Boston Symphony Orchestra Concert Programs, Season 44,1924-1925, Trip
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13 Foreword to Richard Taruskin's Essays On
13 FOREWORD TO RICHARD TARUSKIN’S ESSAYS ON MUSORGSKY Th e entry below initially appeared in 1993, as a Foreword to a book of ground-breaking essays on Modest Musorgsky by Richard Taruskin (Musorgsky: Eight Essays and an Epilogue [Princeton: Princeton University Press, 1993]). At the time Taruskin was the foremost authority on Russian music in the Western world; by now (2010) he has become foremost in several other areas as well. To his writings and generous mentorship I owe my education in this Russian composer. EXCERPTS FROM THE FOREWORD TO RICHARD TARUSKIN, MUSORGSKY: EIGHT ESSAYS AND AN EPILOGUE 1993 In 1839, the year of Musorgsky’s birth, the Marquis de Custine made a three-month journey through the Russian Empire. Th e travel account he published four years later, La Russie en 1839, became an international bestseller; to this day, fairly or no, it is read as a key to that country’s most grimly persistent cultural traits.1 Astolphe de Custine (1790–1857) was an aristocrat from a family ravaged by the French Revolution. Nevertheless, he came to view the Russian absolute autocracy (and the cunning, imitative, servile subjects it bred and fostered) as far more deceitful and potentially 1 See the reprint edition of the fi rst (anonymously translated) English version of 1843, Th e Marquis de Custine, Empire of the Czar: A Journey through Eternal Russia (New York: Anchor-Doubleday, 1989). Quotations in this essay occur on pp. 600, 109, and 206 respectively. George Kennan has called La Russie en 1839 “not a very good book about Russia in 1839” but “an excellent book, probably in fact the best of books, about the Russia of Joseph Stalin” (George F. -
Where to Study Jazz 2019
STUDENT MUSIC GUIDE Where To Study Jazz 2019 JAZZ MEETS CUTTING- EDGE TECHNOLOGY 5 SUPERB SCHOOLS IN SMALLER CITIES NEW ERA AT THE NEW SCHOOL IN NYC NYO JAZZ SPOTLIGHTS YOUNG TALENT Plus: Detailed Listings for 250 Schools! OCTOBER 2018 DOWNBEAT 71 There are numerous jazz ensembles, including a big band, at the University of Central Florida in Orlando. (Photo: Tony Firriolo) Cool perspective: The musicians in NYO Jazz enjoyed the view from onstage at Carnegie Hall. TODD ROSENBERG FIND YOUR FIT FEATURES f you want to pursue a career in jazz, this about programs you might want to check out. 74 THE NEW SCHOOL Iguide is the next step in your journey. Our As you begin researching jazz studies pro- The NYC institution continues to evolve annual Student Music Guide provides essen- grams, keep in mind that the goal is to find one 102 NYO JAZZ tial information on the world of jazz education. that fits your individual needs. Be sure to visit the Youthful ambassadors for jazz At the heart of the guide are detailed listings websites of schools that interest you. We’ve com- of jazz programs at 250 schools. Our listings are piled the most recent information we could gath- 120 FIVE GEMS organized by region, including an International er at press time, but some information might have Excellent jazz programs located in small or medium-size towns section. Throughout the listings, you’ll notice changed, so contact a school representative to get that some schools’ names have a colored banner. detailed, up-to-date information on admissions, 148 HIGH-TECH ED Those schools have placed advertisements in this enrollment, scholarships and campus life. -
Jazz Workshop Dana Hall, Director Jazz Orchestra Thomas Matta, Director Jazz Ensemble Bob Lark, Director Program Jazz Workshop Dana Hall, Director
