06 – Spinning the Record
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Wednesday Playlist
September 25, 2019: (Full-page version) Close Window “Art and life are not two separate things.” — Gustav Mahler Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Sibelius The Swan of Tuonela Boston Symphony/Davis Philips 446 160 028944616026 Awake! 00:11 Buy Now! Elgar The Sanguine Fan, Op. 81 London Philharmonic/Boult EMI 63133 077776313320 00:30 Buy Now! Mozart Piano Quartet No. 2 in E flat, K. 493 Bronfman/Zukerman/Marks/Forsyth RCA Red Seal 88697160442 886971604429 01:00 Buy Now! Gershwin Lullaby for Strings Cincinnati Pops/Kunzel Telarc 80503 089408050329 01:10 Buy Now! Bach English Suite No. 4 in F, BWV 809 Glenn Gould Sony 52606 n/a 01:28 Buy Now! Strauss, R. Le Bourgeois Gentilhomme Suite Chicago Symphony/Reiner RCA 5721 07863557212 01:59 Buy Now! Mozart Overture ~ The Magic Flute, K. 620 Academy of St. Martin-in-the-Fields/Marriner EMI 47014 077774701426 Virgin Classics 02:07 Buy Now! Rameau Fourth Concert (for harpsichord and strings) Trio Sonnerie 90749 07567907492 Digital 02:19 Buy Now! Beethoven Piano Concerto No. 5 in E flat, Op. 73 "Emperor" Arrau/Dresden State Orchestra/Davis Philips 416 215 028941621528 03:01 Buy Now! Mascagni Intermezzo ~ Cavalleria rusticana Philadelphia Orchestra/Ormandy Sony 48260 07464482602 03:05 Buy Now! Shostakovich Cello Concerto No. 1 in E flat, Op. 107 Kanneh-Mason/CBSO/Grazinyte-Tyla Decca 483 2948 028948329489 03:38 Buy Now! Telemann Paris Quartet No. 10 Kuijken Bros/Leonhardt Sony 63115 074646311523 03:59 Buy Now! Chopin Scherzo No. -
The Music Room Conversations About Music with Zoë Beyers Episode
The Music Room Conversations about Music With Zoë Beyers Episode One Kenneth Woods Conductor, Writer, Cellist (First broadcast 19th June 2020) Programme Notes Gustav Mahler Mahler’s Journeyman Songs We begin this episode in the world of Mahler, with the second movement of his song cycle Lieder eines fahrenden Gesellen in Arnold Schoenberg’s 1920 arrangement for small ensemble. This work is not only intensely personal, but also semi-autobiographical. At the time of writing (1884-1885), Mahler was a young, itinerant composer. He was also heartbroken in the wake of a failed romance with the singer Johanna Richter. Ging heut ’Morgen über’s Feld I Walked Across the Fields This Morning Gustav Mahler English translation © Richard Stokes Ging heut ’morgen über’s Feld, I walked across the fields this morning, Tau noch auf den Gräsern hing; Dew still hung on the grass, Sprach zu mir der lust’ge Fink: The merry finch said to me: „Ei du! Gelt? ‘You there, hey - Guten Morgen! Ei, Gelt? Du! Good morning! Hey, you there! Wird’s nicht eine schöne Welt? Isn’t it a lovely world? Zink! Zink! Schön und flink! Tweet! Tweet! Bright and sweet! Wie mir doch die Welt gefällt!“ O how I love the world!’ Auch die Glockenblum ’am Feld And the harebell at the field’s edge, Hat mir lustig, guter Ding’, Merrily and in good spirits, Mit den Glöckchen, klinge, kling, Ding-ding with its tiny bell Ihren Morgengruß geschellt: Rang out its morning greeting: „Wird’s nicht eine schöne Welt? ‘Isn’t it a lovely world? Kling! Kling! Schönes Ding! Ding-ding! Beautiful thing! Wie mir doch die Welt gefällt! O how I love the world!’ Und da fing im Sonnenschein And then in the gleaming sun Gleich die Welt zu funkeln an; The world at once began to sparkle; Alles, alles, Ton und Farbe gewann! All things gained in tone and colour! Im Sonnenschein! In the sunshine! Blum ’und Vogel, groß und klein! Flower and bird, great and small. -
American Academy of Arts and Letters
NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer. -
Dayton Opera Artistic Director Thomas Bankston to Retire at the Conclusion of His 25Th Season with Dayton Opera in June 2021
