George Frideric Handel
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Boston Early Music Festival Announces 2013 Festival
FOR IMMEDIATE RELEASE: April 1, 2012 CONTACT: Kathleen Fay, Executive Director | Boston Early Music Festival 161 First Street, Suite 202 | Cambridge, MA 02142 617-661-1812 | [email protected] | www.bemf.org BOSTON EARLY MUSIC FESTIVAL ANNOUNCES 2013 FESTIVAL OPERATIC CENTERPIECE , HANDEL ’S ALMIRA Cambridge, MA – April 1, 2012 – The Boston Early Music Festival has announced plans for the 2013 Festival fully-staged Operatic Centerpiece Almira, the first opera by the celebrated and beloved Baroque composer, George Frideric Handel (1685–1759), in its first modern-day historically-conceived production. Written when he was only 19, Almira tells a story of intrigue and romance in the court of the Queen of Castile, in a dazzling parade of entertainment and delight which Handel would often borrow from during his later career. One of the world’s leading Handel scholars, Professor Ellen T. Harris of MIT (Massachusetts Institute of Technology), has said that BEMF is the “perfect and only” organization to take on Handel’s earliest operatic masterpiece, as it requires BEMF’s unique collection of artistic talents: the musical leadership, precision, and expertise of BEMF Artistic Directors Paul O’Dette and Stephen Stubbs; the stimulating and informed stage direction and magnificent production designs of BEMF Stage Director in Residence Gilbert Blin; “the world’s finest continuo team, which you have”; the highly skilled BEMF Baroque Dance Ensemble to bring to life Almira ’s substantial dance sequences; the all-star BEMF Orchestra; and a wide range of superb voices. BEMF will offer five fully-staged performances of Handel’s Almira from June 9 to 16, 2013 at the Cutler Majestic Theatre at Emerson College (219 Tremont Street, Boston, MA, USA), followed by three performances at the Mahaiwe Performing Arts Center (14 Castle Street, Great Barrington, MA, USA) on June 21, 22, and 23, 2013 ; all performances will be sung in German with English subtitles. -
2015-10-23 Monteverdi Vespers
welcome pacific musicworks ensemble I will never forget the first Stephen Stubbs time I participated in a full music director & lute performance of the Monteverdi Joseph Adam Vespers. It was one of a handful organ of pivotal moments in my life Maxine Eilander so far when I felt that I was harp not really in control of my own Tekla Cunningham & Linda Melsted destiny. It might sound like violins hyperbole, but my experience Laurie Wells & Romeric Pokorny is that this is a work of such violas persuasive power, architectural Photo credit Jan Gates brilliance and raw beauty, that it literally changed the course William Skeen cello of my life. Christopher Jackson was the conductor of the Studio de Musique Ancienne de Montréal on that occasion Moriah Neils and I remember the joy, fascination and pure enthusiasm he bass managed to communicate to everyone involved. I was totally Bruce Dickey & Kiri Tollaksen hooked and felt so compelled and intrigued with how this cornettos work made me feel, that 25 years later, I am still spending Greg Ingles, Erik Schmalz and Mack Ramsey my time convincing anybody who will listen, that there is no sackbuts music that will make them feel luckier to be alive. Christopher Jackson died on September 25th, 2015, after a long and extremely influential career as a master of renaissance and baroque music. His inspirational work with the SMAM and as Dean of the Faculty of Arts at Concordia brought him into regular contact with hundreds of young and vancouver chamber choir aspiring musicians over the years. I will be forever grateful to him for first introducing me and many others to this wondrous music, as well as for instilling in me a desire to perform and promote art that still has the amazing power to transform lives over 400 years later. -
FOR IMMEDIATE RELEASE: November 3, 2016 the GRAMMY-Winning Boston Early Music Festival Chamber Opera Series Presents VERSAILLES
