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COCKEREL Education Guide DRAFT
VICTOR DeRENZI, Artistic Director RICHARD RUSSELL, Executive Director Exploration in Opera Teacher Resource Guide The Golden Cockerel By Nikolai Rimsky-Korsakov Table of Contents The Opera The Cast ...................................................................................................... 2 The Story ...................................................................................................... 3-4 The Composer ............................................................................................. 5-6 Listening and Viewing .................................................................................. 7 Behind the Scenes Timeline ....................................................................................................... 8-9 The Russian Five .......................................................................................... 10 Satire and Irony ........................................................................................... 11 The Inspiration .............................................................................................. 12-13 Costume Design ........................................................................................... 14 Scenic Design ............................................................................................... 15 Q&A with the Queen of Shemakha ............................................................. 16-17 In The News In The News, 1924 ........................................................................................ 18-19 -
Music I: the Characters
Music I: The Characters Students Will • Read The Golden Cockerel synopsis • Read The Characters for character analysis • Listen to audio selections from The Golden Cockerel online. • Discuss and answer questions on the appropriate portion(s) of the Activity Worksheet. Before the Lesson • Print copies for each student of The Characters and the Activity Worksheet. • Decide which section(s) of the Activity Worksheet you wish your students to complete. • Prepare internet access to the online listening selections. • Gather pens, pencils and additional writing paper as needed for your group. Introduction Have your students read The Golden Cockerel synopsis. Give each student a copy of The Characters or display it on the screen. Read through the information, discussing each character and listening to the online selections as you go. Guided/Independent Practice Depending on your grade level, the ability of your students and time constraints, you may choose to have your class work as a whole, in small groups, with a partner or individually. Read the directions on the Activity Worksheet. Have students complete the portion(s) of the Activity Worksheet you have chosen with opportunities for questions. If students are working with a partner or in small groups, give them time to discuss their answers before writing them down. Have students share their answers individually or by groups and tell why they gave their answers. Evaluation Have students discuss and evaluate the answers of others. The teacher may want to guide the discussion with the sample answers provided. After individual or small group responses have been shared and/or turned in, the class can then formulate comprehensive answers with the teacher asking leading questions to guide the discussion. -
Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
The Rise and Fall of the Bass Clarinet in a the RISE and FALL of the BASS CLARINET in A
Keith Bowen - The rise and fall of the bass clarinet in A THE RISE AND FALL OF THE BASS CLARINET IN A Keith Bowen The bass clarinet in A was introduced by Wagner in Lohengrin in 1848. Unlike the bass instruments in C and Bb, it is not known to have a history in wind bands. Its appearance was not, so far as is known, accompanied by any negotiations with makers. Over the next century, it was called for by over twenty other composers in over sixty works. The last works to use the bass in A are, I believe, Strauss’ Sonatine für Blaser, 1942, and Messiaen’s Turangalîla-Symphonie (1948, revised 1990) and Gunther Schuller’s Duo Sonata (1949) for clarinet and bass clarinet. The instrument has all but disappeared from orchestral use and there are very few left in the world. It is now often called obsolete, despite the historically-informed performance movement over the last half century which emphasizes, inter alia, performance on the instruments originally specified by the composer. And the instrument has been largely neglected by scholars. Leeson1 drew attention to the one-time popularity and current neglect of the instrument, in an article that inspired the current study, and Joppig2 has disussed the use of the various tonalities of clarinet, including the bass in A, by Gustav Mahler. He pointed out that the use of both A and Bb clarinets in both soprano and bass registers was absolutely normal in Mahler’s time, citing Heinrich Schenker writing as Artur Niloff in 19083. Otherwise it has been as neglected in the literature as it is in the orchestra. -
