Eric Ericsons Kammarkör Dirigent Eric Ericson
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1 MISSA SOLEMNIS FOR CHOIR, ORGAN, SOLI, PIANO AND CELESTA ANDREAS HALLÉN I. KYRIE 9:23 choir II. GLORIA 15:46 choir, soli SATB III. CREDO 14:07 choir, tenor solo IV. SANCTUS 13:16 choir V. AGNUS DEI 10:06 choir, soli SATB Total playing time: 62:39 Soloists Pia-Karin Helsing, soprano Maria Forsström, alto Conny Thimander, tenor Andreas E. Olsson, bass Lars Nilsson, organ James Jenkins, piano Lars Sjöstedt, celesta 2 The Erik Westberg Vocal Ensemble Soprano Virve Karén (2) Jonatan Brundin (1,2) Linnea Pettersson (1) Olle Sköld (2) Christina Fridolfsson (1,2) Rickard Collin (1) Lotta Kuisma (1,2) Anders Bek (1,2) Alva Stern (1,2) Victoria Stanmore (2) Lars Nilsson, organ Alto James Jenkins, piano Kerstin Eriksson (2) Lars Sjöstedt, celesta Anu Arvola (2) Cecilia Grönfelt (1,2) (1) 11–12 October 2019 Katarina Karlsson (1,2) Kyrie, Sanctus Anna Risberg (1,2) Anna-Karin Lindström (1,2) (2) 28 February–1 March 2020 Gloria, Credo, Agnus Dei Tenor Anders Lundström (1) Anders Eriksson (2) Stefan Millgård (1,2) Adrian Rubin (2) Mattias Lundström (1,2) Örjan Larsson (1,2) Mischa Carlberg (1) Bass Martin Eriksson (1,2) Anders Sturk Steinwall (1) Andreas E. Olsson (1,2) Mikael Sandlund (2) 3 Andreas Hallén © The Music and Theatre Library of Sweden 4 A significant musical pioneer Johan [Johannes1] Andreas Hallén was born on 22 December 1846 in Göteborg (Gothenburg), Sweden. His musical talent was discovered at an early age and he took up playing the piano and later also the organ. As a teenager he set up a music society that gave a very successful concert, inspiring him to invest in becoming a professional musician. -
Tomas Löndahl
Makten att begära och tvånget att försaka Tourettesyndromets betydelse för Ludvig Normans liv och verk Av Tomas Löndahl Inledning Ludvig Norman (1831–85) var en av portalfigurerna i sin tids svenska musikliv. Ändå är bilden av honom som person i många fall motsägelsefull och diffus. Det är lätt att rada upp hans storartade och (i ett längre perspektiv inte sällan) avgörande insatser som hovkapellmästare, konsertorganisatör, musiker, tonsättare, pedagog, akademile- damot (även preses KMA 1874–75), debattör, skribent och kritiker. Men det som frap- perade mig i de samtida skildringarna av honom var de till synes oförenliga ytterligheterna. Han framstår som radikal men konservativ, som dådkraftig men pas- siv, som stark men vek, som stridbar men feg, som livlig men loj, som suverän diri- gent men skygg för främmande människor. Även bortsett från att varje människa äger olika egenskaper och att de flesta under livets gång utvecklar sina skilda sidor i olika grad, fanns det i detta ”glapp” något för mig lockande att utforska1. Så – vem var han egentligen som människa? Vad finns kvar när man skalar bort den svassande retoriken i hyllnings- och minnestexter? Och hur framstår han i sina egna texter? Jag har i min forskning jagat källor samt analyserat och syntetiserat de samtida vittnesbörden – både hans egna och andras – och därigenom kommit fram till en delvis helt ny bild av Norman. Fram träder nu bilden av en genom sjukdom svårt plågad man. Frågan är om de nyvunna kunskaperna har något förklaringsvärde när det gäller hans eget skapande. Dvs., kan hans musik i något avseende ha påver- kats av sjukdomen? Låt oss undersöka det! 1. -
Missouri Music Educators 78Th Annual In-Service Workshop/Conference
