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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
UNITEL PROUDLY REPRESENTS the INTERNATIONAL TV DISTRIBUTION of Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT BRITTEN: GLORIANA Susan Bullock/Toby Spence/Kate Royal/Peter Coleman-Wright Conducted by: Paul Daniel OPERAS 3 Staged by: Richard Jones BALLETS 8 Cat. No. A02050015 | Length: 164' | Year: 2016 DONIZETTI: LA FILLE DU RÉGIMENT Natalie Dessay/Juan Diego Flórez/Felicity Palmer Conducted by: Bruno Campanella Staged by: Laurent Pelly Cat. No. A02050065 | Length: 131' | Year: 2016 OPERAS BELLINI: NORMA Sonya Yoncheva/Joseph Calleja/Sonia Ganassi/ Brindley Sherratt/La Fura dels Baus Conducted by: Antonio Pappano Staged by: Àlex Ollé Cat. -
Stilles Meer 4K PRODUCTIONS Hamburg Opera | Length: 105 Min
Gioachino Rossini RichaRd StRauSS LA GAzzeTTA AriAdne Nicola Alaimo • Hasmik Torosyan • Vito Priante • Raffaella Lupinacci OTTORINO RESPIGHI Auf nAxos CHARLES GOUNOD sOile isOkOski ∙ sOphie kOch LA CAMPANA JOchen schmeckenBecher ∙ JOhan BO tha SOMMERSA FAUST ANGELO VILLARI · VALENTINA FARCAS · THOMAS GAZHELI · MARIA LUIGIA BORSI CONDUCTED BY DONATO RENZETTI · STAGED BY PIER FRANCESCO MAESTRINI TEATRO LIRICO DI CAGLIARI Orchester der Wiener staatsOper PIOTR BECZAŁA∙ILDAR ABDRAZAKOV Orchestra del Teatro Comunale di Bologna conducted by enrique Mazzola conducted by christian thielemann MARIA AGRESTA∙ALEXEY MARKOV∙TARA ERRAUGHT staged by Marco Carniti staged by sven-eric BechtOlf WIENER PHILHARMONIKER CONDUCTED BY ALEJO PÉREZ STAGED BY REINHARD VON DER THANNEN Wiener staatsOper GIUSEPPE VERDI SEMPEROPER DRESDEN RICHARD WAGNER GAETANO DONIZETTI CARLO COLOMBARAAIDA | ANITA RACHVELISHVILI | KRISTIN LEWIS | FABIO SARTORI CONDUCTED BY ZUBIN MEHTA | STAGED BY PETER STEIN LOHENGRIN LA FAVORITE DANIEL ELĪNA GARANČA∙MATTHEW POLENZANI BARENBOIM MARIUSZ KWIECIEŃ∙MIKA KARES THE COMPLETE SCHUBERT PIANO SONATAS ARRIGO BOITO RENÉ PAPE · JOSEPH CALLEJA · KRISTINE OPOLAIS · KARINE BABAJANYAN BAYERISCHES STAATSORCHESTER CONDUCTED BY OMER MEIR WELLBER Evelyn Georg Piotr Anna Tomasz STAGED BY ROLAND SCHWAB · BAYERISCHE STAATSOPER HERLITZIUS ZEPPENFELD BECZAŁA NETREBKO KONIECZNY STAATSKAPELLE DRESDEN CHRISTIAN THIELEMANN CONDUCTED BY KAREL MARK CHICHON STAGED BY AMÉLIE NIERMEYER BAYERISCHE STAATSOPER FESTIVAL VERDI PARMA GIUSEPPE VERDI GIACOMO PUCCINI GIUSEPPE -
Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses. -
Ensoniq Mirage Factory Disks I Compiled This List to Help Me Organise and Label My
Ensoniq Mirage Factory Disks I compiled this list to help me organise and label my own (muddled) collection of disks. I hope it is of use to others – please feel free to correct any mistakes I’ve made. I’m not sure of the chronology of these libraries, and my listings are not 100% complete. This does not cover 3 rd party disks . From memory, when you bought a Mirage you got two (maybe 3?) sound disks with it – these were the ones numbered 1.4, 3.2, etc. I’ve listed what I know of those. There was also a library numbered 1, 2, 3, etc. These went up to at least 23, maybe further? Again, I’ve listed what I know of those. Then a library starting 100, 101, 102. All I know for sure is the contents of 102. Finally there was a 30 disk library – A1-10, B1-10 and C1-10. I have listed these completely. As far as I can see, this library (still available at a stupid price from Syntaur as of Jan 2013) covers every library sample Ensoniq ever did for the Mirage. You’ll notice that some of the disks are duplicated, eg 12 is identical to B09. Other disks are made up from different ones – 23 is the Steel Guitar, Banjo and Fiddle from A06 with the Tremolo Mandolin from B06. LOWER UPPER A01 1 Ambient drums Ambient drums 2 Latin percussion Latin percussion 3 Vibraphone Vibraphone A02 1 Clavinet Clavinet 2 Electric Piano #1 Electric Piano #1 3 Drawbar Organ #2 Drawbar Organ #2 A03 1 Vocal Ta Vocal Ta 2 Vocal Doo Vocal Doo 3 Male Voices Female Voices A04 1 Stacked Strings Hi Strings – Bowed 2 Low Strings Hi Strings - Pizz 3 Low Strings Tremolo Hi Strings Tremolo -
Elton John and Billy Joel
TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please. -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
A Place – a Time Eva-Maria Houben
a place – a time percussion (1 player) eva-maria houben © edition wandelweiser 2021 catalogue number ew16.359 a place – a time flying leaves for a percussionist eva-maria houben 2021 for aaron butler. a place: a place outdoors or indoors where you could have a good mind to spend a good time. a time: a time you spend at a certain place staying there for a while. maybe you are inviting the light, the wind, or the thunderstorm to enter. maybe you are inviting the rustling foliage, the run of water, the speaking stones, the branches, the birdsongs, the traffic, the working noises, or fragments of speaking voices or shouts to accompany you. finding a place filling the place with one’s own breath feeling the special atmosphere of the place putting together some loose sheets that could respond to this place performing—any order of the sheets, any order of the sounds on one sheet ending somehow, somewhen the score opens for all sounds of the environment. intervening and letting (something) happen have the same nature as intentional activities. the score touches both realms of actively doing something and actively letting something be. here and there undetermined instrumentation. all sounds are (rather) soft. repetition sign: number of repetitions ad libitum. all sounds find themselves in a one-line system. sometimes you find two, three or more sounds distributed above, on, or below the line: the different distances from the line for an instrument with pitched sounds indicate higher or lower (defined) pitches, not exactly a certain pitch. the sounds of an unpitched instrument appear in the same way in different distances from the line as different tones (of the material / instrument); this difference of ‘tones’ depends on different touch points. -
Guidelines for Percussion Writing
GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II. -
Wavedrum Voice Name List
Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument.