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Tutti I Plagi Di Fabrizio De André
TUTTI I PLAGI DI FABRIZIO DE ANDRÉ Storie di musica, collezioni, emozioni G IT RO A P I I PIÙ RAR sommario Il prossimo VINILE #1 2016 numero sarà Articoli in edicola il Fabrizio De André 10 giugno 14 Luci, ombre, stroncature, plagi e contraffazioni del più intoccabile dei cantautori italiani. di Alessio Lega Mark Fry 30 Il disco più raro e improbabile fra quelli pubblicati dalla It di Enzo Micocci ha una storia fatta di personaggi straordinari e intrecci impensabili. di Maurizio Becker Furio Colombo 38 La mitica scena del Greenwich Village, gli esordi di Bob Dylan e le fortune internazionali di una canzone tutta italiana, nei ricordi di un testimone d’eccezione. Intervista di Luciano Ceri I gioielli del Prog 46 I 15 album più rari e costosi del Prog italiano. di Franco Brizi Nada 56 Un servizio fotografico in bianco- nero realizzato nel 1968, alla vigilia del suo primo Sanremo: pura magia. di Francesco Coniglio Battisti-Mogol 60 35 anni dopo, i veri motivi della rottura. di Michele Neri Pier Paolo Pasolini 72 Un intellettuale a tutto tondo: letteratura, poesia, cinema, teatro, giornalismo. E canzoni. Lo sapevate? di Luciano Ceri Guido Guglielminetti 80 Battisti, Fossati, De Gregori, ma anche Patrick Samson, Umberto Tozzi e… Nilla Pizzi. La lunga storia di un 14 bassista per caso. Intervista di Vito Vita Fabrizio Rhino Records 110 Esce un libro che racconta le storie di 50 negozi USA specializzati in vinile: la nostra anteprima. De André di Mike Spitz e Rebecca Villaneda I segreti del genio Domenico Modugno 116 La discografia completa di un mito assoluto della canzone italiana. -
THE CLEVELAN ORCHESTRA California Masterwor S
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Archivio D'autore: Le Carte Di Fabrizio De André
STRUMENTI CXCIV OSCADELLI M ANO F TE Nella facciata anteriore della sovracoperta: e S Particolare di una stesura, di mano di Fabrizio De André, del testo della canzone Crêuza de ABBRINI (AFDA, G.V.28 [1997, novembre]). F mä ante © «Fondazione Fabrizio De André onlus». ARTA M Nella facciata posteriore della sovracoperta: Fabrizio De André in concerto al Teatro Tenda di Firenze (gennaio 1982). Archivio d’Autore: Fotografia di Lorenzo Maffei. le carte di Fabrizio De André © «Archivio Lorenzo Maffei». Inventario a cura di Inventario Archivio d’Autore: le carte di Fabrizio De André d’Autore: le carteArchivio di Fabrizio Le scansioni dei documenti sono state realizza- te presso l’Università degli studi di Siena, Inventario a cura di Sistema Bibliotecario di Ateneo. MARTA FABBRINI e STE F ANO MOSCADELLI I curatori e l’editore del volume ringraziano Introduzione di la «Fondazione Fabrizio De André onlus» e STE F ANO MOSCADELLI l’«Archivio Lorenzo Maffei» per aver messo gentilmente a disposizione i documenti che R O M A compaiono nelle facciate della sovracoperta. 2012 MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI La riproduzione sotto qualsiasi forma di tali DIREZIONE GENERALE PER GLI ARCHIVI documenti non può avvenire senza specifica 2012 autorizzazione da parte degli aventi diritto. PUBBLICAZIONI DEGLI ARCHIVI DI STATO STRUMENTI CXCIV STRUMENTI CXCIV 978-88-7125-323-7 N SB I Archivio d’Autore: OSCADELLI M le carte di Fabrizio De André ANO F TE e S ABBRINI Inventario a cura di F MARTA FABBRINI e STE F ANO MOSCADELLI ARTA M Introduzione di STE -
(1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements
Wolfgang Amadeus Mozart's (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements Item Type text; Electronic Thesis Authors Koner, Karen Michelle Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 21:25:51 Link to Item http://hdl.handle.net/10150/193304 1 Wolfgang Amadeus Mozart’s (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements By Karen Koner __________________________________ Copyright © Karen Koner 2008 A Thesis Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements for the Degree of Master of Music In the Graduate College The University of Arizona 2008 2 STATEMENT BY THE AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgement of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. Signed: Karen Koner Approval By Thesis Director This thesis has been approved on the date shown below: J. Timothy Kolosick 4/30/2008 Dr. -
