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Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
The Blue Review Literature Drama Art Music
Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
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. -
Looking Back at CHARM
Annual newsletter Issue 5 (April 2009) We set up CHARM because we thought that musicology was skewed towards the study of Looking back scores, that there was enormous untapped potential in the last century's heritage of recordings, and that bringing recordings to the forefront of the at CHARM discipline could help to transform it—not least in terms of overcoming the mismatch between a discipline focussed on written documents and a public for whom music means performed sound. Although reception theory and history had a major influence on post-war musicology, the focus remained on the written document. And although the 'performative turn' that swept through cultural studies in the last decades of the twentieth century also had an effect on musicology, it perversely served only to reinforce the conception of music as a form of writing. The historically informed performance movement brought documentary and other period evidence to bear upon performance practice, in effect subordinating playing to writing. Analytical approaches to performance did much the same by mapping score-based analysis onto performances. While ethnomusicology and popular music studies were more successful in adopting a performative approach, we felt that in the area of Western 'art' music there was the potential for a major transformative intervention. That was where we hoped CHARM might make a critical contribution. Although we saw CHARM as in essence a vehicle The CHARM website is undergoing a major for the development of a performative approach to redevelopment. Our new site will be hosted by King’s musicology, we saw significant advantages in College London, and will bring together the on-line focussing it specifically on recordings. -
JAVS 32.3.Pdf
Viola V33 N1.indd 302 5/8/17 10:10 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2017: Volume 33, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements p. 8 The Lionel ertis-JohnT White Collection p. 11 In Memoriam: Bernie Zaslav Feature Articles p. 13 The Genesis of BenjaminYusupov’s Viola Tango Rock Concerto: Dalton Competition Winner Andrea Carolina del Pilar Sánchez Ruiz presents her research on one of the first viola concertos to be premiered in the twenty-first century. p. 27 Grigori Frid and the Viola: In Conversation with the Composer: Elena Artamonova introduces a composer whose work is little known amongst violists, providing fascinating background and connections to twentieth-century Soviet Russian music. Departments p. 37 Outreach: Carol Rodland writes about her very practical and creative “If Music Be the Food…” program, for which volunteers and musicians donate their time to help raise monetary and non-perishable food donations for Foodlink, the Feeding America Hub of Western New York. p. 39 Health and Wellness: Our new Health and Wellness Editor, Jessica Ray King, introduces her new column with some of her more recent research. On the Cover: Joyce Lin Viola 24 x 36 inches Watercolor, graphite Joyce Lin is an artist and designer studying Furniture Design at the Rhode Island School of Design and Geology at Brown University as part of the Brown/RISD Dual Degree program. Her drawing is a full-scale technical rendering of her friend’s beloved viola, first drawn on a computer-aided design (CAD) program and then traced onto paper, as an exercise in measurement and detail. -
MAGYAR-ZENE.Pdf
VÁLOGATÁS A MAGYAR ZENEM ŰVÉSZ- PEDAGÓGUSOK 2015. ÉVI „KEREK" ÉVFORDULÓIBÓL (1001 EMLÉKEZTET Ő) -TERVEZET- (3. JAVÍTOTT, B ŐVÍTETT VÁLTOZAT) Az évfordulókra vonatkozó ismertetéseink terjedelmét - néhány kivételt ől eltekintve - kizárólag a figyelemfelkeltést szolgálják, minden teljességre való törekvés nélkül. Legf őbb cél, az EMLÉKEZTETÉS kiváló jelenlegi és egykori kollégáink „KEREK” születésnapjára, évfordulójára! Köszönettel fogadjuk a további jelent ősnek ítélt évfordulós információkat éppen úgy, mint az alábbi évszámokkal kapcsolatos hiány-pótlásokat, kiegészítéseket, korrekciókat, netán önálló írásokat! (mobil: 0620/493-7663, email: [email protected], név: Zelinka Tamás). Erre minden bizonnyal szükség lesz, mert az interneten kívül rendelkezésre álló magyar nyelv ű lexikonok, lexikonszer ű nyomtatott kiadványok is már 30-35 évesek, és a legtöbb esetben csak a születési dátumokat rögzítik… Megjegyezzük, hogy az életm ű / legfontosabb munkahelyek-városok / rövid jellemzésén, bemutatásán túl egyéb konkrétumokra (pl. tanárok, tanulmányok helyszínei, id őpontjai, fontos szereplések, kit űntetések, stb.) a legtöbb esetben nem vállalkozhattunk, viszont ilyen irányú kiegészítéseknek szívesen adunk helyet az „évfordulósról” szóló külön írásokban! 1505-ben született Tinódi Lantos Sebestyén (Tinód, 1505/1510 – Sárvár, 1566. január 30.) 1 zeneszerző, históriás el őadó ; 1660-ban született Kusser János Zsigmond (Pozsony, 1660. február 13. - Dublin, 1727. november) zeneszerz ő, tanár; 1715-ben született Maróthi György (Debrecen, 1715. február 11.– 1744. október 16.) matematikus, pedagógus, a magyar zeneelmélet úttör ője. 1739-ben svájci minták nyomán a többszólamú zsoltáréneklést kívánta meghonosítani az istentiszteleteken. Els ő lépésként ugyanebben az évben megalapította a Kollégiumi Kántust. Maróthi a következ ő évben (1740) többszólamú zsoltárkiadást is megjelentetett a zürichi minta alapján. Kés őbb átszervezte az el őző évben alapított f őiskolai énekkart, nagy fontosságot tulajdonítva a m űvészi ének tanításának. -
