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Songs for All Hallows'
SONGS FOR ALL HALLOWS’ EVE MUSIC OF MODEST PETROVICH MUSSORGSKY Ben Flanders baritone Michael Delfín piano Songs and Dances of Death The Song of the Flea or “Mephistopheles’ Song in Auerbach’s Cellar” Pictures at an Exhibition The Songs and Dances of Death “Death be not proud, though some have called you mighty and dreadful, you are not so…” -John Donne The death in these songs is indeed mighty and dreadful, and full of pride in her work (for in Russian folklore death always comes for us in the guise of a woman) but these are not simply the songs and dances of death, there is another presence felt, that of the omniscient narrator. Each song begins with the narrator setting the scene, with the musical imagery, and words the narrator speaks. In the lullaby the endless rocking of the cradle by an exhausted mother is the prelude to the narrator’s first words.” The child, is moaning. A candle, almost consumed, sends the shadows dancing around the room” Soon, death comes to the door as a kindly grandmother to sing the baby to sleep. In Serenade, the only song where death appears as a man, the narrator describes the dark magic of night, an invalid young woman alone. Death appears as a foreign knight, a stranger of magic power, who sings a serenade beneath the window, seducing her away from a life of pain. In Trepak, the scene is set with an empty chord, which is completed by the singer as he describes a dark foreboding forest and clearing. -
The Impact of Russian Music in England 1893-1929
THE IMPACT OF RUSSIAN MUSIC IN ENGLAND 1893-1929 by GARETH JAMES THOMAS A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham March 2005 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis is an investigation into the reception of Russian music in England for the period 1893-1929 and the influence it had on English composers. Part I deals with the critical reception of Russian music in England in the cultural and political context of the period from the year of Tchaikovsky’s last successful visit to London in 1893 to the last season of Diaghilev’s Ballet russes in 1929. The broad theme examines how Russian music presented a challenge to the accepted aesthetic norms of the day and how this, combined with the contextual perceptions of Russia and Russian people, problematized the reception of Russian music, the result of which still informs some of our attitudes towards Russian composers today. Part II examines the influence that Russian music had on British composers of the period, specifically Stanford, Bantock, Vaughan Williams, Holst, Frank Bridge, Bax, Bliss and Walton. -
High-Fidelity-1964-1
w NEW TRENDS IN SPEAKER. DESIGN The Haydn Masses a diicography www.americanradiohistory.com 1'I fSaAf 97 These are the speakers of the finest yet simplest stereo system you can buy today. All the other components are shown life -size under this fold. -4 www.americanradiohistory.com XP -10 Woofer: 15" free-piston; 19 cps free -air resonance; 2" voice coil with exclusive eddy -current damping; 6 -lb. magnet structure. i Midrange: 8" cone; 1 " voice coil; 51/2-1b. magnet structure. Tweeter: 2" soft -cotton dome type; 51/2 -1b. magnet structure; 14,000 gauss flux density. Crossover: Full 3 -way LC -type network with air -core coils; crossover points at 200 and 2500 cps. Impedance: 8 ohms. Frequency Response: 28 cps to beyond range of audibility. Power Requirement: 10 watts minimum; 60 watts maximum (program material). Cabinet: 301/2" high, 243/s " wide, 143A" deep; Scandinavian walnut. Weight: 80 lbs. CIRCLE 37 ON READER -SERVICE CARD DECEMBER 1964 1 www.americanradiohistory.com (V -15 AME -1 ELLIPTICAL STYLUS) NATURAL SOUND BEGINS WITH PICKERING Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT V -15 pickup for you. Each of these applications requires a cartridge with specific characteristics and specifications to produce the maximum in NATURAL SOUND that is possible from the record playing equipment and other components in your system. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the IIMEW AC -1 Most of you, no doubt are tracking lighter on the late model AUTOMATIC TURNTABLES and will use the Eff AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V -15 AM -1 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V-15 AME -1 All four of these pickups are radically different from any other cartridge. -
