Wiley L. Housewright Sheet Music Collection (MUS SPEC M1.H68) Composer Or Title Publisher Date Lyricist Text Incipit Arranger Volume 1 F.H
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Guitar Syllabus
TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and -
Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals
Technological University Dublin ARROW@TU Dublin Concert Programmes Conservatory of Music and Drama 2012 Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals Una Hunt DIT Conservatory of Music and Drama, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscp Part of the Arts and Humanities Commons Recommended Citation William Vincent Wallace Bicentenary Recitals Programme (Wexford Festival Opera, October-November 2012) This Other is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Concert Programmes by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License 24 October–4 November, 2012 Concert | William V Wallace Recital Sponsors & Funders William V Wallace Recital Thursday 25 October | 15:30 JEROME HYNES THEATRE Grant-aided by the Arts Council Friday 2 November | 11:00 Image of William V Wallace is reproduced courtesy of the National Library of Ireland (call number EP WALL-WI (1) III) Festival supported by Fáilte Ireland WILLIAM VINCENT WALLACE (1812–1865) THE DELIUS TRUST Songs and piano music from the William Vincent Wallace Album Máire Flavin (Mezzo-soprano, 25 October) | Rachel Kelly (Mezzo-soprano, 2 November) Lead Production Sponsor Print Media Sponsor & Production Sponsor Production Sponsor Una Hunt (Piano) L’Arlesiana -
The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24 -
Macfarren 2 660306-07 Bk Macfarren 16/08/2011 14:22 Page 16
660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 16 2 CDs George Alexander MACFARREN Robin Hood Spence • Jordan • Ashman • Mackenzie-Wicks Hulbert • Molloy • Hurst • Knox John Powell Singers Victorian Opera Chorus and Orchestra 8.660306-07 16 Ronald Corp 660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 2 George Alexander MACFARREN (1813-1887) Robin Hood A romantic English Opera in three acts Libretto by John Oxenford (1812-1877) Performing Edition by Valerie Langfield Robin Hood (in disguise as Locksley) . Nicky Spence, Tenor Sir Reginald d’Bracy (Sheriff of Nottingham) . George Hulbert, Baritone Hugo (Sompnour, Collector of Abbey dues) . Louis Hurst, Bass Allan-a-Dale (a young peasant) . Andrew Mackenzie-Wicks, Tenor Little John John Molloy, Bass (Outlaws) Much, the Miller’s son} { Alex Knox, Baritone Marian (daughter of Sheriff) . Kay Jordan, Soprano Alice (her attendant) . Magdalen Ashman, Mezzo-soprano Villagers, Citizens and Greenwood men . John Powell Singers and Victorian Opera Chorus Knighted at Windsor Castle on the same day in 1883 George Macfarren was knighted for his services to English music at the same time as Arthur Sullivan, composer (another Royal Academy of Music alumnus), and George Grove, first director of the Victorian Opera Orchestra Royal College of Music and Grove!s Musical Dictionary founder. Ronald Corp Musical Director: Ronald Corp Assistant Conductor: Duncan Ward • Chorus-masters: Marc Hall and John Powell Executive Producer: Raymond J Walker • Research: David Chandler -
Observations
L.E SHEET. 10 NEW TORIC HERALD, THURSDAY, FEBRUARY 13, 18V9.-TRIP1 J worth in Savannah; Gulf Stream. Gharlealon; Centipede (from In port Fob 4, aebr Willie Mnrtln. Merritnan. from an4 G. John G. the uary 1( 1876. considered fll.OOO: $117,000 for and Bergen. He represented Eighth WHO KILLED PATRICK WHITE? bills receivable, regarded M worth $78,000; $'J14.000in Philadelphia1, Kmvldenro; aliipa Kaunar iKri. Brlatol; frgutala OBITUARY., ward, where he wee born, in the Board of Wflliiitrtiui iHri. llavro; hark a Truro (Br>. do; Svalen It Feb 11.Arrive*!, etennier City of Para. bills receivable of tlix o)«l Arm of Appluton, Noyes Ac 'end railed «» 3 PMi. He was also a member of the lloard ofSuperviaore. in cwh (Xori, Rotterdam: Lama Dunn iHri. Wloueeeterj Rotheaay Now York for Kio .liinelm Carpenter, Coroner Nolan yesterday commaneed bis inquiry Co.. considered aa worth fii.OOO; (14,000 (X «n. Kolkvanir (Noil, do; bri«« Koaauk. Hr |"R. Fell lit.Sailed, «teenier Herrauda iBr), He was a director in the National CityKdoration.bank taken the Arm U.ilway; " Jiih.m, WALLACE. ami was at the Four District cofirt room, Wtllianiaburg, into Mini (58,000 in lanuH and property by Hrltaiiuia. Harbadoa; arhra Maud, Cardouaa;Maraolllee:limn. Now York. MRS. JAMES W. and Moutank Eire Insurance Company, for debt, tbo prujterty being scattered over several Suaun I' Tliurloar. Bapua. St Jaiio, .Inn 2.V.Arrived. »chr« Florence Sliny, Ynn Death has called another from a large artistic President of the South Brooklyn Sawmill Company. the cause of the death of Patrick White, and after a States. -