MISSOURI MUSIC EDUCATORS 78TH ANNUAL IN-SERVICE WORKSHOP/CONFERENCE - - 1 probably a tan tar a ad here? or nafme something or other 2 TABLE OF CONTENTS From the President .................................................................................4 Conference Schedule Wednesday ............................................................................................5 Thursday .................................................................................................7 All State Rehearsal Schedule ............................................................... 17 Friday .................................................................................................. 22 Saturday .............................................................................................. 37 All-State Concert Programs .................................................................. 40 Leadership MMEA Board of Directors/Administrative Personnel ............................44 MMEA Advisory Council .......................................................................45 District Leadership ...............................................................................46 Affliate Organizations .........................................................................49 Supporting Organizations ...................................................................50 Schedule of Organization Business Meetings .....................................51 MMEA Past Presidents .........................................................................52 Awards -
New Music Festival November 5-9, 2018
University of Louisville School of Music Presents the Annual New Music Festival November 5-9, 2018 FEATURED GUEST COMPOSER Amy Williams GUEST ARTISTS Sam Pluta Elysian Trombone Consort A/Tonal Ensemble New Music Festival November 5-9, 2018 Amy Williams featured composer Table of Contents Greetings From Dr. Christopher Doane, Dean of the School of Music 3 Biography Amy Williams, Featured Composer 5 Sunday, November 4 Morton Feldman: His Life & Works Program 6 Monday, November 5 Faculty Chamber Music Program 10 Tuesday, November 6 Electronic Music Program 18 Wednesday, November 7 University Symphony Orchestra Program 22 Personnel 25 Thursday, November 8 Collegiate Chorale & Cardinal Singers Program 26 Personnel 32 Friday, November 9 New Music Ensemble & Wind Ensemble Program 34 Personnel 40 Guest Artist Biographies 41 Composer Biographies 43 1 Media partnership provided by Louisville Public Media 502-852-6907 louisville.edu/music facebook.com/uoflmusic Additional 2018 New Music Festival Events: Monday, November 5, 2018 Music Building Room LL28 Computer Music Composition Seminar with Sam Pluta Wednesday, November 7, 2018 Music Building Room 125 Composition Seminar with Amy Williams Thursday, November 8, 2018 Bird Recital Hall Convocation Lecture with Amy Williams To access the New Music Festival program: For Apple users, please scan the accompanying QR code. For Android users, please visit www.qrstuff.com/scan and allow the website to access your device’s camera. The New Music Festival Organizing Committee Dr. John Ritz, chair Dr. Kent Hatteberg Professor Kimcherie Lloyd Dr. Frederick Speck Dr. Krzysztof Wołek 2 The School of Music at the University of Louisville is strongly identified with the performance of contemporary music and the creation of new music. -
Sven-David Sandstrã¶M╎s Five Pictures from the Bible
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Sven-David Sandström's Five Pictures from the Bible: Historical Precedents, Development, and Analysis Joshua Bronfman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SVEN-DAVID SANDSTRÖM’S FIVE PICTURES FROM THE BIBLE: HISTORICAL PRECEDENTS, DEVELOPMENT, AND ANALYSIS By JOSHUA BRONFMAN A Dissertation submitted to the College Of Music in partial fulfillment of the requirements for the degree of Doctor Of Philosophy Degree Awarded: Summer Semester, 2010 The members of the committee approve the dissertation of Joshua Bronfman, defended on June 14, 