Symphony Shopping
Table of Contents | Week 1 7 bso news 15 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a message from andris nelsons 22 this week’s program Notes on the Program 24 The Program in Brief… 25 Dmitri Shostakovich 33 Pyotr Ilyich Tchaikovsky 41 Sergei Rachmaninoff 49 To Read and Hear More… Guest Artist 55 Evgeny Kissin 58 sponsors and donors 78 future programs 82 symphony hall exit plan 83 symphony hall information the friday preview talk on october 2 is given by bso director of program publications marc mandel. program copyright ©2015 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Chris Lee cover design by BSO Marketing BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 135th season, 2015–2016 trustees of the boston symphony orchestra, inc. William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. -
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By LYNN WORCESTER Norman, Oklahoma 2015 ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Stephen Beus, Co-Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Edward Gates ______________________________ Dr. Eugene Enrico ______________________________ Dr. Joseph Havlicek © Copyright by LYNN WORCESTER 2015 All Rights Reserved. ACKNOWLEDGMENTS This work would not have been possible without the guidance and support of the faculty members who served on my committee, Dr. Jane Magrath, Dr. Barbara Fast, Dr. Edward Gates, Dr. Eugene Enrico, Dr. Stephen Beus and Dr. Joseph Havlicek. To Dr. Jane Magrath: Thank you for your patience and continued support through every turn and for showing me how to be the finest professional I can be. Your guidance has allowed me to come in to my own as a pianist, teacher and writer. Special gratitude is reserved for Dr. Allison Nelson who shared her time, memories, and efforts over the course of this past year. Her wisdom, energy, and passion for music will stay with me for the rest of my life. Thank you to all of Dr. Nelson’s colleagues and former students who shared their time and participated in this study. A special thanks is owed to my family—my father, Mark Worcester, my mother, Eiki Worcester and my sister, Leya Worcester—whose love and dedication will always be cherished. -
315.Egyéb Gyűjtési Területek
Egyéb gyűjtési 315. területek Az árverés anyaga megtekinthető weboldalunkon és irodánkban (VI. Andrássy út 16. III. emelet. Nyitva tartás: H-Sz: 10-17, Cs: 10-19 óráig, P: Zárva) 2018 január 29 február 1-ig. AJÁNLATTÉTELI HATÁRIDŐ: 2018. február 1. 19 óra. Ajánlatokat elfogadunk írásban, személyesen, vagy postai úton, telefonon a 317-4757, 266-4154 számokon, faxon a 318-4035 számon, e-mailben az [email protected], illetve honlapunkon (darabanth.com), ahol online ajánlatot tehet. ÍRÁSBELI (fax, email) ÉS TELEFONOS AJÁNLATOKAT 18:30-IG VÁRUNK. A megvásárolt tételek átvehetők 2018. február 5-én 10 órától. Utólagos eladás január 19-25-ig. (Nyitvatartási időn kívül honlapunkon vásárolhat a megmaradt tételekből.) Anyagbeadási határidő a 316. gyorsárverésre: február 1. Az árverés FILATÉLIA, NUMIZMATIKA, KÉPESLAP és az EGYÉB GYŰJTÉSI TERÜLETEK tételei külön katalógusokban szerepelnek! A vásárlói jutalék 22% Részletes árverési szabályzat weboldalunkon és irodánkban megtekinthető. darabanth.com Tisztelt Ügyfelünk! 315. aukció: Megtekintés: január 28- február 1-ig! Tételek átvétele február 5-én 10 órától! 314. aukció elszámolás február 6-től! Amennyiben átutalással kéri az elszámolását, kérjük jelezze e-mailben, vagy telefonon. Kérjük az elszámoláshoz a tétel átvételi listát szíveskedjenek elhozni! Kezelési költség 240 ft / tétel / árverés. A 2. indításnál 120 ft A vásárlói jutalék 22% Tartalomjegyzék: Festmények és grafikák 10000-10269 Ex libris és kisgrafika 10500-10588 Metszetek 11000-11050 Műtárgyak, antikvitás 11051-11068 Szobrok, kisplasztikák, -
Die Bühnenbildentwürfe Im Werk Von Max Slevogt
Die Bühnenbildentwürfe im Werk von Max Slevogt Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig‐Maximilians‐Universität München vorgelegt von Carola Schenk aus München 2015 Erstgutachter: Prof. Dr. Frank Büttner Zweitgutachter: Prof. Dr. Burcu Dogramaci Datum der mündlichen Prüfung: 29. Juni 2015 1 Inhalt Dank ......................................................................................................................................... 5 1. Einführung ........................................................................................................................ 8 1.1 Einleitung ................................................................................................................. 8 1.2 Literaturbericht ....................................................................................................... 12 2. Theater- und Künstlerszene im ersten Drittel des 20. Jahrhunderts in Berlin ................ 20 2.1 Die Künstlermetropole Berlin ................................................................................ 20 2.2 Die Theatermetropole Berlin .................................................................................. 28 3. Bildende Kunst und Theater – Wechselwirkungen zwischen bildender Kunst und Theater .................................................................................................................................... 35 3.1 Bildende Künstler und das Theater – Maler als Bühnenbildner zu Beginn des 20. Jahrhunderts in Deutschland .............................................................................................