARD JACKSON JACK RAMEY The AMERICAN CHORAL REVIEW is published quarterly as the official journal of the Association of Choral Conductors sponsored by the American Choral Foundation, Inc. The American Choral Foundation also publishes a supplementary Research Memorandum Series and maintains a Choral Library, administered by the Free Library of Philadelphia and coordinated with the Drinker Library of Choral Music. Membership in the Association of Choral Conductors is available under the following arrangements: Full Membership privileges, for an annual membership contribution of $15, including a subscription to the AMERICAN CHoRAL REVIEW, a subscription to the Research Memorandum Series, unlimited use of the American Choral Foundation Library at mailing cost, use of the Drinker Library of Choral Music on a rental basis, and unlimited use of the Foundation's Advisory Services Division. Publications Membership privileges, for an annual membership contribution of $12, including a subscription to the AMERICAN CHORAL REVIEW, and a subscription to the Research Memorandum Series. Participating Membership privileges, for an annual membership contribution of $7 .50, including a subscription to the AMERICAN CHORAL REVIEW and unlimited use of the American Choral Foundation Library and the Drinker Library of Choral Music on a rental basis. Single issues of the AMERICAN CHoRAL REviEW are available to members at $1.25 a copy. Single issues of the Research Memorandum Series are available to members at $1. -
Socialism and Feminism in East German Opera: the Cases of Director Ruth Berghaus and Composer Ruth Zechlin
SOCIALISM AND FEMINISM IN EAST GERMAN OPERA: THE CASES OF DIRECTOR RUTH BERGHAUS AND COMPOSER RUTH ZECHLIN A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Johanna Frances Yunker August 2012 © 2012 by Johanna Frances Yunker. All Rights Reserved. Re-distributed by Stanford University under license with the author. This dissertation is online at: http://purl.stanford.edu/wy750kv5448 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Stephen Hinton, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Thomas Grey I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Jesse Rodin Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives.