Requiem for Baritone, Chorus and Orchestra (Lost) C. 19
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Psaudio Copper
Issue 77 JANUARY 28TH, 2019 Welcome to Copper #77! I hope you had a better view of the much-hyped lunar-eclipse than I did---the combination of clouds and sleep made it a non-event for me. Full moon or no, we're all Bozos on this bus---in the front seat is Larry Schenbeck, who brings us music to counterbalance the blah weather; Dan Schwartz brings us Burritos for lunch; Richard Murison brings us a non-Python Life of Brian; Jay Jay French chats with Giles Martin about the remastered White Album; Roy Hall tells us about an interesting day; Anne E. Johnson looks at lesser-known cuts from Steely Dan's long career; Christian James Hand deconstructs the timeless "Piano Man"; Woody Woodward is back with a piece on seminal blues guitarist Blind Blake; and I consider comfort music, and continue with a Vintage Whine look at Fairchild. Our reviewer friend Vade Forrester brings us his list of guidelines for reviewers. Industry News will return when there's something to write about other than Sears. Copper#77 wraps up with a look at the unthinkable from Charles Rodrigues, and an extraordinary Parting Shot taken in London by new contributor Rich Isaacs. Enjoy, and we’ll see you soon! Cheers, Leebs. Stay Warm TOO MUCH TCHAIKOVSKY Written by Lawrence Schenbeck It’s cold, it’s gray, it’s wet. Time for comfort food: Dvořák and German lieder and tuneful chamber music. No atonal scratching and heaving for a while! No earnest searches after our deepest, darkest emotions. What we need—musically, mind you—is something akin to a Canadian sitcom. -
MS Mus. 1738. Music Manuscripts of the Composer Robert Simpson (B.1921; D.1997); 1942-1997, N.D. Manuscripts Are Autograph Except Where Specified Otherwise
THE ROBERT SIMPSON COLLECTION AT THE BRITISH LIBRARY MS Mus. 1738. Music manuscripts of the composer Robert Simpson (b.1921; d.1997); 1942-1997, n.d. Manuscripts are autograph except where specified otherwise. Presented by Angela Simpson on 9 June 2000, with additional material subsequently received from the archives of the Robert Simpson Society (formerly housed at Royal Holloway, University of London), and from individual donors. See also MS Mus. 94, the autograph manuscript of Simpson’s String Quartet no. 7. The collection is arranged as follows: MS Mus. 1738/1 Symphonies MS Mus. 1738/2 Concertos MS Mus. 1738/3 Other orchestral music MS Mus. 1738/4 Incidental music MS Mus. 1738/5 Music for brass band MS Mus. 1738/6 Vocal music MS Mus. 1738/7 String quartets MS Mus. 1738/8 Other chamber music MS Mus. 1738/9 Keyboard music MS Mus. 1738/10 Arrangement MS Mus. 1738/11 Miscellaneous sketches MS Mus. 1738/1. SYMPHONIES MS Mus. 1738/1/1. Robert Simpson: Symphony no. 1; 1951. Score, in green ink, with various ink and pencil annotations. Dated at the end ‘21. vii. 1951 at Muswell Hill’. Submitted by the composer for his doctorate at the University of Durham in 1951. First performed in Copenhagen on 11 June 1953. Published by Alfred Lengnick & Co, 1956. Presented by the Robert Simpson Society in 2006. ff. i + 73. Green buckram binding. MS Mus. 1738/1/2. Robert Simpson: Symphony no. 2; 1955-1956. Score, in ink, with numerous ink and pencil annotations. Dedicated to Anthony and Mary Bernard. Published by Alfred Lengnick & Co., 1976. -
TEM Issue 153 Cover and Front Matter
Tempo PETER MAXWELL DA VIES Stephen Pruslin considers the symphonies ... so far NED ROREM Bret Johnson on the major works of the past 15 years 'DIE LIEBE DER DANAE' Kenneth Birkin on Richard Strauss's least-known opera ROBERT SIMPSON'S 'NEW WAY' Lionel Pike analyses the Eighth String Quartet BERIO ENGLISH MUSIC SCOTS FOLKSONG TRUSCOTT No. 153 £1.00 REVIEWS NEWS SECTION Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 27 Sep 2021 at 03:21:27, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200059350 CONTRIBUTORS STEPHEN PRUSLIN has just been devising and recording the musical vignettes for the Radio 3 series New Premises. His recording of Maxwell Davies's Piano Sonata on Auracle AUC 1005 was chosen by Edward Greenfield as the outstanding contemporary disc of 1984. In June, Pruslin was on the jury of the 1985 Carnegie Hall International Piano competition and in July will be harpsichord soloist in the Fifth Brandenburg Concerto at The Berliner Bach- Tagen. BRET JOHNSON'S principal music activities are with the Mary Magdalen Music Society, Paddington: last year he devised, performed and conducted a programme of American music including several UK premieres there. KENNETH BIRKIN is researching into Strauss's late operatic collaborations with Stefan Zweig and Josef Gregor, on which he has published articles in the Richard-Strauss Blatter. LIONEL PIKE teaches at the Department of Music, Royal Holloway College (University of London), where he is also Director and organist of the Chapel Choir. -
Oskar Łapeta Phonographic Realisations of the Gothic Symphony by Havergal Brian
Oskar Łapeta Phonographic Realisations of the Gothic Symphony by Havergal Brian Kwartalnik Młodych Muzykologów UJ nr No. 37 (2), 161-176 2018 Kwartalnik Młodych Muzykologów UJ No. 37 (2/2018), pp. 161–176 DOI 10.4467/23537094KMMUJ.18.025.9169 www.ejournals.eu/kmmuj Oskar Łapeta University of Warsaw Phonographic Realisations of the Gothic Symphony by Havergal Brian Abstract Havergal Brian’s Symphony No. 1 in D minor (1919–1927), known as Gothic Symphony, is possibly one of the most demanding and difficult pieces in symphonic repertoire, the largest-scale symphony ever written, outdoing the most extreme demands of Mahler, Strauss and Schönberg. After the purely instrumental part 1, part 2 is a gigantic setting of Te Deum, inspired by the mighty Gothic cathedrals. This outstanding work has been per- formed only six times since its premiere in 1961, and has been recorded in studio only once. There are three existing phonographic realisations of this work. Two of them are live recordings made in England. The first of them comes from 1966, when the Symphony was recorded under the direction of Adrian Boult (it was released by the Testament label under catalogue num- ber SBT2 1454) and the second one was made in 2011 under the baton of Martyn Brabbins (it was released in the same year under catalogue number CDA67971/2). The third recording, but the first one that has been available internationally, was made in Bratislava in 1989 under Ondrej Lenárd (it was first released by Marco Polo label in 1990, and later published by Naxos in 161 Kwartalnik Młodych Muzykologów UJ, No. -
PROMETHEUS BOUND by Aeschylus
PROMETHEUS BOUND By Aeschylus In dealing with "Prometheus Bound," it helps to know something about Greek mythology, in particular, the generations of divine beings which preceded Zeus, Athena, Aphrodite, Dionysus, and the pantheon of Greek gods with whom we are familiar. Among other immortal beings at the dawn of time were the Titans, who fought against Zeus when he defeated his father, Cronos. With the help of the Hecatoncheires (the hundred-handed monsters), and the Cyclopes, Zeus prevailed, gradually taming his ferocious allies and reaching a rough accommodation with the Titans. One of the Titans was Prometheus, who remained somewhat rebellious. His name means forethought. His brother, Epimetheus, (afterthought) was slow to figure things out, but Prometheus could look ahead. He knew things the gods did not know. Prometheus had what the gods considered a character flaw: he had sympathy for humans. The Olympian gods were completely indifferent to the fate of mankind and were content to let them struggle for existence. Prometheus decided to give them something forbidden: fire. In giving humanity physical fire, he also endowed them with mental fire: intelligence and self-awareness. For this he was severely punished. His story was told by the Greek tragedian Aeschylus in three plays, only the first of which survives. Actually, scholars now doubt that Aeschylus was the author because the play calls for stage effects that did not exist when Aeschylus was alive. We can't be completely sure, because knowledge of dramatic techniques 25 centuries ago is sketchy, at best. However, what we can glean of Aeschylus' thought and temperament seems reflected in the play, so most are willing to cite him as its author until we have definitive proof otherwise. -
PROMETHEUS SYMPHONY ORCHESTRA PRACTICES, POLICIES and BY-LAWS 2013-2014 Season TABLE of CONTENTS
PROMETHEUS SYMPHONY ORCHESTRA PRACTICES, POLICIES AND BY-LAWS 2013-2014 Season TABLE OF CONTENTS INTRODUCTION……………………………………………..……….2 Part I Orchestra Governance……………………………………… 3 A. Governance Structure Elections Board of Directors Board Functions Officers B. Board of Directors Meetings …………………..……… 4 C. Committees…………………………………….………. 4 D. Budget, Finances, Insurance………………………… 4 E. Concert Season, Venues, Rehearsals ………………... 5 Part II Orchestra Members…………..…………………………….. 6 A. Membership in Prometheus Symphony………..….… 6 B. Member Information and Responsibilities………..… 6 For Member website page / Rehearsals / Music Parts Part III Orchestra Committee ……………………………………… 7 Admission and Retention Policy……….……..……………. 7 Part IV Membership Dues Policy……………………….…………... 8 Part V Member Roster and Program Personnel List ………..…… 9 Part VI Member Information Handout …………...…………….…. 10-11 Part VII Website, E-Mail, Publicity and Outreach……………….… 11 Part VIII Merritt College and Prometheus…………………………… 12 Part IX Concert Programs - Content, Acknowledgments, and 12 Advertisements with rates………………………….…… Part X Free-Admission Policy…………………………………..… 13 Part XI Non-Profit 501(c)(3) Status and Contributions Policy 13-14 Part XII Grants and Employer “matching grants” 14 Part XIII Khuner Young Artist Concerto Competition ……………. 15-16 Rules and Application Form ………………………………. 17 Part XIV Prometheus Symphony Orchestra History (as of 2005)…... 18-19 Part XV Concert Production Checklist…………………….……..… 20-21 Part XVI Prometheus Symphony Orchestra BY-LAWS ………….… 22-30 INDEX to Book of Practices, Policies and By-Laws………………………...31 1 INTRODUCTION TO BOARD of DIRECTORS’ BOOK of PRACTICES, POLICIES AND BY-LAWS The purpose of this book is to describe the Prometheus Symphony Orchestra's governance and to summarize the Orchestra’s operational practices and policies. Each section identifies the provision in the By-Laws, if any, that affect the stated practices and policies. -
Download Booklet
572014 bk Brian 29/4/10 12:04 Page 12 Also available Havergal BRIAN Symphonies Nos. 11 and 15 RTE´ National Symphony Orchestra Tony Rowe • Adrian Leaper 8.570308 8.572014 12 572014 bk Brian 29/4/10 12:04 Page 2 Havergal Brian (1876-1972) Also available For Valour • Doctor Merryheart • Symphonies Nos. 11 and 15 Havergal Brian was never a conventional composer, but of that year’s Promenade season. The work was next the three later works on this disc, very different from played in 1911, at Crystal Palace, under Samuel one another, rank among his most unconventional Coleridge-Taylor, and Thomas Beecham conducted it in approaches to symphonic form. Their common feature, Birmingham in 1912. The score was printed by however, is the way they concentrate on developing Breitkopf & Härtel in 1914, and was actually on the short motivic cells to create a large-scale form even presses at the outbreak of World War I (perhaps when the music appears to be shaped by other dictates, unsurprisingly, copies are scarce). As published, For such as an extra-musical programme (as in Doctor Valour is dedicated to Brian’s friend Dr Graham Little – Merryheart), or free-flowing associations of mood the extant manuscript bears no dedication, yet according (Symphony No. 11). to The Staffordshire Sentinel’s 1905 report, the original The overture For Valour, by contrast, is more dedicatee was A.F. Coghill (a clergyman and benefactor obviously patterned after an orthodox idea of musical of the North Staffordshire Triennial Festival, who later form, albeit one that he treats in his own individual way. -
Comments for Cds on Klassic Haus Website - January Releases Series 2013
Comments for CDs on Klassic Haus website - January Releases Series 2013 KHCD-2013-001 (STEREO) - Havergal Brian: Symphony No. 2 in E minor (1930-31) - BBC Symphony Orchestra/Sir Charles Mackerras - It is by now almost common knowledge among the cognoscenti of classical music that Havergal Brian (1876-1972) wrote 32 symphonies, starting with the enormous and still-controversial Gothic, and suffered decades of neglect. He was born in the same decade as composers like Ravel, Scriabin and Ralph Vaughan Williams, but his style belongs to no discernable school. Of course, he had his influences (Berlioz, Wagner, Elgar and Strauss spring to mind), but he digested them thoroughly and never really sounds like anyone else. Between 1900 and 1914, Brian briefly came to notice with a series of choral works and colourful symphonic poems. Then World War I broke out, and everything changed, not least his luck as a composer. But, although many decades of neglect lay in store for him, Brian found himself, too. By the end of World War II, therefore, he had written five symphonies, a Violin Concerto, an opera, The Tigers, and a big oratorio, Prometheus Unbound (the full score of which is still lost), all of them works of power and originality, and all of them unplayed for many years to come. Havergal Brian was already in his seventies. His life’s work was done, so it seemed. The opposite was the case. Symphony No. 2 in E minor was written in 1930-31. In it Brian tackles the purely instrumental symphony for the first time, after the choral colossus which is the Gothic. -
Oboe in Oxford Music Online