William Vincent Wallace Bicentenary Festival Programme, National Concert Hall, 15 October 2012
Technological University Dublin ARROW@TU Dublin Concert Programmes Conservatory of Music and Drama 2012-10-15 William Vincent Wallace Bicentenary Festival Programme, National Concert Hall, 15 October 2012 Una Hunt Dr DIT Conservatory of Music and Drama, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscp Part of the Arts and Humanities Commons Recommended Citation William Vincent Wallace Bicentenary Festival (National Concert Hall Dublin, 15 October 2012) This Other is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Concert Programmes by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License William Vincent Wallace Bicentenary Festival Day Souvenir Programme Monday 15 October 2012 including the launch of the 1854 Commemorative Music Album and CD Respectfully dedicated to The Ladies of the United States by William Vincent Wallace Facsimile edited by Úna Hunt ÚNA HUNT, piano MÁIRE FLAVIN, mezzo-soprano THE ROYAL IRISH ACADEMY OF MUSIC VOCAL TRIO Limited edition Wallace Facsimile Music Album and CD available from The Music Box at the National Concert Hall and from the RTÉ online shop, www.rte.ie/shop. This publication is generously supported by the Department of Arts, Heritage and the Gaeltacht. Welcome he National Concert Hall is delighted to have the opportunity to honour the Irish composer William Vincent Wallace with a day of festivities celebrating the bi-centenary of his birth. -
![Annals of the Army of the Cumberland [Electronic Resource]](https://docslib.b-cdn.net/cover/5265/annals-of-the-army-of-the-cumberland-electronic-resource-1435265.webp)
Annals of the Army of the Cumberland [Electronic Resource]
4 / ^~y.<?g, "': r * ; v the AM2 T jJk >>K !i. >\»EL>JK! J A 1 Lf [fj/IjiriPlP'ISS'^ 'D'-a^l & G<J ANNALS ARMY OF THE CUMBERLAND: COMPRISING BIOGRAPHIES, DESCRIPTIONS OF DEPARTMENTS, ACCOUNTS OF EXPEDITIONS, SKIRMISHES, AND BATTLES; POLICE RECORD SPIES, SMUGGLERS, AND PROMINENT REBEL EMISSARIES. TOGETHER WITH .JUwctoteis, pculents, gwtnj, QtfoMmntts, tit. OFFICIAL REPORTS OF THE BATTLE OF STONE RIVER. BY AX OFFICER. ILLUSTRATED WITH STEEL PORTRAITS, WOOD ENGRAVINGS, AND MAPS. PHILADELPHIA: J. B. LIPPINCOTT & CO. 1863. Entered, according to Act of Congress, in the year 1863, by J. B. LIPPINCOTT & CO. FOR THE AUTHOR, in the Clerk's Office of the District Court of the United States for the Eastern District of Pennsylvania. -o STEREOTYPED BY L. JOHNSON & CO. PRINTED BY LIPPINCOTT & CO. PREFACE. To the soldiers of the Army of the Cumberland, and to their friends at home, the author presents this volume of portraits, sketches, and incidents,— a work undertaken at the solicitation of many friends, with the view of affording pleasure to our soldiers and imparting information to the people, and, if it may be, to secure a fund for the erection of a monument to overlook the battle-field of Stone River, Tennessee, where rest, "unknelled, uncoffined, and unknown," hundreds of American citizens. This work is not intended as a history of the Rebellion, in a general sense, nor even as a detailed account of events occurring' in the history of the Army of the Cumberland. It is simply a collection of sketches and portraits of many of its representative men, and a narration of many interesting events which have transpired within its lines. -
Original Song Settings of Irish Texts by Irish Composers, 1900-1930
Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song. -
TOCC0555DIGIBKLT.Pdf
