Lili Boulanger (1893-1918)
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Linda Phyllis Austern and Inna Naroditskaya Canary Islands
Musicology/Women’s Studies Naroditskaya Austern and Austern “This powerful collection of essays presents a fascinating portrait of feminized musical power as embodied in the figure of the siren and her many sisters. MusIC OF THE Cutting across history, cultures, and disciplinary lines, these essays bring to- gether a vast literature on this mythical figure, who, like water, seems to flow effortlessly between the spaces of life and death, fantasy and certainty, music and silence. Reading this work reaffirms the notion that the combined power of women and their music is at once dangerous and enchanting.” —Ellen Koskoff, Eastman School of Music/University of Rochester M “Fascinating, provocative, erudite, and seductive, Music of the Sirens is sure to become an essential resource for anyone interested in cross-cultural figurations us of aural and/or sexual allure.” —Suzanne G. Cusick, New York University Whether referred to as mermaid, rusalka, or mami wata, the siren has inspired I music and its representations across the globe. This book, co-edited by a his- C Sirens torical musicologist and an ethnomusicologist, brings together leading scholars and talented newcomers in classics, music, media studies, literature, and cul- O tural studies to consider the siren and her multifaceted relationships to music across time and geography. F LINDA PHyllIS AusTern is Associate Professor of Musicology in the School of Music, Northwestern University. She has written extensively on issues TH concerning music in western European intellectual culture, concentrating on sixteenth- and seventeenth-century England and Europe. Her previous books are Music, Sensation, and Sensuality (editor) and Music in English Children’s Drama of the Later Renaissance. -
Georges Enesco Au Conservatoire De Paris (1895 – 1899)
GEORGES ENESCO AU CONSERVATOIRE DE PARIS (1895 – 1899) JULIEN SZULMAN VIOLON PIERRE-YVES HODIQUE PIANO GEORGES ENESCO AU CONSERVATOIRE DE PARIS (1895 – 1899) GEORGES ENESCO ANDRÉ GÉDALGE GEORGES ENESCO MARTIN-PIERRE MARSICK Sonate n°1 pour piano et violon Sonate n°1 pour piano et violon Sonate n°2 pour piano et violon 11. Attente - Poème d’été opus 2 opus 12 opus 6 pour violon et piano 1. Allegro vivo — 7’42 4. Allegro moderato 8. Assez mouvementé — 8’40 opus 24 n°3 — 3’56 — 2’18 2. Quasi adagio — 9’28 e tranquillamente 9. Tranquillement — 7’12 3. Allegro — 8’00 5. Vivace — 3’35 10. Vif — 7’49 6. Adagio non troppo — 3’34 7. Presto con brio — 3’34 durée totale — 75’51 JULIEN SZULMAN — VIOLON PIERRE-YVES HODIQUE — PIANO RETOUR AUX SOURCES Élève d’un élève du violoniste Christian Halphen, dédiée à Enesco, composée final est indiqué « trompette », représentant Nationale de France. À de rares exceptions Ferras, j’ai très tôt été fasciné par la figure de seulement à partir de juillet 1899, et donc « un gosse de Poulbot ». L’écoute des près, les nombreux doigtés indiqués par son mentor Georges Enesco. Compositeur, postérieure aux études du violoniste au deux enregistrements du compositeur Marsick ont été respectés. violoniste, pianiste, chef d’orchestre : Conservatoire. Ce programme permet de (avec Chailley-Richez, et en 1943 avec la multiplicité de ses talents en fait une découvrir la personnalité marquante du Dinu Lipatti) est riche d’enseignements sur Ces différentes sources me sont d’une figure incontournable de l’histoire de la jeune Georges Enesco, et l’environnement la liberté du jeu des musiciens et du choix aide précieuse pour m’approcher au plus musique de la première moitié du XXe siècle. -
Rome Vaut Bien Un Prix. Une Élite Artistique Au Service De L'état : Les
Artl@s Bulletin Volume 8 Article 8 Issue 2 The Challenge of Caliban 2019 Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger Artl@s, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Music Commons Recommended Citation Verger, Annie. "Rome vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968." Artl@s Bulletin 8, no. 2 (2019): Article 8. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Artl@s At Work Paris vaut bien un prix. Une élite artistique au service de l’État : Les pensionnaires de l’Académie de France à Rome de 1666 à 1968 Annie Verger* Résumé Le Dictionnaire biographique des pensionnaires de l’Académie de France à Rome a essentiellement pour objet le recensement du groupe des praticiens envoyés en Italie par l’État, depuis Louis XIV en 1666 jusqu’à la suppression du concours du Prix de Rome en 1968. -