Schmidgall, Introduction Literature As Opera
Anything can be set to music, true, but not everything will be effective. Giuseppe Verdi Literature and Opera In the 188os Emmanuel Chabrier addressed Shakespeare's last and perhaps greatest play with the idea of turning it into an opera. He wrote to his publisher explaining his views about its stage-worthiness: I now know The Tempest by heart; there are many good things in it, but Blau has reason to want some expanding of the love story, other- wise papa Prospero would get to be a bore. As for drama properly so called, where is it? Are they genuinely dramatic, those conspiracies of the old fogies Alonzo, Antonio, Gonzalo, Stefano? And those two debauchees Caliban and Interpocula [i.e., Trinculo]—who cares about their peregrinations around the island? So the interest will have to be spiced up elsewhere: first, in the idyll between Ferdinand and Miralda [sic] which is of the finest order; second, in the whole nuptial atmosphere and the spirits of air in Act IV; third, in the buffoonery with the drunkards. Is that enough to make an opera?' The answer to the question appears to have been no. Chabrier never wrote his Tempest opera, and—to judge from his cavalier and omi- nously bumptious attitude—we can be thankful he did not. His letter is a reminder that when masterly literature is taken up for op- eratic treatment, literary values do not necessarily loom importantly in the process. In this case the composer seemed almost completely oblivious to the complicated levels of meaning in the source and has focused upon the least interesting aspects of the action: the clowning scenes and the Ferdinand-Miranda love affair, surely the most insipid in all Shakespeare. -
AND OTHER BAD GUYS Kevin Short, Bass Orchestre Philharmonique De Marseille Conducted by Lawrence Foster Mephistopheles and Other Bad Guys
ORCHESTRE PHILHARMONIQUE DE MARSEILLE LAWRENCE FOSTER AND OTHER BAD GUYS Kevin Short, Bass Orchestre Philharmonique de Marseille Conducted by Lawrence Foster Mephistopheles and Other Bad Guys CHARLES GOUNOD (1818-1893) From “Faust” (1859) 1 Méphistophélès’ Rondo: “Le veau d’or”(The golden calf) 2. 17 2 Méphistophélès’ Serenade: “Vous qui faites l’endormie” 3. 10 ARRIGO BOITO (1842-1918) From “Mefistofele” (1868/1876) 3 Mefistofele’s Song of the whistle: “Son lo Spirito che nega” 3. 53 4 Mefistofele’s Ballad of the world: “Ecco il mondo” 2. 43 LUDWIG VAN BEETHOVEN (1770-1827) Orchestration by Dmitri Shostakovich (1906-1975) 5 Es war einmal ein König Op.75,3 2. 13 (Song of the flea from Goethe’s “Faust”) (1809/1975) LUDWIG VAN BEETHOVEN From “Fidelio” Op. 72 (1805/1814) 6 Pizarro’s Aria: ”Ha! Welch ein Augenblick” 3. 27 Male chorus of the Opéra de Marseille Chorus master: Emmanuel Trenque WOLFGANG AMADEUS MOZART (1756-1791) From “Die Entführung aus dem Serail” KV 384 (1782) 7 Osmin’s Song: “Wer ein Liebchen hat gefunden” 2. 19 8 Osmin’s Aria: “O, wie will ich triumphieren” 3. 44 CARL MARIA VON WEBER (1786-1826) From “Der Freischütz” J.277 (1821) 9 Caspar’s Aria: “Schweig, schweig, damit dich niemand warnt” 3. 17 JACQUES OFFENBACH (1819-1880) From “Les contes d’Hoffmann” (1881) 10 Lindorff’s Couplets: “Dans les rôles d’amoureux langoureux” 2. 41 11 Dappertutto’s Aria: “Scintille, diamant” 2. 40 GIUSEPPE VERDI (1813-1901) From “I Lombardi” (1843) 12 Pagano’s Aria: “Sciagurata! Hai tu creduto” 5. 02 HECTOR BERLIOZ (1803-1869) From “La damnation de Faust” Op.24 (1846) 13 Méphistophélès’ Aria: “Voici des roses” 2. -
22.11. at 19:00 Helsinki Music Centre Olari Elts Andrea Mastroni