2010. _________________________________________ André J. Thomas Professor Directing Dissertation _________________________________________ Evan Jones University Representative _________________________________________ Judy Bowers Committee Member _________________________________________ Kevin Fenton Committee Member The Graduate School has verified and approved the above-named committee members. ii To Niki, Lucia, and Leah. iii ACKNOWLEDGEMENTS I am very grateful to my supportive and helpful committee, including Dr. Andre Thomas, chair, and Drs. Judy Bowers, Kevin Fenton, and Evan Jones. I owe debt of gratitude to the administration, faculty, and staff at the University of North Dakota. Without their support and assistance, this document would never have happened. Specifically, Chris Gable, Mike Wittgraf, James Popejoy, Janice Hoffarth for transcription and cheerleading, and Dean Martha Potvin for encouraging me to continue. Thank you to Philip and Carolyn Brunelle, who opened up their home to me while I was researching this document. Additionally, Philip and the staff at VocalEssence were especially welcoming and accommodating, and made my visit to Minneapolis both fruitful and enjoyable. -
Lineage Curated by Julia Bullock Soundbox
LINEAGE CURATED BY JULIA BULLOCK SOUNDBOX 1 julia bullock on lineage “I’ve found that musicians often share a lot about the various influences in their lives— whether they be historical, political, philosophical, personal, or based on other mediums of art. They let diverse influences not only impact their work, but find ways to let them register explicitly. It’s like musicians are hyper conscious of their lineage—they honor it and value it. So, as I continue to follow along the path and legacy of artists that came before me, lineage has become increasingly important—it’s a part of knowing from where I originated and letting that inform where I envision myself going. The musicians on this SoundBox program could not make music all together in one place, or even at one time, but the very nature of this program—which links material that spans across almost 900 years—captures an audio and visual snapshot of how lineage can inform, influence, impact, and express itself in a musical context.” 2 Esa-Pekka Salonen SAN FRANCISCO SYMPHONY MUSIC DIRECTOR San Francisco Symphony Music Director Esa-Pekka Salonen has, through his many high-profile conducting roles and work as a leading composer, shaped a unique vision for the present and future of the contemporary symphony orchestra. Salonen is currently the Principal Conductor & Artistic Advisor for London’s Philharmonia Orchestra and is Artist in Association at the Finnish National Opera and Ballet. He is a member of the faculty of the Colburn School in Los Angeles, where he developed and directs the pre-professional Negaunee Conducting Program. -
THE JVEDIS. ART SONG Presented to the Graduate Council of the North
110,2 THE JVEDIS. ART SONG THESIS Presented to the Graduate Council of the North Texas State College in Partial ifillment of the requirements For the Degree of MAST ER OF MUSIC by 223569 Alfred R. Skoog, B. Mus. Borger, Texas August, 1953 223569 PREFACE The aim of this thesis is to present a survey of Swedish vocal music, a subject upon which nothing in English exists and very little in Swedish. Because of this lack of material the writer, who has spent a year (195152) of research in music in Sweden, through the generosity of Mrs. Alice M. Roberts, the Texas Wesleyan Academy, and the Texas Swedish Cultural Foundation, has been forced to rely for much of his information on oral communication from numerous critics, composers, and per- formers in and around Stockholm. This accounts for the paucity of bibliographical citations. Chief among the authorities consulted was Gsta Percy, Redaktionssekreterare (secretary to the editor), of Sohlmans Jusiklexikon, who gave unstintedly, not only of his vast knowledge, but of his patience and enthusiasm. Without his kindly interest this work would have been impossible, iii TABLE OF CONTENTS Page . 