A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels
Graduate Theses, Dissertations, and Problem Reports 2017 A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels Achareeya Fukiat Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Fukiat, Achareeya, "A Survey of Selected Piano Concerti for Elementary, Intermediate, and Early-Advanced Levels" (2017). Graduate Theses, Dissertations, and Problem Reports. 5630. https://researchrepository.wvu.edu/etd/5630 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. A SURVEY OF SELECTED PIANO CONCERTI FOR ELEMENTARY, INTERMEDIATE, AND EARLY-ADVANCED LEVELS Achareeya Fukiat A Doctoral Research Project submitted to College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance James Miltenberger, -
A Stylistic and Analytical Study of Concerto No.2 for Piano And
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby Ji-Won Mun Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Mun, Ji-Won, "A stylistic and analytical study of Concerto No.2 for Piano and Orchestra, Op.33, by Lee Hoiby" (2002). LSU Doctoral Dissertations. 1027. https://digitalcommons.lsu.edu/gradschool_dissertations/1027 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 Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A STYLISTIC AND ANALYTICAL STUDY OF CONCERTO NO. 2 FOR PIANO AND ORCHESTRA, OP. 33, BY LEE HOIBY 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 Ji-Won Mun B.M., Pusan National University, 1996 M.M., Louisiana State University, 1999 May 2002 ACKNOWLEDGEMENTS I wish to express my gratitude to the members of my committee--Professor Constance Carroll, Dr. Jeffrey Perry, Professor Michael Gurt, and Dr. Jennifer Hayghe--for their support throughout this project. I would especially like to thank Dr. Perry and Dr. Hayghe for providing expert advice, insightful editing, and constant encouragement. -
Discographie Fabrizio De Andrè
Jazz Collection: Discographie Fabrizio De Andrè Dienstag, 22.02.2019, 21.00 – 22.00 Uhr Radio SRF 2 Kultur Samstag, 26.01.2019, 17.06 – 18.30 Uhr (mit Bonustracks) Fabrizio De André war einer der herausragendsten Cantautori Italiens. Einer, dessen Lieder die Jahrzehnte überlebt haben. Im Januar 1999 verstarb er viel zu früh. Eric Facon unterhält sich mit dem Kenner Italiens und seiner Cantautore-Szene Ruedi Ankli über den grossen Genueser Sänger. Kaum ein italienischer Cantautore hat ein derart hochgepriesenes Werk hinterlassen wie der Genueser Fabrizio De André. In seiner 35 Jahre dauernden Karriere hat er sich stets musikalisch weiterentwickelt – von den Anfängen als italienisches Gegenpart zu den Chansons eines Georges Brassens hin zu seinem Spätwerk, das eine eigene, mediterrane Sprache erfand. Fabrizio De André, der Sohn einer intellektuellen, besser gestellten Familie aus der Hafenstadt, schrieb Lieder, in denen er sich für die Schwachen, die Ausgestossenen, für die Prostituierten und armen Leute einsetze. Canzoni, die von grosser Poesie und Musikalität zeugen, die in Italien längst zum volksmusikalischen Kanon gehören. Am 11.1.1999 verstarb Fabrizio De André. Eric Facon unterhält sich mit dem Kenner Italiens und seiner Cantautore-Szene Ruedi Ankli über den grossen Genueser Sänger, dessen Lieder, und das Land, das ihn umgab. Gast: Ruedi Ankli Redaktion und Moderation: Eric Facon Fabrizio De André - Vol.3 Label: Ricordi Track 01: La Canzone Di Marinella Fabrizio De André - Peccati Di Gioventù Label: Universal Track 07: La Ballata Del Michè Fabrizio De André - Vol.1 Label: Ricordi Track 06: Via Del Campo Fabrizio De André - Storia Di Un Impiegato Label: Ricordi Track 02: La Canzone Del Maggio Fabrizio De André - Vol. -
Copyright Timothy Brennan Steeves 2020