22.11. at 19:00 Helsinki Music Centre Olari Elts conductor Andrea Mastroni bass Sergey Rachmaninov: The Isle of the Dead, Op. 29 20 min Modest Mussorgsky (orch. Kalevi Aho): Songs and Dances of Death 18 min Lullaby Serenade Trepak 1 The Field Marshal INTERVAL 20 min Modest Mussorgsky: Pictures from Crimea (orch. B.A. Zimmermann) 5 min Dmitri Shostakovich: Symphony No. 6 in B Minor, Op. 54 30 min Largo Allegro Presto Also playing in this concert will be five students from the Sibelius Academy, University of the Arts Helsinki, cho- sen for the Helsinki Music Centre’s Orchestra Academy: Marija Räisänen, violin I, Beata Kavander, violin 2, Liisa Orava, viola, Antto Tunkkari, cello and Saga Söder- ström, French horn. The Helsinki Music Centre Orchestra Academy is a joint venture by the Helsinki Philharmonic Orchestra, the FRSO and the Sibelius Academy aiming at training that is of an increasingly high standard and with a more prac- tical and international orientation. Interval at about 19:50. The concert will end at about 20:55, the late-night chamber music at about 21:40. Broadcast live on Yle Radio 1 and Yle Areena. The LATE-NIGHT CHAMBER-MUSIC will follow in the Con- cert Hall after an interval of about 10 minutes. Those at- 2 tending are asked to take (unnumbered) seats in the stalls. LATE-NIGHT CHAMBER MUSIC: Tomas Nuñez, cello / Kirill Kozlovski, piano Sergey Rachmaninov: Sonata for Cello and Piano in G Minor, Op. 19 35 min Lento – Allegro moderato Allegro scherzando Andante Allegro mosso PLEASE MAKE SURE THAT YOUR MOBILE PHONE IS SWITCHED OFF! 3 Photographing, video and sound recording are prohibited during the concert. -
Music and Society
Music and Society Elie Siegmeister (1938) Symbolic footnotes and headings added by Arun; Numeric endnotes are Siegmeister’s. ACKNOWLEDGMENT: For much prevails with regard to music, which is still consid- that may be of value in the follow- ered as largely a vague, intangible experience, unre- ing I wish to express my gratitude lated to all other experiences, whose chief function to four musicians: Henry Cowell, is to entertain, uplift, provide subjective emotional Hanns Eisler, the late Jacob Schae- satisfaction to each individual in his own way. Is a fer, and especially to Charles Seeger, piece of music pleasing? Is it good or bad music? whose learning is both brilliant and These, it is felt, are the only important questions. catholic. But who is to determine what is good and what Further thanks are due to Herbert is bad music, and furthermore, the question arises, Haufreucht, Josephine Metcalf and “Good for what?” To some the music of Stravin- Figure 1: Daniel Schwartz for their painstak- sky (or Shostakovich or Schoenberg or Gershwin) is ing reading and criticism of the manuscript; to Helen Schechter stimulating, vivid, challenging, good because it re- for her generous assistance in preparing the copy, and above flects the forces of contemporary life; to others it is all to my wife for her invaluable criticisms, comments and discordant, ugly and depressing. Some of the Negro suggestions. — Elie Siegmeister* Songs of Protest† have been received with tremen- dous enthusiasm by certain audiences, as good be- cause they express the deepest feelings of an op- The Status of Music in the 1930s pressed people; others no doubt find them harsh and bitter, bad music for the same reason. -
31 October 2008 Page 1 of 21 SATURDAY 25 OCTOBER 2008 06:23AM Adagio in E, K 261 Alexander Janiczek, Violin and Director Brkanovic, Željko (B
Radio 3 Listings for 25 – 31 October 2008 Page 1 of 21 SATURDAY 25 OCTOBER 2008 06:23AM Adagio in E, K 261 Alexander Janiczek, violin and director Brkanovic, Željko (b. 1937) Scottish Chamber Orchestra SAT 01:00 Through the Night (b00f0z0m) Song Book II – for guitar trio LINN CKD287 Tr 10 Susan Sharpe Dubrovnik Guitar Trio 08:18 With Susan Sharpe. 