14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes. -
Prometheus," D
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2005 Rhetoric, form, and sovereignty in Schubert's "Prometheus," D. 674 Erica Brady Angert Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Music Commons Recommended Citation Angert, Erica Brady, "Rhetoric, form, and sovereignty in Schubert's "Prometheus," D. 674" (2005). LSU Master's Theses. 1562. https://digitalcommons.lsu.edu/gradschool_theses/1562 This Thesis 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 Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. RHETORIC, FORM, AND SOVEREIGNTY IN SCHUBERT’S “PROMETHEUS,” D. 674 A Thesis 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 Master of Music in The School of Music by Erica Brady Angert B.A., Queens University of Charlotte, 2002 December 2005 ACKNOWLEDGMENTS I wish to acknowledge my gratitude to those who had a hand in the completion of this thesis, each of whom contributed something unique to my venture into Schubert: to my advisor, Dr. Jeffrey Perry, for his seemingly innocuous suggestion one year ago that I ought to explore this enigmatic song and then explain it to him, and for his persevering guidance of my research and analysis in the time since that fateful moment; to Dr. -
June 2018 List
June 2018 Catalogue Issue 26 Prices valid until Friday 27 July 2018 unless stated otherwise 0115 982 7500 The Temptation of St Anthony (detail from right hand panel) by Hieronymus Bosch (used as the cover for Stephen Hough’s Dream Album (Hyperion CDA68176). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, Welcome to another bumper catalogue! It never ceases to amaze us how quickly our monthly publications get filled, especially when classical music was supposed to be ‘dead’ many years ago. New releases continue to number in their hundreds every month, and it is certainly not difficult to find superb back-catalogues to promote and explore. Our ‘Disc of the Month’ is as good a place as any to start for our new release highlights: Stephen Hough’s recitals for Hyperion never fail to ignite a spark of interest, and his latest compendium features a delightful selection of both romantic and light piano repertoire, many arranged by Hough himself. We have been thoroughly enjoying it in recent days, making it a clear choice for our pick in June - please find more information below. Another pianist we think deserves some attention this month is Kevin Kenner, who has recorded a brand new album of Chopin’s late works for Warner Classics. Kenner has long been associated with Chopin and his interpretations have been compared in the past to the likes of Rubinstein, Michelangeli and Lipatti, so it is pleasing to see him now receiving some long-overdue exposure on a major label in the UK. -
Suffering and the Tragic in Aeschylus's Prometheus Bound
Batson 1 Running head: PROMETHEUS IN SUSPENSION Prometheus in Suspension: Suffering and the Tragic in Aeschylus’s Prometheus Bound Anna Katherine Batson A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Fall 2009 Batson 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Carl C. Curtis, Ph.D. Thesis Chair ______________________________ Karen S. Prior, Ph.D. Committee Member ______________________________ Donald L. Fowler, Th.D. Committee Member ______________________________ James Nutter, D.A. Honors Director ______________________________ Date Batson 3 Of all dramatic forms, tragedy is the least realistic, in a sense the most symbolic, and, as such, in its masterpieces . the closest neighbor of absolute beauty. – Ferdinand Brunetiere, L’Evolution d’un genre: la tragédie Batson 4 Abstract Prometheus Bound (ca. 430 B.C.), Aeschylus’s sweeping tragedy of suffering and injustice, has been the subject of critics for centuries because of its episodic structure and unique themes. Though, like much of the rest of Aeschylus’s corpus, it does not align with the criteria of effective tragedy according to the standards of Aristotle’s Poetics (ca. 330 B.C.), Aeschylus achieves the tragic by placing Prometheus in a state of suspension between his own divine nature and his affinity for humankind, a nearly unheard of stasis in a world where the chasm between gods and men was no small one. In receiving his punishment for giving men fire, Prometheus experiences the very suffering which he hoped to spare men, and chained to the edge of a cliff where an eagle descends to consume his daily-replenished liver, Prometheus cries out against the existential anguish to which he is unjustly condemned.