Celestial Harmonies: the Poetry of Science Only a Very Nominal Cost
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Sir John Eliot Gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:Q L’Istesso Tempo— Con Moto Elgar in the South (Alassio), Op
Program OnE HundrEd TwEnTIETH SEASOn Chicago Symphony orchestra riccardo muti Music director Pierre Boulez Helen regenstein Conductor Emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, January 20, 2011, at 8:00 Saturday, January 22, 2011, at 8:00 Sir John Eliot gardiner Conductor Stravinsky Symphony in Three Movements = 160 Andante—Interlude:q L’istesso tempo— Con moto Elgar In the South (Alassio), Op. 50 IntErmISSIon Bartók Concerto for Orchestra Introduzione: Andante non troppo—Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Presto Steinway is the official piano of the Chicago Symphony Orchestra. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. CommEntS by PHILLIP HuSCHEr Igor Stravinsky Born June 18, 1882, Oranienbaum, Russia. Died April 6, 1971, New York City. Symphony in three movements o composer has given us more Stravinsky is again playing word Nperspectives on a “symphony” games. (And, perhaps, as has than Stravinsky. He wrote a sym- been suggested, he used the term phony at the very beginning of his partly to placate his publisher, who career (it’s his op. 1), but Stravinsky reminded him, after the score was quickly became famous as the finished, that he had been com- composer of three ballet scores missioned to write a symphony.) (Petrushka, The Firebird, and The Rite Then, at last, a true symphony: in of Spring), and he spent the next few 1938, Mrs. Robert Woods Bliss, years composing for the theater and together with Mrs. -
Jean-Guihen Queyras Violoncello
JEAN-GUIHEN QUEYRAS VIOLONCELLO Biography Curiosity, diversity and a firm focus on the music itself characterize the artistic work of Jean- Guihen Queyras. Whether on stage or on record, one experiences an artist dedicated completely and passionately to the music, whose humble and quite unpretentious treatment of the score reflects its clear, undistorted essence. The inner motivations of composer, performer and audience must all be in tune with one another in order to bring about an outstanding concert experience: Jean-Guihen Queyras learnt this interpretative approach from Pierre Boulez, with whom he established a long artistic partnership. This philosophy, alongside a flawless technique and a clear, engaging tone, also shapes Jean-Guihen Queyras’ approach to every performance and his absolute commitment to the music itself. His approaches to early music – as in his collaborations with the Freiburg Baroque Orchestra and the Akademie für Alte Musik Berlin – and to contemporary music are equally thorough. He has given world premieres of works by, among others, Ivan Fedele, Gilbert Amy, Bruno Mantovani, Michael Jarrell, Johannes-Maria Staud, Thomas Larcher and Tristan Murail. Conducted by the composer, he recorded Peter Eötvös’ Cello Concerto to mark his 70th birthday in November 2014. Jean-Guihen Queyras was a founding member of the Arcanto Quartet and forms a celebrated trio with Isabelle Faust and Alexander Melnikov; the latter is, alongside Alexandre Tharaud, a regular accompanist. He has also collaborated with zarb specialists Bijan and Keyvan Chemirani on a Mediterranean programme. The versatility in his music-making has led to many concert halls, festivals and orchestras inviting Jean-Guihen to be Artist in Residence, including the Concertgebouw Amsterdam and the Festival d’Aix-en-Provence, Vredenburg Utrecht, De Bijloke Ghent and the Orchestre Philharmonique de Strasbourg. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
Highlighted = Needs to Be Written/Included
Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No. -
20 Lc 39 2635 Hr 1444