CAMBRIDGE LIBRARY COLLECTION Books of Enduring Scholarly Value
Cambridge University Press 978-1-108-06004-2 - The Troubadours: A History of Provençal Life and Literature in the Middle Ages Francis Hueffer Frontmatter More information CAMBRIDGE LIBRARY COLLECTION Books of enduring scholarly value Music The systematic academic study of music gave rise to works of description, analysis and criticism, by composers and performers, philosophers and anthropologists, historians and teachers, and by a new kind of scholar - the musicologist. This series makes available a range of significant works encompassing all aspects of the developing discipline. The Troubadours Born in Germany, where he studied music and philology, Francis Hueffer (1845–89) moved to London in 1869 to pursue a career as a critic and writer on music. He edited a series of biographies of notable musicians, served as music critic for The Times, contributed articles to Grove’s Dictionary of Music and Musicians, and was an early advocate and interpreter to the British of Wagner. In 1872 he married Catherine, the younger daughter of the painter Ford Madox Brown. Their son was the writer Ford Madox Ford. Provençal studies were an abiding interest of Hueffer’s and he intended this work, first published in 1878, to be an approachable English-language study of medieval Provençal literary and musical culture. It won him membership of the Félibrige, the association of Provençal writers, and he gave lectures on the topic at the Royal Institution in 1880. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-06004-2 - The Troubadours: A History of Provençal Life and Literature in the Middle Ages Francis Hueffer Frontmatter More information Cambridge University Press has long been a pioneer in the reissuing of out-of-print titles from its own backlist, producing digital reprints of books that are still sought after by scholars and students but could not be reprinted economically using traditional technology. -
The Proms Listening Service Radio 3’S Tom Service Proposes Onward Sonic Explorations Inspired by the Music of Tonight’S Prom
The Proms Listening Service Radio 3’s Tom Service proposes onward sonic explorations inspired by the music of tonight’s Prom WAGNER STRAVINSKY Tannhäuser – overture The Song of the Nightingale; For all the voluptuous pleasures of the Venusberg and the The Firebird sensuality of Wagner’s music, it’s striking how often these Stravinsky’s fairy tales in music and ballet seem to have sprung dramas become hymns to the dubious pleasures of renunciation. fully formed into the world thanks to Paris’s mania for all things Parsifal refuses Kundry’s kiss to save the Brotherhood of the Russian in the early 20th century, and the exotic visions of the Grail; Tristan and Isolde is an erotic agony precisely because the country, its art and its stories with which Sergey Diaghilev and lovers’ eroticism his Ballets Russes flooded the city’s stages. But the father of is never fulfilled, so that love-death replaces love-life; and the these infectiously fantastical dramatic fairy tales wasn’t Diaghilev entire dramaturgy of The Ring is about pleasure postponed or or Stravinsky but Rimsky-Korsakov, who was also Stravinsky’s apocalyptically destroyed. The paradox is that the sensorium of teacher. Rimsky made the genre of the fairy-tale opera his own, Wagner’s music defining along the way the sounds and ideas that Stravinsky is a sonic substitute for the physical fulfilment that his characters would develop: melodic directness, rhythmic invention, harmonic are rarely, if ever, granted. Psychologists would have a field day exoticism, orchestral dazzle and new patterns of repetition. with all this – and, indeed, they have, as you can read in That’s why, to hear where Stravinsky comes from in music, you countless Wagner commentaries. -
Musical Times and Singing Class Circular, Vol