1.F. .:.A . !. !. ! .! . .! ! PREFACE.! . ! .0 01 ! OF LIST ITLISTRATITONS. - - - . a- . a . V FORH4ORD . .* . .- . * .* . * * * * * * * . vii Chapter I. EARLYSEDIS0H SONG. I The Uppsala School II. NINETEENTH CENTURY NATIONALISTS . 23 The Influence of Mid-Nineteenth Century German Romanticism (Mendelssohn, Schumann, Liszt and Wagner) The French Influence III. LATE NINETEENTH CENTURY ND EARLY TWENTIETH CENTURY COMPOSERS . 52 Minor Vocal Composers of the Late Nine- teenth Century and Early Twentieth Century IV. THE MODERN SCHOOL OF S7E)ISl COMPOSERS. -
BEKANNTMACHUNG Die Preisträger Des Polar Music Prize
BEKANNTMACHUNG Die Preisträger des Polar Music Prize 2014 sind: CHUCK BERRY UND PETER SELLARS Die Begründung für Chuck Berry Der Polarpreis 2014 wird Chuck Berry von St. Louis, USA, verliehen. An jenem Tag im Mai 1955, als Chuck Berry seine Debutsingel "Maybellene" einspielte, wurden die Parameter der Rockmusik definiert. Chuck Berry war der Pionier des Rock'n'Roll, der der E-Gitarre als Hauptinstrument der Rockmusik den Weg bereitete. Alle Riffs und Soli, die Rockgitarristen in den letzten 60 Jahren gespielt haben, enthalten DNA- Spuren, die sich auf Chuck Berry zurückführen lassen. The Rolling Stones, The Beatles und eine Million andere Bands haben ihr Handwerk erlernt, indem sie Stücke von Chuck Berry eingeübten. Daneben ist Chuck Berry ein meisterhafter Songwriter. In drei Minuten kann er Bilder aus dem Alltag eines Jugendlichen und dessen Träume skizzieren, nicht selten mit einem Auto im Zentrum. Chuck Berry, geboren 1926, war der erste, der auf den Highway hinausgefahren ist um zu verkünden: Wir alle sind "born to run". Preisbegründung für Peter Sellars: Der Polarpreis 2014 geht an Peter Sellars aus Pittsburgh, USA. Der Regisseur Peter Sellars ist das beste lebende Beispiel dafür, um was es beim Polarpreis geht: Musik sichtbar zu machen und sie in einem neuen Kontext zu präsentieren. Mit seinen kontroversen Inszenierungen von Opern und Theaterstücken hat Peter Sellars alles, von Krieg und Hunger bis hin zu Religion und Globalisierung, auf die Bühne gebracht. Sellars hat Mozart in den Luxus des Trump Tower und in den Drogenhandel von Spanish Harlem versetzt, eine Oper über Nixons Besuch in China inszeniert und Kafkas Sauberkeitswahn vertont. -
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD. -
© in This Web Service Cambridge University Press
Cambridge University Press 978-0-521-11173-7 - The Cambridge Companion to Choral Music Edited by André de Quadros Index More information Index A Cappella Choir of the Northwestern American Boychoir, 122 University Conservatory of Music, 119 American Choral Directors Association, 126, A Coeur Joie, 91 129, 157 Abbott, Patricia, 3, 114 American Guild of Organists, 127, 129 Abejo, Rosalina, 54 American Society of Composers, Authors, and Abeleda-Piquero, Anna Tabitha, 167 Publishers, 127 Abreu, José Antonio, 138, 145 Amsterdam Baroque Choir, 83 Academy of Music (London), 31 Amsterdam Baroque Orchestra, 83 Accentus, 82, 83, 92 Amu, Ephraim, 196 ACDA. See American Choral Directors Anacrusis, 107 Association Anderson, Julian, 99 Acevedo Lucio, Carmen, 143 Anderson, W. H., 110 Adams, John, 59, 112, 125 Andrade, Mario, 136 Adelaider Liedertafel (Australia), 180 Andrenacci, Néstor, 143 Adler, Samuel, 59 Andreo, Dante, 146 Adolf Fredriks Girls’ Choir, 96 Anerio, Giovanni Francesco, 14 Adolf Fredriks Musikklasser, 96 Angelica, 208 Advis, Luis, 142 Angelorum Choir, 165 Aequalis, 143 Anglo-Chinese Junior College Choir, 167 Aeschylus, 62 Anima (USA), 208 Afghanistan, 160, 165, 171, 173, 176 Anna Crusis Women’s Choir, 123 Afghanistan National Institute of Music, 165 Anyang City Choir, 157 African-American spiritual, 54 Aranguiz, Waldo, 142 African Children’s Choir, 208 Araujo, Juan de, 131, 302 AGEC. See Arbeitsgemeinschaft Europäischer Arbeitsgemeinschaft Deutscher Chorverbände, 93 Chörverbände Arbeitsgemeinschaft Europäischer AGO. See American Guild -