Boston Early Music Festival 43 Thorndike Street, Suite 302 Cambridge, MA 02141-1764 INTERNATIONAL BAROQUE OPERA • CELEBRATED CONCERTS • WORLD-FAMOUS EXHIBITION 617-661-1812 | www.BEMF.org FOR IMMEDIATE RELEASE: November 3, 2016 The GRAMMY-Winning Boston Early Music Festival Chamber Opera Series presents VERSAILLES: Portrait of a Royal Domain on Thanksgiving weekend – November 26 & 27 in Boston and November 28 & 29 in New York City Cambridge, MA - The GRAMMY Award–winning Boston Early Music Festival Chamber Opera Series returns on Thanksgiving weekend for its ninth consecutive year with an all-new production inspired by the splendor and music of the French royal court. VERSAILLES: Portrait of a Royal Domain is a spectacle from the height of Louis XIV’s reign with two chamber operas—Charpentier’s Les Plaisirs de Versailles and Lalande’s Les Fontaines de Versailles—exalting the majesty of the palace and its gardens, alongside divertissements from Lully’s Atys. Produced in partnership with the Centre de Musique Baroque de Versailles, the production will receive four performances: Saturday, November 26 and Sunday, November 27 in Boston, and Monday November 28 and Tuesday, November 29 in New York City. “The Boston Early Music Festival has enjoyed a rich experience with the French operas of the 17th century, and especially the wonderful music of Charpentier,” observes Stage Director Gilbert Blin. “His unique and rather funny Les Plaisirs de Versailles inspired us to create a production of works connected to the famous palace of Louis XIV. Together, the titles answer each other, creating a sumptuous image of the Versailles castle and gardens." The elegance and drama of these three works is brought to life by the all-star BEMF Vocal and Chamber Ensembles in a magnificent production featuring gorgeous costumes and sumptuous period staging. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
Stephen Stubbs Discography 2018
STEPHEN STUBBS DISCOGRAPHY NAME GROUP LABEL YEAR CD NUMBER COMMENTS Stylus Phantasticus Pacific MusicWorks, dir Stephen Stubbs, featuring Tekla Cunningham 2018 release date 2019 Total Eclipse: Music for Handel's Tenor Pacific MusicWorks, dir Stephen Stubbs, featuring Aaron Sheehan NAXOS 2017 release date June 2019 Handel's Almira Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2018 release date 2019 Sebastiani: Matthäus Passion Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2018 CPO 555 204-2 Steffani: Duets of Love and Passion Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2017 CPO 555 135-2 Handel's Acis and Galatea Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2015 CPO 777 877-2 Charpentier's Le Descente D'Orphée Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2014 CPO 777 876-2 GRAMMY® winner Best Opera Recording 2015 Steffani's Niobe Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette Erato 2015 CPO 777 876-2 Dipason d'Or, Grammaphone Record of the Month Night Sessions The Dowland Project ECM 2013 ECM2018 Blow's Venus and Adonis Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2011 CPO 777 614-2 Charpentier's Actéon Boston Early Music Festival, dir Stephen Stubbs & Paul O’ Dette CPO 2010 CPO 777 613-2 Psyche Boston Early Music Festival dir Stephen Stubbs & Paul O’ Dette CPO 2008 CPO 777 367-2 William Lawes Royall Consorts Les Voix Humaines, Stubbs ATMA 2008 ACD22373 William Lawes Complete Harp Consorts -
San Francisco Early Music Society
San Francisco Early Music Society Breathtaking: A Cornetto and a Voice Entwined WHEN: VENUE: Sunday, May 6, 2018 BInG 4:00 PM COnCERT HaLL Program Artists Maurizio Cazzati (1616 –1678) Hana Blažíková, Regina coeli soprano Bruce dickey, Nicolò Corradini (?