06:30AM Eespere, René (b. 1953) BRAHMS 01:01AM Festina lente Drei Lieder, op 64 Marlis Petersen (soprano) Holland, Jan David (1746-1827) Talinn Music High School Chamber Choir, Evi Eespere Stella Doufexis (mezzo) Agatka, Czyli Przyjazd Pana (Agatha, or the Arrival of the (director) Werner Gura (tenor) Master) – Singspiel 1784 Konrad Jarnot (baritone) Christoph Berner (piano) Concerto Polacco, Marek Toporowski (director) 06:39AM HARMONIA MUNDI HMC 901945 Tr 19-21 Beethoven, Ludwig van (1770-1827) 01:53AM Romance (Op.40) in G major for violin and orchestra 08:31 Karlowicz, Mieczyslaw (1876-1909) Igor Ozim (violin), Slovenian Radio and Television Symphony Stanislaw i Anna Oswiecimowie [Stanislaw and Anna of Orchestra, Samo Hubad (conductor) SCRIABIN Oswiecim] – symphonic poem (Op.12) Twelve Etudes op.8 no.1 in C sharp minor National Polish Radio Symphony Orchestra, Stanislaw Wislocki 06:47AM Piers Lane, piano (conductor) Vivaldi, Antonio (1678-1741) HYPERION CDA 66607 Tr 2 The Autumn, from 'The Four Seasons' (Op.8/3) in F (RV.293) 02:16AM Concerto Copenhagen, Gottfried von der Goltz 08:35 Beethoven, Ludwig van (1770-1827) (violin/conductor) Quartet for strings (Op.59 No.1) in F major, 'Rasumovsky' BO HOLTEN Tankstream Quartet In Nomine SAT 07:00 Breakfast (b00f0z8n) National Youth Choir of Great Britain 02:57AM The complete Breakfast playlist is posted on this site after the Mike Brewer (conductor) Schütz, Heinrich (1585-1672) programme has been broadcast. -
Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and His Contemporaries (1832–1840)
Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) (2 Volumes) Volume 1 Cathal Mullan Thesis Submitted to Maynooth University for the Degree of Doctor of Philosophy Department of Music Maynooth University Maynooth, Co. Kildare October 2018 Head of Department: Professor Christopher Morris Supervisor: Professor Lorraine Byrne Bodley i Abstract Poetry Into Song: Word-Music Relations in Settings of Goethe's Faust by Wagner and his Contemporaries (1832–1840) Despite being a pre-eminent figure of German literature, Goethe remains misunderstood in musicology and the extent of his influence on the formation of the German Lied remains largely uncharted. This is true of Faust I where research into musical settings of Goethe's Faust has traditionally centred around canonical musical realisations of Faust confined to those by Schumann (Szenen aus Faust, 1844–1853), Liszt (Faust Symphony, 1857) and Mahler (Symphony No. 8, 1906). There is an urgent need to trace the influence of Goethe's Faust in musicology and in particular, uncover influential Faust settings which fall beyond the rubric of eminent literature. The settings selected in this dissertation address an important lacuna in the nineteenth-century Lied, namely settings composed or published between 1832 – the year of both Goethe's death and the posthumous publication of Faust II – and 1840, Schumann's first Liederjahr. This study aims to challenge the perception that the 1830s was a lull period in the Lied by illustrating the significance of Faust in the development of the Lied with regard to text-music associations, text setting practice and the emancipation of musical rhythm from poetic rhythm. -
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110242-44 bk Boris US 26/04/2004 13:41 Page 16 ADD Great Opera Recordings 8.110242-44 Also available: MUSSORGSKY Boris Godunov Boris Christoff Nicolai Gedda Eugenia Zareska Kim Borg Andrzej Bielecki Russian Chorus of Paris French National Radio Orchestra Issay Dobrowen 8.110216-17 Recorded in 1952 3 CDs 8.110242-44 16 110242-44 bk Boris US 26/04/2004 13:41 Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of Modest specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been MUSSORGSKY nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1839-1881) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His philosophy is that a good transfer should Boris Godunov not call attention to itself, but rather allow the performances to be heard with the greatest clarity. (Revised and orchestrated by Nikolay Rimsky-Korsakov) There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and Libretto by the composer after Pushkin and Karamzin consistently achieves better results than restoration engineers working with the metal parts from the archives of the modern corporate owners of the original recordings.