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000
The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Performative and Analytical Study, with a Catalogue Raisonné of the Extant Works Analytical Study: The Contest Works for Trumpet and Cornet of the Paris Conservatoire, 1835-2000: A Study of Instrumental Techniques, Forms and Genres, with a Catalogue Raisonné of the Extant Corpus By Brandon Philip Jones ORCHID ID# 0000-0001-9083-9907 Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy July 2018 Faculty of Fine Arts and Music The University of Melbourne ABSTRACT The Conservatoire de Paris concours were a consistent source of new literature for the trumpet and cornet from 1835 to 2000. Over this time, professors and composers added over 172 works to the repertoire. Students and professionals have performed many of these pieces, granting long-term popularity to a select group. However, the majority of these works are not well-known. The aim of this study is to provide students, teachers, and performers with a greater ability to access these works. This aim is supported in three ways: performances of under-recorded literature; an analysis of the instrumental techniques, forms and genres used in the corpus; and a catalogue raisonné of all extant contest works. The performative aspect of this project is contained in two compact discs of recordings, as well as a digital video of a live recital. Twenty-six works were recorded; seven are popular works in the genre, and the other nineteen are works that are previously unrecorded. The analytical aspect is in the written thesis; it uses the information obtained in the creation of the catalogue raisonné to provide an overview of the corpus in two vectors. -
Jacques Ibert Represents the Quintessence
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Trois pièces brèves (Three Short Pieces), for Woodwind Quintet Jaques Ibert acques Ibert represents the quintessence awarded the prestigious Prix de Rome on his Jof the Parisian composer in the early- to first try, in 1919. Ibert never departed much mid-20th century: cultivated but not pomp- from an essentially traditional musical lan- ous, technically adept but self-effacing, blend- guage that used explicitly modern harmonies ing the “serious” with the “popular,” typically only as surface details. Apart from the Trois good-spirited and often witty. He was born in pièces brèves, his most frequently visited piec- Paris during the Belle Époque and died in the es today are his orchestral work Escales, his same city 72 years later, having weathered two Flute Concerto, and a neo-Renaissance ballet world wars. His mother, who was distantly re- score, Diane de Poitiers. lated to the Spanish composer Manuel de Falla, From 1924 on he also composed a good deal had studied piano at the Paris Conservatoire and of incidental music for dramatic productions, encouraged his musical education as a child. a natural intersection of his double-threat He was drawn to both music and the theater, background in music and theater, and it was but his first professional steps after high school one such project that gave rise to Trois pièces were hardly distinguished: he started working as brèves. The play was the five-act comedy The a movie-hall pianist and writing popular songs Beaux’s Stratagem, by Irish author George under the pseudonym William Berty. -
Download the Clarinet Saxophone Classics Catalogue
CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers. -
Postcards from Paris
A concert presented by The Historic New Orleans Collection & the Louisiana Philharmonic Orchestra “Postcards from Paris” is the eighth installment of Musical Louisiana: America’s Cultural The Historic New Orleans Collection Heritage, an annual series presented by The Historic New Orleans Collection and the Louisiana Philharmonic Orchestra. Dedicated to the study of Louisiana’s contributions to the world of and classical music, the award-winning program also provides online educational materials to fourth- the Louisiana Philharmonic Orchestra and eighth-grade public and private school teachers throughout Louisiana. Carlos Miguel Prieto Adelaide Wisdom Benjamin Music Director and Principal Conductor Since the program’s inception, Musical Louisiana has garnered both local and national recognition. The 2008 presentation, “Music of the Mississippi,” won the Big Easy Award for Arts Education; “Made in Louisiana” (2009) received an Access to Artistic Excellence grant from the PRESEnt National Endowment