–1646) cornetto Spargite flores Tekla Cunningham, Biagio Marini (1594 –1663) Ingrid Matthews, Sonata seconda a doi violini violin Joanna Blendulf, Sigismondo D’India (c1582 –1629) viola da gamba Dilectus meus Langue al vostro languir Michael Sponseller, organ and harpsichord Giovanni Battista Fontana (1589–1630) Stephen Stubbs, Sonata 11 a 2 theorbo and baroque guitar Tarquinio Merula (c 1594–1665) Nigra sum Giacomo Carissimi (1605 –1674) Summi regis puerpera —Intermission— Calliope Tsoupaki (b. 1963) Mélena imí (Nigra sum) , 2015 Gio. Battista Bassani (c1650 –1716) Three arias from La Morte Delusa (Ferrara, 1680) “Sinfonia avanti l’Oratorio” “Speranza lusinghiera” “Error senza dolor” Sonata prima a 3, Op. 5 Alessandro Scarlatti (1660–1725 Three arias from Emireno (Naples, 1697) Rosinda: “non pianger solo dolce usignuolo” Rosinda: “Senti, senti ch’io moro” Emireno: “Labbra gradite” PROGRAM SUBJECT TO CHANGE . Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you. 2 Notes Breathtaking: violoncelli. He was able, however, to which included innovative composers A Voice And A Cornetto Entwined attract excellent singers as well as such as Giovanni de Macque. d’India string players to the basilica. His travelled extensively, holding positions In the 16th and 17th centuries, the Regina coeli , from a collection of in Turin, Modena and Rome. His cornetto was fabled for its remarkable Marian antiphons published in 1667, monodies, for which he is primarily ability to imitate the human voice. -
1 Press Release ORCHESTRA of ST. LUKE's ANNOUNCES ITS
Press Release ORCHESTRA OF ST. LUKE’S ANNOUNCES ITS 2020–2021 SERIES PRESENTED BY CARNEGIE HALL AND LED BY PRINCIPAL CONDUCTOR BERNARD LABADIE December 2020 Program Begins Multi-Year Exploration of Mendelssohn’s Masterpieces with Violinist Isabelle Faust, Soprano Lauren Snouffer, Mezzo-Soprano Cecelia Hall, Women of the Westminster Symphonic Choir, and Actor David Hyde Pierce Pianist Emanuel Ax Joins OSL in January 2021 for a Concert Celebrating Mozart and Schubert La Chapelle Québec Joins OSL for Festive Music for Royals in March 2021, with Soprano Amanda Forsythe, Tenor Samuel Boden, and Bass-Baritone Matthew Brook New York, NY, January 28, 2020 — Orchestra of St. Luke’s (OSL) announced details of its 2020–21 subscription series presented by Carnegie Hall. Principal Conductor Bernard Labadie, a specialist in music of the Baroque and Classical era, will lead the three programs. Joining OSL will be an array of soloists, some of them making their Carnegie Hall or OSL debuts, as well as such returning favorites as the chamber choir founded by Labadie, La Chapelle de Québec, and internationally celebrated pianist Emanuel Ax. In the Carnegie Hall programs, Maestro Labadie will bring his singular artistic vision and historically informed performance practice to New York audiences with works by Mendelssohn, Mozart, Schubert, Handel and Bach. Maestro Labadie opens the series with two works by Felix Mendelssohn on December 3, 2020. The concert serves as a point of departure for the ensemble to embark on a multi-year exploration of the composer's works. Celebrated violinist Isabelle Faust, praised for her “passion, grit and electricity” by The New York Times, makes her OSL debut with Mendelssohn’s beloved Violin Concerto. -
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote. -
This Is Normal Text
AN EXAMINATION OF WORKS FOR SOPRANO: “LASCIA CH’IO PIANGA” FROM RINALDO, BY G.F. HANDEL; NUR WER DIE SEHNSUCHT KENNT, HEISS’ MICH NICHT REDEN, SO LASST MICH SCHEINEN, BY FRANZ SCHUBERT; AUF DEM STROM, BY FRANZ SCHUBERT; SI MES VERS AVAIENT DES AILES, L’ÉNAMOURÉE, A CHLORIS, BY REYNALDO HAHN; “ADIEU, NOTRE PETITE TABLE” FROM MANON, BY JULES MASSENET; HE’S GONE AWAY, THE NIGHTINGALE, BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR, ADAPTED AND ARRANGED BY CLIFFORD SHAW; “IN QUELLE TRINE MORBIDE” FROM MANON LESCAUT, BY GIACOMO PUCCINI by ELIZABETH ANN RODINA B.M., KANSAS STATE UNIVERSITY, 2006 A REPORT submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2008 Approved by: Major Professor Dr. Jennifer Edwards Copyright ELIZABETH ANN RODINA 2008 Abstract This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith’s Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works. Table of Contents List of Figures ................................................................................................................................ vi List of Tables .............................................................................................................................. -
Il FLORIDANTE Tra L'amadigi E Il RINALDO
I Università di Pisa a.a. 2005-2007 TESI DI DOTTORATO IN LETTERATURA ITALIANA Il FLORIDANTE tra l’ AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino CANDIDATO ROSANNA SIMONA MORACE RELATORE PROF . PIERO FLORIANI IL PRESIDENTE PROF . M.C. CABANI CORELATORE PROF . SERGIO ZATTI II Alle mie stelle in cielo (Mikie compresa), ai miei angeli custodi in terra (Galatina compresa). Ringrazio con molto affetto il Prof. Piero Floriani per la disponibilità, la gentilezza e l’onestà con la quale mi ha seguito, da maestro, in tutti questi anni. Un altro sentito gra- zie va al Prof. Livio Petrucci, per i preziosi consigli ed il tempo dedicatomi nonostante non fosse tra i tutori del mio percorso. Un caldo abbraccio, poi, per il Prof. Carlo Alber- to Madrignani, che con la sua divertente saggezza è stato per me come un nonno; ed al Prof. Giancarlo Bertoncini, discreto, silenzioso, ma altrettanto vicino ed umanamente disponibile. Ancora un grazie al mio papà, che pur da lontano mi è stato sempre vicino. III VOL . I Il FLORIDANTE tra l’AMADIGI e il RINALDO L’epilogo del Tasso, l’esordio del Tassino I) TRA VENEZIA E MANTOVA (1558-1569) pp. 1-44 L’epilogo del Tasso; l’esordio del Tassino. II ) TRA EPICA E ROMANZO (1543-1560) pp. 45-83 1) L’ Amadigi ‘epico’ e il rapporto con l’ Amadìs , pp. 45-64. 2) La ‘riforma romanzesca’ e l’ Amadigi ‘molteplice’, pp. 65-72 3) La Prefazione all’ Amadigi di Lodovico Dolce, pp. 72-83 III ) TRA ROMANZO ED EPICA (1556-1560) pp. -
THE ARTS of PERSUASION (Revised)
The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude Item Type text; Electronic Dissertation Authors Anderson, Ron James 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 27/09/2021 20:06:37 Link to Item http://hdl.handle.net/10150/242454 THE ARTS OF PERSUASION: MUSICAL RHETORIC IN THE KEYBOARD GENRES OF DIETERICH BUXTEHUDE by Ron James Anderson ______________________________ Copyright © Ron James Anderson 2012 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ron James Anderson entitled “The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude," and recommend that it be accepted as fulfilling the requirements for the degree of Doctor of Musical Arts. _________________________________________________________Date: 6/25/12 Rex Woods _________________________________________________________ Date: 6/25/12 Paula Fan _________________________________________________________ Date: 6/25/12 Tannis Gibson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement. -
A Survey of the Relationship Between Rhetoric and Music
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 8-1977 A Survey of the Relationship between Rhetoric and Music Robert Stephen Brown Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Music Commons Recommended Citation Brown, Robert Stephen, "A Survey of the Relationship between Rhetoric and Music" (1977). Master's Theses. 2253. https://scholarworks.wmich.edu/masters_theses/2253 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. A SURVEY OF THE RELATIONSHIP BETWEEN RHETORIC AND MUSIC by Robert Stephen Brown A Thesis Submitted to the Faculty of the Graduate College in partial fulfillment of the Dsgree of Master of Music Western Michigan University Kalamazoo, Michigan August 1977 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. PREFACE This thesis is the result of a two-year study of the literary- rhetorical tradition and its relationship to music, a relationship which ultimately- led to the Baroque doctrine of the affections. Rhetoric, in the ancient and non-pe jorativs sense, is a subject about which most per sons in this country know very little ; in modern times it appears to be reserved for classical scholars. A wealth of information is available, however, and in the first two chapters of this study an attempt is made to capsulize this history of rhetoric for the non-rhetorician and especial ly the musician.