i Copyright Timothy Brennan Steeves 2020 i ii Abstract Concertare and Conserere: Debate and Concord in the Twenty-first Century Violin Concerto by Timothy Brennan Steeves This document concerns the ways in which the relationship between the violin and orchestra in the violin concerto has changed in the first decades of the twenty-first century. Using the concerti of Unsuk Chin (2001), Jennifer Higdon (2008), and Esa- Pekka Salonen (2009) I show that composers have challenged but not abandoned the supremacy and centrality of the violin soloist. The role of the orchestra has been expanded, being given greater aesthetic and structural responsibility. The virtuosity expected of professional orchestra musicians is exploited with these composers frequently calling on secondary soloists. Chamber music and contrapuntal textures are also employed to relegate the violinist to a first among equals. These innovations and the resultant violinistic implications represent a new path forwards in the genre of the violin concerto. These composers are, however, cognizant of both tradition and the expectations of virtuoso soloists. Strides towards equality can be made, but a true, irrevocable hierarchical leveling is not achieved. This tension, the new balance of power, and their musical ramifications are the focus of this study. iii Acknowledgments This document is the culmination of many years of study, performance, reflection, and collaboration. Innumerable teachers, colleagues, and friends have contributed to my musical and intellectual development and it is impossible to thank everyone. Nevertheless, there are a few key people who deserve special recognition. Firstly, I would like to express my gratitude for the guidance, support, expertise, and patience of my advisor Dr. -
DVD Extra 10. Thomas Adès and Tal Rosner in Conve
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. IN SEVEN DAYS NANCARROW STUDIES for piano and orchestra with moving image (2008) Nos. 6 & 7 Thomas Adès music Conlon Nancarrow, arr. Thomas Adès Tal Rosner visuals Tal Rosner and Sophie Clements visuals 1. Chaos – Light – Dark [8.25] 8. Study No. 6 [3.39] 2. Separation of the waters into sea 9. Study No. 7 [10.00] and sky [4.14] THOMAS ADÈS & ROLF HIND pianos 3. Land – Grass – Trees [5.35] Recorded in Kings Place Hall 2 on 12 June 2011 Arrangement commissioned by Fondazione Katia 4. Stars – Sun – Moon [3.16] & Marielle Labèque www.fondazionekml.org Published by Schott Music GmbH & Co. KG, Mainz Fugue 5. Creatures of the Sea TOTAL TIMINGS: [42.36] and Sky – [3.05] 6. Creatures of the Land [2.29] DVD Extra 7. Contemplation [1.53] 10. Thomas Adès and Tal Rosner in conversation NICOLAS HODGES piano Recorded at the Southbank Centre, London on 3 August 2011 THOMAS ADÈS conductor Filmed and Produced by Kieran Morris of De Novo Arts LONDON SINFONIETTA Facilitated by Marshall Marcus Recorded live in concert at Birmingham Symphony Hall on 11 March 2011 Commissioned by the Southbank Centre, London and the Los Angeles Philharmonic Association Published by Faber Music Ltd Generously supported by Simon Yates and Kevin Roon In Seven Days performed as part of a London Sinfonietta UK tour supported by Sound and Music Engineered and Produced by Ian Dearden of Sound Intermedia Project Management by Claire Stevens Design - Darren Rumney P2011 Signum C2011 Signum www.signumrecords.com 20 1 291.0mm x 169.5mm CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. -
Polystylism and Narrative Potential in the Music of Alfred Schnittke
POLYSTYLISM AND NARRATIVE POTENTIAL IN THE MUSIC OF ALFRED SCHNITTKE by JEAN-BENOIT TREMBLAY B.Arts (education musicale), Universite Laval, 1999 B.Mus (mention en histoire), Universite Laval, 1999 M.Mus (musicologie), Universite Laval, 2001 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Music, emphasis in musicology) THE UNIVERSITY OF BRITISH COLUMBIA April 2007 © Jean-Benoit Tremblay, 2007 ABSTRACT This dissertation examines the narrative potential created by polystylism in selected works of Alfred Schnittke. "Polystylism," the combination of many styles in a single work, is Schnittke's answer to a compositional crisis that he experienced as a young Soviet composer. Polystylistic works often present blunt juxtapositions of styles that cannot be explained by purely musical considerations. I argue that listeners, confronted with