20 LC 39 2635 House Resolution 1444 By: Representative Howard of the 124th A RESOLUTION 1 Honoring the life and memory of Ms. Jessye Norman and dedicating an interchange in her 2 memory; and for other purposes. 3 WHEREAS, Ms. Jessye Norman was born on September 15, 1945, in Augusta, Georgia, the 4 beloved daughter of Janie King Norman and Silas Norman; and 5 WHEREAS, after graduating from Lucy C. Laney High School, Ms. Norman earned a 6 bachelor's degree from Howard University and a master's degree from the University of 7 Michigan; and 8 WHEREAS, a renowned opera singer, Ms. Norman performed Deborah, L'Africaine, and Le 9 Nozze di Figaro for the Deutsche Oper Berlin opera company; and 10 WHEREAS, in 1982, she performed Oedipus Rex and Dido and Aeneas with the Opera 11 Company of Philadelphia; and 12 WHEREAS, other notable performances include the 100th anniversary season with the 13 Metropolitan Opera and appearances with the Vienna Philharmonic Orchestra and Lyric 14 Opera of Chicago; and 15 WHEREAS, in 2002, she established the Jessye Norman School of Arts, a tuition-free after 16 school arts program in Augusta; and 17 WHEREAS, her remarkable talents have been recognized with five Grammy Awards, 18 including a Lifetime Achievement Award; and 19 WHEREAS, it is abundantly fitting and proper that this remarkable and distinguished 20 Georgian be recognized appropriately by dedicating an interchange in her memory. H. R. 1444 - 1 - 20 LC 39 2635 21 NOW, THEREFORE, BE IT RESOLVED AND ENACTED BY THE GENERAL 22 ASSEMBLY OF GEORGIA that the interchange between Interstate 20 and Washington 23 Road in Richmond County is dedicated as the Jessye Norman Memorial Interchange. -
Locklair US 2/7/07 10:08 Page 12
559337 bk Locklair US 2/7/07 10:08 Page 12 Also available: AMERICAN CLASSICS Dan LOCKLAIR Symphony of Seasons Lairs of Soundings Phoenix and Again In Memory – H.H.L. 8.559257 Harp Concerto Janeanne Houston, Soprano Jacquelyn Bartlett, Harp Slovak Radio 8.559295 Symphony Orchestra Kirk Trevor 8.559337 12 559337 bk Locklair US 2/7/07 10:08 Page 2 Dan Kirk Trevor LOCKLAIR (b. 1949) Kirk Trevor, internationally known conductor and teacher, is a regular guest conductor in the world’s concert halls. Music Director of the Knoxville Symphony Symphony of Seasons (Symphony No. 1) (2002) 31:06 Orchestra from 1985 until 2003, the Indianapolis Chamber Orchestra since 1988, and the Missouri Symphony since 2000, he has forged a strong musical partnership 1 1. Autumn 6:49 with three of America’s leading regional orchestras. Born and educated in England, 2 2. Winter 11:13 he trained at London’s Guildhall School of Music where he graduated cum laude in 3 3. Spring 5:28 cello performance and conducting. He was a conducting student of the late Sir 4 Adrian Boult and Vilém Tausky´. He went on to pursue cello studies in France with 4. Summer 7:36 Paul Tortelier under a British Council Scholarship and moved to the United States Lairs of Soundings (A Triptych for Soprano and String Orchestra) (1982)* 10:58 on a Fulbright Exchange Grant. It was there that his conducting skills led him in 1982 to the Exxon Arts Endowment Conductor position with the Dallas Symphony. 5 I. Invocation 3:05 In 1990 he was recognized as one of America’s outstanding young conductors, 6 II. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Thomas, Augusta Read Dancing Helix Rituals
Dancing Helix Rituals (2006) Augusta Read Thomas “Somewhat of a cross between ‘Jazz’ (Monk, Coltrain, Tatum, Miles, etc.) and ‘Classical’ (Bartok, Stravinsky, Varèse, Berio, Boulez, etc.), Dancing Helix Rituals can be heard as a lively dance made up of a series of outGrowths and variations which are orGanic and, at every level, concerned with transformations and connections. Each player serves as a protagonist as well as a fulcrum point on and around which all others’ musical force fields rotate, bloom, and proliferate. There is refined loGic to every nuance which stems from the sound, in context, on its own terms and the form is that of an eiGht-minute crescendo. AlthouGh Dancing Helix Rituals stands fully on its own as art music, it can be performed along with dancers. The early Stravinsky ballets are works I hold in Great reverence, have studied, love, and embrace as models in my inner ear. As a result, I tend to hear and feel all of my music, in particular my orchestral works, as music suitable for dance. As I compose, I sinG, dance, move, and conduct at my draftinG table. The process is visceral. My ears and mind are both analytical as well as intuitive and I ‘feel’ and ‘hear’ every note and rhythm and color clearly. (I hope you can sense that precision.) This is music composed with the whole ear and whole body, not a cerebral, overly analytical exercise in pushinG twelve-tone rows–or spectra–or rearranGed quotes of borrowed ethnic phrases around a computer screen, for instance! The sounds are varied, colorful, crosscut, unexpected, and yet hopefully sound inevitable in the way that a jazz improvisation sounds spontaneous and unpreventable. -
Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum
Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works. -
Joseph Kuipers Is One of the Rare Musical Voices of Today: the Fresh Sincerity of His Playing, Combined with Technical Sovereignty Over the Instrument
“Joseph Kuipers is one of the rare musical voices of today: the fresh sincerity of his playing, combined with technical sovereignty over the instrument. He draws a dark, singing sound out of his Ceruti Cello, and creates lines that seem to float effortlessly.” Berliner Abend Post American cellist Joseph Kuipers is renowned for his creativity and versatility in his captivating performances on both modern and gut strings. Appearing at festivals and music centers around the globe, he has performed at the Ravinia Music Festival, Aspen Music Festival, Les Festival International du Domaine Forget, Kronberg Academy, Ascoli Piceno Festival, Carl Orff Festival, and the World Cello Congress. Equally at home with modern and baroque performance styles, and often juxtaposing them in concert programs, Joseph has worked extensively with living composers, among them Robert Cogan, Heinz Holliger, Helmut Lachenmann and Arvo Part: and has performed with the Ensemble für Neue Musik Basel, Neue Musik Ensemble Mannheim, Second Instrumental Unit, New York, and the Callithumpian Consort of Boston. Joseph is the Artistic Director of the Fredericksburg Music Festival where world renowned European classical musicians gather in historic Fredericksburg TX for a week of music making. In 2010 Joseph founded the Marinus Project an international collective of chamber musicians dedicated to the tradition of classical music in our time. Marinus is the “Ensemble in Residence” at Washington and Lee University and Eastern University. In April 2011 the Marinus Ensemble received a $200,000 unrestricted artist development grant to further the Marinus Project. Joseph completed his undergraduate studies at the New England Conservatory of Music in Boston, where his primary teachers were Paul Katz for cello and Pozzi Escot for composition. -
The Universi ~
The Universi ~ Presents THE CLEVELAND ORCHESTRA PIERRE BOULEZ, Conductor WEDNESDAY EVENING, DECEMBER 8, 1971 , AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM "J eux" (Games) DEBUSSY "The Miraculous Mandarin" (Complete Music of the Ballet-Pantomime) INTERMISSION Symphony No.3 in E-flat major, Op. 97 ("Rhenish") SCHUMANN Lebhaft Scherzo : seh r massig Nicht schnell Feierlich Lebhaft Columbia, Epic, and Angel R eco rds The Cleveland Orchestra has appeared here on twenty-three previous occasions since 1935 . Fourth Concert Ninety-third Annual Choral Union Series Complete Programs 3753 PROGRAM OTES "Jeux" (Games ) C LAUDE DEBUSSY Debussy composed felix in 1912, on an idea and scenario by the dancer Vaslav Nijinsky. It was produced on May 15, 1913, at the TIt/3d.tre des Champs Elysees, Paris, by the Ballets Russes of Sergei Diaghilev. The choreography was by Nijinsky, who also danced the role of the Young Man. f elix is Debussy's most "modern" composition, the most advanced in method and style , the most prophetic of such future d ~ vcJopm e nt s as the pointillism of Webern and the search for new sonorities by electronic means. The characteristic whole-tone scale of Debussy is here employed toward almost atonal ends. The gigantic orchestral apparatus is used with the utmost eco nomy as well as imagina tive subtlety. It is interesting to lea rn that the conductor of the present performances, Pierre Boulez, studied f eliX with special care when he was a student of Oliver Messiaen. For the sake of historical correctness, one must give the "argument" that was published at the time of the premiere, the synopsis of the action as conceived by Nijinsky and transformed into sound by Debussy.