for the Arts; “Identity, History, Legacy: La Société Philharmonique” (2011) received an American Masterpieces: Three Centuries of Artistic Genius grant from the National Postcards from Paris Endowment for the Arts; and “Envisioning Louisiana” (2013) won a $20,000 grant from the National Endowment for the Arts to support its educational component. This year’s concert, “Postcards from Paris,” celebrates the rich cultural and musical connections between France Nicholas Carter, conductor and Louisiana. In addition, three students from the prestigious Conservatoire national supérieur Janet Daley Duval, narrator de musique et de danse de Paris, founded in 1795, will travel from France to perform solos, Laurence Kaptain, cimbalom continuing the centuries-old tradition of musical exchange between the nations. -
Who Is Paule Maurice?? Her Relative Anonymity and Its Consequences
WHO IS PAULE MAURICE? HER RELATIVE ANONYMITY AND ITS CONSEQUENCES by Anthony Jon Moore A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters in Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2009 Copyright © Anthony Jon Moore 2009 ii ACKNOWLEDGEMENTS I would like to express my sincere and deep appreciation to the many people who fielded my incessant queries and one-track mind conversations for the last two years, especially Dr. Kenneth Keaton, Dr. Laura Joella, Dr. Stuart Glazer, and my translator, Elsa Cantor. The unbelievable support that materialized from individuals I never knew existed is testimony to the legacy left behind by the subject of this thesis. I want to extend my heartfelt appreciation to Jean-Marie Londeix for responding to my many emails; Sophie Levy, Archivist of the Conservatoire National Supérieur de Musique de Paris for providing me with invaluable information; Marshall Taylor for donating his letter from Paule Maurice and his experiences studying Tableaux de Provence with Marcel Mule; Claude Delangle for Under the Sign of the Sun; James Umble for his book, Jean-Marie Londeix: Master of the Modern Saxophone; and Theodore Kerkezos for his videos of Tableaux de Provence. I want to thank Dr. Eugene Rousseau, Professor Emeritus Jack Beeson, Sarah Field, the Clarinet and Saxophone Society of Great Britain, Dr. Julia Nolan, Dr. Pamela Youngdahl Dees, Dr. Carolyn Bryan, and Dr. William Street, for generously taking a call from a stranger in search of Paule Maurice. -
The Unique Cultural & Innnovative Twelfty 1820
Chekhov reading The Seagull to the Moscow Art Theatre Group, Stanislavski, Olga Knipper THE UNIQUE CULTURAL & INNNOVATIVE TWELFTY 1820-1939, by JACQUES CORY 2 TABLE OF CONTENTS No. of Page INSPIRATION 5 INTRODUCTION 6 THE METHODOLOGY OF THE BOOK 8 CULTURE IN EUROPEAN LANGUAGES IN THE “CENTURY”/TWELFTY 1820-1939 14 LITERATURE 16 NOBEL PRIZES IN LITERATURE 16 CORY'S LIST OF BEST AUTHORS IN 1820-1939, WITH COMMENTS AND LISTS OF BOOKS 37 CORY'S LIST OF BEST AUTHORS IN TWELFTY 1820-1939 39 THE 3 MOST SIGNIFICANT LITERATURES – FRENCH, ENGLISH, GERMAN 39 THE 3 MORE SIGNIFICANT LITERATURES – SPANISH, RUSSIAN, ITALIAN 46 THE 10 SIGNIFICANT LITERATURES – PORTUGUESE, BRAZILIAN, DUTCH, CZECH, GREEK, POLISH, SWEDISH, NORWEGIAN, DANISH, FINNISH 50 12 OTHER EUROPEAN LITERATURES – ROMANIAN, TURKISH, HUNGARIAN, SERBIAN, CROATIAN, UKRAINIAN (20 EACH), AND IRISH GAELIC, BULGARIAN, ALBANIAN, ARMENIAN, GEORGIAN, LITHUANIAN (10 EACH) 56 TOTAL OF NOS. OF AUTHORS IN EUROPEAN LANGUAGES BY CLUSTERS 59 JEWISH LANGUAGES LITERATURES 60 LITERATURES IN NON-EUROPEAN LANGUAGES 74 CORY'S LIST OF THE BEST BOOKS IN LITERATURE IN 1860-1899 78 3 SURVEY ON THE MOST/MORE/SIGNIFICANT LITERATURE/ART/MUSIC IN THE ROMANTICISM/REALISM/MODERNISM ERAS 113 ROMANTICISM IN LITERATURE, ART AND MUSIC 113 Analysis of the Results of the Romantic Era 125 REALISM IN LITERATURE, ART AND MUSIC 128 Analysis of the Results of the Realism/Naturalism Era 150 MODERNISM IN LITERATURE, ART AND MUSIC 153 Analysis of the Results of the Modernism Era 168 Analysis of the Results of the Total Period of 1820-1939 -
“L'art N'a Pas De Patrie?” Musical Production and Resistance in Nazi