those stylistic gaps, instinctively attempt to resolve them by the construction of a narrative. Three works, each showing different approaches to polystylism, are examined. The Symphony No. 1, which constitutes a kind a polystylistic manifesto, presents a number of exact quotations of Beethoven, Grieg, Tchaikovsky and Chopin among others. It also makes uses of the Dies Irae and of various stylistic allusions. The result is a work in which Schnittke, asking how to write a Symphony, eventually kills the genre before resurrecting it. Elaborated from a fragment of a pantomime by Mozart, Mo^-Art is a reflection on the opposition between the old and the new, between the past and the present. The work builds upon the plurality of styles already present in Mozart's music. -
An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria Von Weber
An Analysis of Sonata Form in Clarinet Concertos by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2012 by Wen-Mi Chen B.M., Peabody Conservatory of Music of The Johns Hopkins University, 2000 M.M., Peabody Conservatory of Music of The Johns Hopkins University, 2003 Committee Chair: Steven Cahn, Ph.D. Committee Member: Ronald Aufmann, Professor Committee Member: Samuel Ng, Ph.D. Abstract Sonata Theory recognizes five types of sonatas based on their rotational designs. The first movement of most eighteenth-century concertos is classified as a Type 5 sonata (concerto movement) and is the most complicated sonata design due to the great variation that exists among individual Type 5 movements. This document contains a brief introduction to Hepokoski and Darcy’s Sonata Theory and a summary of the Type 5 sonata. Chapters two, three, and four are extensive studies and analyses of the clarinet concertos composed by Wolfgang Amadeus Mozart, Louis Spohr, and Carl Maria von Weber. Comprehensive comparisons of these concertos are provided at the end of chapters three and four. Diagrams 2, 3, and 4 are the result of examining these concerto movements. They indicate the sections, zones, and modules of a sonata form in the movements. Appendix A is a list of terms and abbreviations that are used in the analyses. In addition, Hepokoski and Darcy’s Type 5 sonata default settings and options are included in Appendix B. -
Fabrizio De André
OTTOCENTO Omaggio a Fabrizio De André OTTOCENTO (BIOGRAFIA) Fabrizio De André. Quello che ancora oggi ci lega fortemente alla sua musica e alla sua poetica è la delicatezza con cui si ostinava a cantare la dignità della persona, e un rispetto senza contropartite. Siamo prima di tutto sei amici, ritrovati ad un incrocio di strade diverse, subito dopo la sua morte nel 1999, con il desiderio di suscitare e condividere tra gli amanti delle sue canzoni quell’emozione che attraversa “passaggi e passaggi di tempo”. Ci accompagna forte oggi la voglia di far conoscere un’opera entrata di diritto nell’antologia della cultura italiana. Ottocento è il nome di una canzone di De André che con ironia sferzante riflette sulla deriva dei valori sociali. L’abbiamo scelto come titolo del nostro omaggio anche grazie ad un amico di Fabrizio, quando la sera del primo concerto ci raccontò un loro vecchio ricordo. Le canzoni di De André, così armoniche nell’unire poesia e musica per quell’instancabile gusto dell’equilibrio, sono per noi tanto preziose che abbiamo scelto di riproporre – per quanto ci è possibile – i suoni e gli arrangiamenti originali degli album, dei concerti del ’79 con la PFM, e dell’ultima tournée del ’98 con Cristiano, sviluppando un percorso che porta ad avere un quadro d’insieme del lavoro di De André, attraverso i brani più conosciuti e quelli meno noti. Abbiamo suonato in situazioni molto diverse, in giro per tutta italia, dalle feste popolari (tra cui la Festa Regionale de L’Unità per diverse edizioni, La Notte Bianca di Genova) ai circoli letterari, ai teatri (tra cui il Filodrammatici di Treviglio, Il Donizetti di Bergamo, Il Sociale di Bergamo Alta, L’Olimpico di Sabbioneta), alle scuole, in vari locali, riproponendo le canzoni più famose e alcune “chicche” come Carlo Martello, Cose che dimentico, Inverno.