Review Source: The Musical Times and Singing Class Circular, Vol. 23, No. 478 (Dec. 1, 1882), pp. 680-681 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3358410 Accessed: 05-02-2016 18:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 149.171.67.164 on Fri, 05 Feb 2016 18:50:09 UTC All use subject to JSTOR Terms and Conditions 680 THE MUSICAL TIMES.-DECEMBER I, 1882. Philippi. A Sacred Cantata, or Church Oratorio. The Novello's MuzsicPrimers. Edited by Dr. Stainer. wordsselected from the Scripturesby the Rev. J. Powell The Violoncello. By JulesDe Swert. Metcalfe,M.A. The musiccomposed by Francis Edward [Novello, Ewer and Co.] Mus. Cantab. Ewer and Gladstone, Doc., [Novello, Co.] TIHE demand for able and popular Instruction-books THE words of this Cantata-recording the acts of SS. forstringed instruments has so increased withinthe last Paul and Silas in Macedonia-are exceedinglywell selected fewyears that we may confidentlypredict for this latest for musical illustration,and the composition,avowedly additionto " Novello's Primers" an extensivesale. -
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works
RUSSIAN & UKRAINIAN Russian & Ukrainian Symphonies and Orchestral Works Occupying a vast land mass that has long been a melting pot of home-spun traditions and external influences, Russia’s history is deeply encrypted in the orchestral music to be found in this catalogue. Journeying from the Russian Empire through the Soviet era to the contemporary scene, the music of the Russian masters covers a huge canvas of richly coloured and immediately accessible works. Influences of folklore, orthodox liturgy, political brutality and human passion are all to be found in the listings. These range from 19th-century masterpieces penned by ‘The Mighty Five’ (Balakirev, Rimsky-Korsakov, Mussorgsky, Borodin, and Cui) to the edgy works of Prokofiev and Shostakovich that rubbed against the watchful eye of the Soviet authorities, culminating in the symphonic output of one of today’s most noted Russian composers, Alla Pavlova. Tchaikovsky wrote his orchestral works in a largely cosmopolitan style, leaving it to the band of brothers in The Mighty Five to fully shake off the Germanic influence that had long dominated their homeland’s musical scene. As part of this process, they imparted a thoroughly ethnic identity to their compositions. The titles of the works alone are enough to get the imaginative juices running, witness Borodin’s In the Steppes of Central Asia, Rimsky-Korsakov’s The Legend of the Invisible City of Kitezh, and Mussorgsky’s St John’s Night on the Bare Mountain. Supplementing the purely symphonic works, instrumental music from operas and ballets is also to be found in, for example, Prokofiev’sThe Love for Three Oranges Suite, Shostakovich’s four Ballet Suites, and Stravinsky’s Firebird Suite. -
Fragmentingmodernism
HASLAM.JKT 18/11/04 3:08 pm Page 1 Fragmenting modernism Fragmenting modernism Ford Madox Ford, the novel and the Great War MMM rd x Ford, ovel the War LLL LLL MM cover illustratio LL Sketch of Ford c. 1916 by Alfred Cohen (1997 LAM SARA HASLAM © Alfred Cohen Printed in Great Brita 2395 Prelims 7/5/02 8:38 am Page i Fragmenting modernism 2395 Prelims 7/5/02 8:38 am Page ii 2395 Prelims 7/5/02 8:39 am Page iii Fragmenting modernism Ford Madox Ford, the novel and the Great War SARA HASLAM Manchester University Press Manchester 2395 Prelims 7/5/02 8:39 am Page iv Copyright © Sara Haslam 2002 The right of Sara Haslam to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Altrincham Street, Manchester M1 7JA, UK www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 6055 9 hardback First published 2002 100908070605040302 10987654321 Typeset in Minion by Action Publishing Technology Ltd, Gloucester 2395 Prelims 7/5/02 8:39 am Page v It is above all to make you see. (Ford Madox Ford, Joseph Conrad: A Personal Remembrance (1924)) It was perhaps Turgenev’s extreme misfortune, it was certainly his supreme and beautiful gift – that he had the seeing eye to such an extent he could see that two opposing truths were equally true. -
The Music of Sir Alexander Campbell Mackenzie (1847-1935): a Critical Study