Thursday, May 25, 2017 • 8:00 P.M. Jazz Workshop Dana Hall, director Jazz Orchestra Thomas Matta, director Jazz Ensemble Bob Lark, director DePaul Student Center 2250 North Sheffield Avenue • Chicago Thursday, May 25, 2017 • 8:00 P.M. DePaul Student Center JAZZ WORKSHOP Dana Hall, director JAZZ ORCHESTRA Thomas Matta, director JAZZ ENSEMBLE Bob Lark, director PROGRAM JAZZ WORKSHOP Dana Hall, director Dan Higgins A New Start Bob Meyer In The Moment Joel Adams Love Song Benjamin Phillips Little Warrior Dan Burke Living in the Existential Vacuum Sammy Galop and Peter DeRose; arr. Alex Blomarz Autumn Serenade Ben Voigt B’s Blues DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM JAZZ ORCHESTRA Thomas Matta, director To be selected from the following: Bill Holman Told You So George and Ira Gershwin; arr. Ted Nash Our Love Is Here To Stay Matt Harris Cabeza De Carne Mike Crotty The Poet Jim McNeely Extra Credit Harry Warren & Al Dubin; arr. Frank Mantooth I Only Have Eyes For You Thelonius Monk; arr. Ryan Adamsons Epistophry JAZZ ENSEMBLE Bob Lark, director Juan Tizol & Duke Ellington; arr. John Wasson Caravan Bob Lark; arr. Chris Madsen Rum Point Phil Woods Randi Thomas Matta Another Shuffle DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 PROGRAM Richard Rodgers & Lorenz Hart; arr. Thomas Matta It Never Entered My Mind Joseph Clark Blaze Sammy Mysels, Nelson Cogane & Dick Robertson; arr. Joseph Clark Yesterday’s Gardenias DEPAUL JAZZ ENSEMBLES • MAY 25, 2017 BIOGRAPHIES Drummer, composer, ethnomusicologist, and bandleader Dana Hall has been an important musician on the international music scene since 1992, after leaving aerospace engineering for a life in music. -
The Inextricable Link Between Literature and Music in 19Th
COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment Of the Requirements for the Degree Master of Music Ashley Shank December 2010 COMPOSERS AS STORYTELLERS: THE INEXTRICABLE LINK BETWEEN LITERATURE AND MUSIC IN 19TH CENTURY RUSSIA Ashley Shank Thesis Approved: Accepted: _______________________________ _______________________________ Advisor Interim Dean of the College Dr. Brooks Toliver Dr. Dudley Turner _______________________________ _______________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _______________________________ _______________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. OVERVIEW OF THE DEVELOPMENT OF SECULAR ART MUSIC IN RUSSIA……..………………………………………………..……………….1 Introduction……………………..…………………………………………………1 The Introduction of Secular High Art………………………………………..……3 Nicholas I and the Rise of the Noble Dilettantes…………………..………….....10 The Rise of the Russian School and Musical Professionalism……..……………19 Nationalism…………………………..………………………………………..…23 Arts Policies and Censorship………………………..…………………………...25 II. MUSIC AND LITERATURE AS A CULTURAL DUET………………..…32 Cross-Pollination……………………………………………………………...…32 The Russian Soul in Literature and Music………………..……………………...38 Music in Poetry: Sound and Form…………………………..……………...……44 III. STORIES IN MUSIC…………………………………………………… ….51 iii Opera……………………………………………………………………………..57 -
Symphonies Nos. 1 & 2
WEBER Symphonies Nos. 1 & 2 Tamdot Siana Die Drei Pintoe Queensland Phiharmonic Orchestra John Georgiadis, Conductor Carl Maria von Weber (1786 - 1826) Symphony No. 1 in C Major, J. 50 Symphony No. 2 in C Major, J. 51 Turandot Overture, J. 75 Silvana, J. 87 Die Drei Pintos It was natural that there should be an element of the operatic in the music of Weber. The composer of the first great Romantic German opera, Der Freischutz, spent much of his childhood with the peripatetic theatre-company directed~ ~~~~ bv his father. Franz Anton Weber. uncle of MozarYs wife Constanze and like hLq brother. atone time amember- ~-- bf the~~ famous ~ Mannheim orchestra. At the tme of Weoer s b nh hls fatner was still n the serv ce of the Bsnop of Ljoeclcano odr ngtne courseoi an emended v<stto V ennahaa taden asecono wife, an actress and singer, who became an important member of the family theatre-company established in 1788. Webeis musical gifts were fostered by his father, who saw in his youngest son the possibility of a second Mozart. Travel brought the chance of varied if inconsistent study, in Salzburg with Michael Haydn and elsewhere with musicians of lesser ability. His second opera was performed in Freiberg in 1800. followed bv a third. Peter Schmoll und seine Nachbarn. in Auusburu in 1803 Lessons ;/nth the Abbe Vogler led to a poslrton as i(apeGeis~e; n Bresla~in 1804 brougnt lo a premature end tnrough the hosulily of rnLslc ans ong eslabished in the city and lnrough tne accldenra drinlctng of engrav ng acid, left by his father in a wine-bottle. -
PBKACA Membership Letter and Form