PRESSRELEASE the Laureates of the Polar Music Prize 2013 Are
PRESSRELEASE The Laureates of the Polar Music Prize 2013 are: YOUSSOU N’DOUR & KAIJA SAARIAHO Youssou N’Dour Citation: The Polar Music Prize 2013 is awarded to Youssou N’Dour from Senegal. A West African griot is not just a singer, but a storyteller, poet, singer of praise, entertainer and verbal historian. Youssou N’Dour is maintaining the griot tradition and has shown that it can also be changed into a narrative about the entire world. With his exceptionally exuberant band Super Étoile de Dakar (Dakar star) and his musically ground breaking and political solo albums, Youssou N’Dour has worked to reduce animosities between his own religion, Islam, and other religions. His voice encompasses an entire continent's history and future, blood and love, dreams and power. Kaija Saariaho Citation: The Polar Music Prize 2013 is awarded to Kaija Saariaho from Finland. After studying at IRCAM in Paris, an institution for research and study of electro-acoustic music, Kaija Saariaho has developed into a unique composer, a metal worker's daughter who re- examines what music can be. When she was growing up, the music that inspired her came not from the radio but from the pillow; that was where she found the music she dreamt of. Kaija Saariaho combines acoustic instruments with electronics and computers. She has written chamber music, orchestral works and operas. Kaija Saariaho is a modern maestro who opens up our ears and causes their anvils and stirrups to fall in love. On Tuesday 27th of August the Laureates will receive the prize from His Majesty King Carl XVI Gustaf of Sweden at a gala ceremony at the Stockholm Concert Hall to be followed by a celebratory banquet at Grand Hôtel. -
Handel-Brockes-Passion-Mortensen
Lars Ulrik Mortensen (© Mathias Løvgreen) cpo 555 286–2 Booklet.indd 2 28.08.2019 11:16:56 Georg Friedrich Händel (1685–1759) BROCKES-PASSION HWV 48 Der für die Sünden der Welt gemarterte und sterbende Jesus Maria Keohane – Soprano (MK), Tochter Zion, Ancilla I, Maria Joanne Lunn – Soprano (JL), Tochter Zion, Ancilla III Hanna Zumsande – Soprano (HZ), Tochter Zion, Gläubige Seele, Johannes, Ancilla II Daniel Carlsson – Alto (DC), Judas Daniel Elgersma – Alto (DE), Kriegsknecht, Jakobus Ed Lyon – Tenor (EL), Evangelist Gwilym Bowen – Tenor (GB), Petrus Peter Harvey – Bass (PH), Jesus Jakob Bloch Jespersen – Bass (JJ), Caiphas, Pilatus, Hauptmann Lars Ulrik Mortensen, Harpsichord & Musical Direction cpo 555 286–2 Booklet.indd 3 28.08.2019 11:16:56 SACD 1 1 Sinfonia 2'44 2 1. Chorus Mich vom Stricke meiner Sünden zu entbinden 4'30 3 2a. Recitativo Als Jesus nun zu Tische saße (EL) 0'28 4 2b. Accompagnato Das ist mein Leib (PH) 1'09 5 3. Aria Der Gott, dem alle Himmelskreise (MK) 2'13 6 4a. Recitativo Und bald hernach (EL) 0'15 7 4b. Accompagnato Das ist mein Blut (PH) 1'00 8 4c. Aria Gott selbst, der Brunnquell alles Guten (MK) 2'18 9 5. Chorus Ach, wie hungert mein Gemüte 2'04 10 6a. Recitativo Drauf sagten sie dem Höchsten Dank (EL) 0'39 11 6b. Chorus Wir wollen alle eh’ erblassen 0'31 12 7a. Recitativo Es ist gewiß (PH) 0'10 13 7b. Aria Weil ich den Hirten schlagen werde (PH) 1'16 14 8a. Recitativo Aufs wenigste will ich (GB, PH) 1'12 15 8b.