The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author and infomation derived from it should be acknowledged. The Music of Sir Alexander Campbell Mackenzie (1847-1935): A Critical Study Duncan James Barker A thesis submitted for the degree of Doctor of Philosophy (Ph.D.) Music Department University of Durham 1999 Volume 2 of 2 23 AUG 1999 Contents Volume 2 Appendix 1: Biographical Timeline 246 Appendix 2: The Mackenzie Family Tree 257 Appendix 3: A Catalogue of Works 260 by Alexander Campbell Mackenzie List of Manuscript Sources 396 Bibliography 399 Appendix 1: Biographical Timeline Appendix 1: Biographical Timeline NOTE: The following timeline, detailing the main biographical events of Mackenzie's life, has been constructed from the composer's autobiography, A Musician's Narrative, and various interviews published during his lifetime. It has been verified with reference to information found in The Musical Times and other similar sources. Although not fully comprehensive, the timeline should provide the reader with a useful chronological survey of Mackenzie's career as a musician and composer. ABBREVIATIONS: ACM Alexander Campbell Mackenzie MT The Musical Times RAM Royal Academy of Music 1847 Born 22 August, 22 Nelson Street, Edinburgh. 1856 ACM travels to London with his father and the orchestra of the Theatre Royal, Edinburgh, and visits the Crystal Palace and the Thames Tunnel. 1857 Alexander Mackenzie admits to ill health and plans for ACM's education (July). ACM and his father travel to Germany in August: Edinburgh to Hamburg (by boat), then to Hildesheim (by rail) and Schwarzburg-Sondershausen (by Schnellpost). -
Matthew Lorenzon Marshall-Hall Thesis for Printing Part 1
The Literary Works of G. W. L. Marshall-Hall: 1888–1915 Matthew Donald Adrian Lorenzon Submitted in total fulfilment of the requirements of the degree of Master of Arts October 2010 Department of English The University of Melbourne Produced on archival quality paper Fig. 1. Arthur Streeton, Portrait of Professor Marshall-Hall, 1892, pen and ink on envelope, image courtesy of the State Library of Victoria. i Abstract The literary oeuvre of the first Ormond Professor of Music at the University of Melbourne, George William Louis Marshall-Hall, registered the key philosophical, scientific, and political debates that raged in English and Australian periodicals during the period 1888–1915. His works, encompassing lectures, poetry, articles, and marginalia, also show Marshall-Hall reacting to his social surroundings, playing an active part in the intellectual communities of London and Melbourne. The thesis divides the author’s literary development into three periods, detailing each period’s principal works and the social and historical catalysts that caused his shifts between them. In the first section, 1888–92, it is argued that Marshall-Hall’s use of the philosopher of evolution Herbert Spencer in his London writings 1888–90 was influenced by his family’s scientific legacy and the progressive publishing rationale of the publisher of The Musical World Francis Hueffer. By participating in London’s Wagnerian literary culture he developed the evolutionary justification of Wagner’s works that he then took to Australia. In Australia 1891–92, conservative newspapers challenged Marshall-Hall’s Wagnerian and Spencerian writings. In response, he revaluated his ideas using the mystical metaphysics of Arthur Schopenhauer. -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE EXPLORING THE CREATIVE PROCESS OF CHOREOGRAPHING OPERA PRIOR TO AND AMIDST THE COVID-19 GLOBAL PANDEMIC: OPPORTUNITIES, CHALLENGES, AND COMPLEXITIES A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF FINE ARTS IN DANCE By CHRISTA ST. JOHN Norman, Oklahoma 2021 EXPLORING THE CREATIVE PROCESS OF CHOREOGRAPHING OPERA PRIOR TO AND AMIDST THE COVID-19 GLOBAL PANDEMIC: OPPORTUNITIES, CHALLENGES, AND COMPLEXITIES A THESIS APPROVED FOR THE SCHOOL OF DANCE BY THE COMMITTEE CONSISTING OF Mary Margaret Holt, Chair Michael Bearden William Ferrara © Copyright by CHRISTA ST. JOHN 2021 All Rights Reserved. Acknowledgments The culmination of this research is a product of the support, guidance, and collaboration of a great number of persons without whom this work would not have been possible. First, I thank my committee chair, Dean of OU’s Weitzenhoffer Family College of Fine Arts, Nichols Chair, Presidential Professor, and Regents’ Professor of Dance, Mary Margaret Holt, for her choreographic and academic mentorship throughout this process. One of the most valuable things a person can give another is their time. Dean Holt generously gave her time and the mentorship she provided is of inestimable value and is the model from which I endeavor to mentor my future students. Thank you to committee members Director of the School of Dance, Michael Bearden, for his choreographic mentorship and continued support, and OU Opera Theatre Stage Director and Professor, William Ferrara, for his flexibility and creative problem-solving abilities as we navigated unprecedented circumstances throughout our collaborations together.