RONALD STEVENSON Piano Music, Volume Four Suite from Paderewski’s ‘Manru’ (1961)* 15:08 1 I Introduction and Gipsy March 4:22 2 II Gipsy Song 3:43 3 III Lullaby 2:56 4 IV Cracovienne 4:07 5 Song without Words (1988)* 2:12 Nine Haiku (1971, arr. 2006)* 13:53 6 No. 1 Dedication 1:06 7 No. 2 The Fly 0:50 8 No. 3 Gone Away 2:05 9 No. 4 Nocturne 1:29 10 No. 5 Master and Pupil 0:40 11 No. 6 Spring 1:27 12 Interlude: The Blossoming Cherry (Aubade) 2:12 13 No. 7 Curfew 1:23 14 No. 8 Hiroshima 0:43 15 No. 9 Epilogue 1:58 16 Charpentier: Louise – Romance (c. 1970)* 3:10 2 L’Art Nouveau du chant appliqué au piano (1980–88) 40:53 Volume One 20:44 17 No. 1 Coleridge-taylor: Elëanore (1980) 3:53 18 No. 2 White: So We’ll Go No More A-Roving (1980) 5:52 19 No. 3 Meyerbeer: Romance: Plus blanche que la plus blanche hermine (Les Huguenots) (1975) 5:42 20 No. 4 Rachmaninov: In the Silent Night (1982) 3:17 21 No. 5 Bridge: Go not, happy day! (1980) 2:00 Volume Two 10:09 22 No. 1 Novello: Fly Home, Little Heart (?1980) 3:03 23 No. 2 Novello: We’ll Gather Lilacs (1980) 4:23 24 No. 3 Coleridge-taylor: Demande et Réponse (Hiawatha) (1981) 1:28 25 No. 4 Romberg: Will you remember? (Maytime, ‘Sweethearts’) (1988) 1:15 Volume Three* 10:00 26 No. -
Resituating Transatlantic Opera: the Case of the Théâtre D'orléans, New
Resituating Transatlantic Opera: The Case of the Théâtre d’Orléans, New Orleans, 1819–1859 Charlotte Alice Bentley Emmanuel College October 2017 This dissertation is submitted for the degree of Doctor of Philosophy ABSTRACT This thesis examines the production and reception of French opera in New Orleans in the first half of the nineteenth century, through a focus on the city’s principal French-language theatre from 1819 to 1859, the Théâtre d’Orléans. Building on the small body of existing scholarship concerning the theatre’s history and repertoire, here I draw upon a greatly expanded range of sources—including court cases, sheet music, and novels—in order to understand more about the ways in which operatic culture shaped and was shaped by city life in this period. New Orleans’s operatic life relied on transatlantic networks of people and materials in order to thrive, and this thesis explores the city’s place within growing global operatic systems in the nineteenth century. The five chapters each reflect on different aspects of operatic translocation and its significance for New Orleans. The first two argue for the centrality of human agency to the development of transatlantic networks of production and performance by examining the management of the theatre and the international movement of singers in turn. Chapter 3 investigates the impact of French grand opéra on New Orleans, arguing that the genre provided a focus for the negotiation of local, national, and international identities among opposing critical (and linguistic) factions within the city, while also providing an impetus for the development of a material culture of opera. -
AN INVENTORY of MUSIC FOUND in the BASILICA of OUR LADY of SORROWS, CHICAGO (Composer and Title) Bu Fr. Conrad M. B
AN INVENTORY OF MUSIC FOUND IN THE BASILICA OF OUR LADY OF SORROWS, CHICAGO (Composer and Title) bu Fr. Conrad M. Borntrager, O.S.M. Chicago Annunciata Priory 1994 AN INVENTORY OF MUSIC FOUND IN THE BASILICA OF OUR LADY OF SORROWS, CHICAGO (Composer and Title) INTRODUCTION The music which the parish choir of Our Lady of Sorrows used in the period before Vatican II has remained virtually untouched in the choir loft of the Basilica. It has now been placed in new envelopes and the cabinets thoroughly cleaned, and a complete inventory drawn up. There are 417 pieces of music listed in the present inventory. Copies of a particular selection which have different copyright dates or different publishers are listed separately. Only one listing is made, however, in cases where there are two or three printings of the same selection, the copyright dates, the publishers and the music being the same and only the covers being different. The date given in the entry is the latest copyright date found on the music. This indicates that the music could not have been used before that date, but it is not much help in judging when a particular composition was acquired. It could have been purchased at any time after the date indicated. But from the name/address labels on several of the compositions, the music was in the possession of the Our Lady of Sorrows choir before 1909, for the address is the old numbering system for the city of Chicago which was changed in 1909. Six compositions were in the possession of the choir before 1909 and another six were dated 1909. -
Music (Opportunities for Research in the Watkinson Library)
Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society.