Title Page “L’art n’a pas de patrie?” Musical Production and Resistance in Nazi-Occupied Paris, 1940-1944 by Julie Ann Cleary B.M. in Clarinet Performance, Rhode Island College, 2012 M.F.A. in Historical Musicology, Brandeis University, 2014 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 Committee Membership Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Julie Ann Cleary It was defended on April 22, 2019 and approved by Dr. Olivia Bloechl, Professor, Department of Music Dr. Lisa Brush, Professor, Department of Sociology Dr. Michael Heller, Associate Professor, Department of Music Dr. Deane L. Root, Professor, Department of Music Dissertation Director: M.A. James P. Cassaro, Professor, Department of Music ii Copyright © by Julie Ann Cleary 2019 iii Abstract “L’art n’a pas de patrie?” Music Production and Resistance in Nazi-Occupied Paris, 1940-1944 Julie Ann Cleary, Ph.D. University of Pittsburgh, 2019 Scholarship from various fields including history, Vichy studies, sociology, and musicology have dissected myths surrounding the Occupation of France (1940-1944), which fall into two generalities of total collaboration or total resistance. The reality lies in the middle, in which many individuals participated in resistance or collaboration in a variety of degrees. I argue that composing, performing, and listening to music are substantial resistant acts, using the resistance movements in Occupied Paris as a case study. This study has two overarching goals. -
Paul Vidal (1863-1931)
1/22 Data Paul Vidal (1863-1931) Pays : France Sexe : Masculin Naissance : Toulouse, 16-06-1863 Mort : Paris, 09-04-1931 Note : Chef d'orchestre, professeur et compositeur. - Prénoms complets : Paul, Antonin ISNI : ISNI 0000 0000 8133 3229 (Informations sur l'ISNI) A dirigé : De 1914 à 1919 : Théâtre national de l'Opéra-comique. Orchestre. Paris Paul Vidal (1863-1931) : œuvres (498 ressources dans data.bnf.fr) Œuvres musicales (334) Salut aux Vosges Hymne à la beauté (1904) (1904) Ballet des nations Cantique (1903) (1900) Printemps nouveau Orchestrations. Le chant du départ. Méhul, Étienne- (1900) Nicolas (1900) Berceuses. Choeur à 3 voix La burgonde (1900) (1898) Retour d'Islande Solos de concert. Trombone, piano. No 2 (1897) (1897) Le chant des glaives Orchestrations. La marseillaise. Rouget de Lisle, Claude (1897) Joseph (1897) Les contrebandiers du Mont-Noir Guernica (1896) (1895) data.bnf.fr 2/22 Data Les Pyrénées Glory be to the Father (1895) (1894) Lou mètjoun La maladetta (1894) (1893) "Trois sonneries de la Rose+Croix. Piano" Chant de Noël (1892) (1892) de Erik Satie avec Paul Vidal (1863-1931) comme Destinataire de l'envoi Les feux follets Chanson de fées (1892) (1887) "Le carnaval des animaux. R 125" "Manon" (1886) (1884) de Camille Saint-Saëns de Jules Massenet avec Paul Vidal (1863-1931) comme Orchestrateur avec Paul Vidal (1863-1931) comme Auteur de la réduction musicale Invocation "Euryanthe. J 291" (1883) (1822) de Carl Maria von Weber avec Paul Vidal (1863-1931) comme Auteur de la réduction musicale "Euryanthe. J 291" "Ch'io mi scordi di te. KV 505" (1822) (1786) de Carl Maria von Weber de Wolfgang Amadeus Mozart avec Paul Vidal (1863-1931) comme Éditeur scientifique avec Paul Vidal (1863-1931) comme Auteur de la réduction musicale "Le nozze di Figaro. -
Académie De France À Rome Directorat De Charles Thévenin (1816-1823)
Archives nationales K:\villa medicis\versement\20180401_thevenin\IR_thevenin-20180401_20180819.odtNe pas effacer ACADÉMIE DE FRANCE À ROME DIRECTORAT DE CHARLES THÉVENIN (1816-1823) Répertoire numérique détaillé du versement 20180401 Magdalena Dżoń et Corinne Jouys Barbelin Première édition électronique Archives nationales Pierrefitte-sur-Seine 2018 Archives nationales Cet instrument de recherche a été rédigé avec un logiciel de traitement de texte. Il est en français. Conforme à la norme ISAD(G) et aux règles d’application de la DTD EAD (version 2002) aux Archives nationales, il a reçu le visa du Service interministériel des Archives de France le ..... Archives nationales Sommaire Administration générale..............................................................................................................7 Suivi et envois des travaux des pensionnaires........................................................................7 Suivi des pensionnaires, ateliers, affaire Pradier, décoration de la Trinité des Monts, moulages des colonnes du Panthéon, décès de Bourgeois...................................................16 Suivi comptable et financier......................................................................................................26 Exercices 1816 et 1817.........................................................................................................26 Exercice 1818, retenue des pensionnaires............................................................................30 Exercices 1819 et 1820.........................................................................................................41