Dayton Opera Artistic Director Thomas Bankston to Retire at the Conclusion of His 25th Season with Dayton Opera in June 2021 CONTACT: ANGELA WHITEHEAD Communications & Media Manager Dayton Performing Arts Alliance Phone 937-224-3521 x 1138 [email protected] DAYTON, OH (February 7, 2020) – The Dayton Performing Arts Alliance (DPAA) has announced today that Thomas Bankston, Artistic Director of Dayton Opera, will retire in June 2021, at the conclusion of the newly announced 2020–2021 Celebrate Season, Dayton Opera’s 60th anniversary season. “The coming together of three especially celebratory events in the 2020-21 season – Dayton Opera’s 60th anniversary, my 25th season, and the closing of that season with a world premiere opera production, Finding Wright – seemed like a fitting time at which to bring to a close my 41 year career in the professional opera business. Dayton Opera has been a huge part of my life and will always hold a special place in my heart. Especially all the wonderful friendships and associations I have made with artists, staff and volunteers that will make my retirement a truly bittersweet one,” said Tom Bankston. The 2020–2021 season will mark Bankston’s 25th season providing artistic leadership for Dayton Opera, the longest term of artistic leadership in the company’s history. In 1996, he began his work with the company, sharing his wide-ranging knowledge of the field of opera between Dayton Opera and Cincinnati Opera, the company where in 1982 he began his work as an opera administrator. At the start of the 2001–2002 season, he left Cincinnati Opera and assumed the position of Artistic Director for Dayton Opera on a full-time basis, and then was named General & Artistic Director of Dayton Opera in 2004. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Information to Users
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 face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect 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 corner 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 of 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 University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9130640 The influence of Leonard B. Smith on the heritage of the band in the United States Polce, Vincent John, Ph.D. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
West Side Story” (Original Cast Recording) (1957) Added to the National Registry: 2008 Essay by Robert L
“West Side Story” (Original cast recording) (1957) Added to the National Registry: 2008 Essay by Robert L. McLaughlin (guest essay)* Original “West Side Story” cast members at recording session (from left: Elizabeth Taylor, Carmen Gutierrez, Marilyn Cooper, Carol Lawrence) “West Side Story” is among the best and most important of Broadway musicals. It was both a culmination of the Rodgers and Hammerstein integrated musical, bringing together music, dance, language and design in service of a powerful narrative, and an arrow pointing toward the future, creating new possibilities for what a musical can be and how it can work. Its cast recording preserves its score and the original performances. “West Side Story’s” journey to theater immortality was not easy. The show’s origins came in the late 1940s when director/choreographer Jerome Robbins, composer Leonard Bernstein, and playwright Arthur Laurents imagined an updated retelling of “Romeo and Juliet,” with the star- crossed lovers thwarted by their contentious Catholic and Jewish families. After some work, the men decided that such a musical would evoke “Abie’s Irish Rose” more than Shakespeare and so they set the project aside. A few years later, however, Bernstein and Laurents were struck by news reports of gang violence in New York and, with Robbins, reconceived the piece as a story of two lovers set against Caucasian and Puerto Rican gang warfare. The musical’s “Prologue” establishes the rivalry between the Jets, a gang of white teens, children mostly of immigrant parents and claimants of a block of turf on New York City’s west side, and the Sharks, a gang of Puerto Rican teens, recently come to the city and, as the play begins, finally numerous enough to challenge the Jets’ dominion. -
National Symphony Orchestra of Ukraine Theodore Kuchar, Conductor Alexei Grynyuk, Piano
Sunday, March 26, 2017, 3pm Zellerbach Hall National Symphony Orchestra of Ukraine Theodore Kuchar, conductor Alexei Grynyuk, piano PROGRAM Giuseppe VERDI (1813 –1901) Overture to La forza del destino Sergei PROKOFIEV (1891 –1953) Piano Concerto No. 3 in C Major, Op. 26 Andante – Allegro Tema con variazioni Allegro, ma non troppo INTERMISSION Dmitri SHOSTAKOVICH (1906 –1975) Symphony No. 5 in D minor, Op. 47 Moderato – Allegro non troppo Allegretto Largo Allegro non troppo THE ORcHESTRA National Symphony Orchestra of Ukraine Volodymyr Sirenko, artistic director & chief conductor Theodore Kuchar, conductor laureate First Violins cellos Bassoons Markiyan Hudziy, leader Olena Ikaieva, principal Taras Osadchyi, principal Gennadiy Pavlov, sub-leader Liliia Demberg Oleksiy Yemelyanov Olena Pushkarska Sergii Vakulenko Roman Chornogor Svyatoslava Semchuk Tetiana Miastkovska Mykhaylo Zanko Bogdan Krysa Tamara Semeshko Anastasiya Filippochkina Mykola Dorosh Horns Roman Poltavets Ihor Yarmus Valentyn Marukhno, principal Oksana Kot Ievgen Skrypka Andriy Shkil Olena Poltavets Tetyana Dondakova Kostiantyn Sokol Valery Kuzik Kostiantyn Povod Anton Tkachenko Tetyana Pavlova Boris Rudniev Viktoriia Trach Basses Iuliia Shevchenko Svetlana Markiv Volodymyr Grechukh, principal Iurii Stopin Oleksandr Neshchadym Trumpets Viktor Andriiichenko Oleksandra Chaikina Viktor Davydenko, principal Oleksii Sechen Yuri і Kornilov Harps Grygorii Кozdoba Second Violins Nataliia Izmailova, principal Dmytro Kovalchuk Galyna Gornostai, principal Diana Korchynska Valentyna -
Download Booklet
572153 bk Markevitch 5/10/09 10:30 Page 16 Igor Also available in this series: MARKEVITCH Complete Orchestral Works • 3 Cantique d’Amour • L’Envol d’Icare • Concerto Grosso Arnhem Philharmonic Orchestra • Lyndon-Gee 8.570773 8.572172 8.572153 16 572153 bk Markevitch 5/10/09 10:30 Page 2 Igor Markevitch (1912-1983) Christopher Lyndon-Gee Complete Orchestral Works • 3 Christopher Lyndon-Gee was recently honoured as one of only three hundred conductors included in Naxos’s 600- This third volume of the complete orchestral works of himself “dead between two lives”. But this alone cannot page book and CD compilation A to Z of Conductors, covering the entire history of the art-form from Hans von Igor Markevitch includes the first recordings of fully explain the reasons for his abandoning Bülow and Arthur Nikisch to the present day. Christopher Lyndon-Gee was nominated for Grammys in 1998 for Cantique d’Amour and Concerto Grosso; L’Envol composition; and his autobiography Être et avoir été, ‘Best Orchestral Performance’ for the first volume of his groundbreaking series of the complete works of Igor d’Icare was previously recorded by the composer in published in 1980, obfuscates and misleads even as it Markevitch (originally released on Marco Polo); in 2003 for the world première recording of George Rochberg’s 1938 on poorly-preserved 78 rpm shellac discs. Other makes a show of revealing the writer’s inner life. Symphony No. 5 on Naxos American Classics; and again in 2007 for Hans Werner Henze’s Violin Concertos Nos. 1 than that single recording and a handful of radio Markevitch is dissimilar to the “conductor- and 3, with Peter Sheppard Skærved and the Saarbrücken Radio Symphony Orchestra (now the Deutsche Radio- broadcasts, the present series is the first ever made of composer” model exemplified by Furtwängler, Philharmonie). -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.