Phi Beta Kappa Association of the Chicago Area P.O. Box 641121 Chicago, IL 60664-1121 (312) 409-1937 www.pbkaca.org December 2012 Dear PBKACA key holder: President Please join us as we celebrate PBKACA’s 75th anniversary in 2013. The world has changed Judi Strauss-Lipkin dramatically since our association’s charter was granted in 1938, but our commitment to 1540 N. State Pkwy #12C promoting excellence in the liberal arts and education at large remains the same. We need Chicago, IL 60610 your participation and financial support to achieve these goals. (312) 988-9996 Our association was busy in 2012. Our events and achievements included: Vice President Christopher Kopacz • Won the Best Mid-Sized Association Award at the PBK Triennial Conference. • Awarded our seventh $5,000 PBKACA scholarship to Zobia Chunara, a graduate of Secretary Northside College Preparatory and a freshman at Yale University, and held a special Roselind Lindau reception attended by five of our past scholarship recipients. • Presented the Distinguished Service Award to Dana Hall, the former director of Treasurer Chicago Jazz Ensemble, at our Annual Dinner. Richard Wilbur • Offered a wide variety of exclusive programs, including a tour of the Lincoln Executive Committee Museum and Library in Springfield led by the museum’s director, a guided visit of the acclaimed Lichtenstein exhibit at the Art Institute, an architectural tour of the John Ashton Randi Belisomo historic North Loop, and special performances of two new musicals written by local James Caristi Phi Betes. (Valparaiso University liaison) • Began a series of salon discussions and continued our special interest groups, Emelda Estell including the Young Professionals Group and the Book Group. -
SLAVATORE CALOMINO Selected Publications Bibliographies Online
SLAVATORE CALOMINO Selected Publications “William Ritter: Études d’Art étranger, “The Mountain Labors and has given Birth to Three Little Mice,” Concerning Several of the ‘Idées vivantes’ of M. Camille Mauclair,” trans. and ed., forthcoming, Naturlaut 11 (2016), 25 pp. “E.T.A. Hoffmann,” bibliographical article accepted for publication, Oxford UP Bibliographies Online, 25pp. William Ritter, Études d’Art étranger, “A Viennese Symphonist: Monsieur Gustav Mahler,” and “Concerning Several of the Idées vivantes of M. Camille Mauclair,” trans. and ed., Naturlaut, 10, 3-4 (2014): 4-21 and 33-42. “Ludwig Karpath, Begegnung mit dem Genius, “Mahler’s Appointment to Vienna and His Activity and Influence in This City,” trans. and ed., Naturlaut, 10, 1-2 (2013): 3-38. “Ludwig Karpath, Begegnung mit dem Genius, “Mahler’s New Stagings,” and “Hans Richter’s Departure from the Vienna Court Opera and Gustav Mahler,” trans. and ed., Naturlaut, 9, 1-2 (2012): 4-20. “Images of the Beyond: Mahler’s Kindertotenlieder and the Fulcrum of Late Nineteenth-Century Philosophy,” Naturlaut, 8, 1-2 (2011): 23-45. “Folklore in Medieval Studies,” in De Gruyter Handbook of Medieval Studies, ed. Albrecht Classen, Berlin: De Gruyter, 2010. “Sources, Manuscripts, Editions: Ongoing Problems in Research on Tristan. Toward 2010 and Beyond,” Tristania 25 (2009): 147-56. “Mahler’s Saints: Medieval Devotional Figures and their Transformation in Mahler’s Symphonies.” Naturlaut 5 (2006): 8-15. “Hans Sachs’s Tristrant and the Treatment of Sources.” Tristania 24 (2006): 51-77. “Depiction of the Anchorites in Mahler’s Eighth Symphony.” Naturlaut 3 (2005): 2-6. Revised translation of libretto to Gustav Mahler/Carl Maria von Weber, Die drei Pintos [based on Gustav Mahler, Die drei Pintos: Based on Sketches and Original Music of Carl Maria von Weber, ed. -
Der Freischuetz
5 www.ferragamo.com FONDAZIONE TEATRO LA FENICE DI VENEZIA Der Freischütz Carl Maria von Weber VENEZIA Calle Larga XXII Marzo, 2093 2004 La Fenice prima dell’Opera 2004 5 FONDAZIONE TEATRO LA FENICE DI VENEZIA Paolo Costa presidente Cesare De Michelis Pierdomenico Gallo Achille Rosario Grasso Mario Rigo Luigino Rossi Valter Varotto Giampaolo Vianello consiglieri sovrintendente Giampaolo Vianello direttore artistico Sergio Segalini direttore musicale Marcello Viotti Angelo Di Mico presidente Adriano Olivetti Paolo Vigo Maurizia Zuanich Fischer SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. FONDAZIONE TEATRO LA FENICE DI VENEZIA Der Freischütz (Il franco cacciatore) romantische Oper in tre atti libretto di Friedrich Kind musica di Carl Maria von Weber Teatro Malibran venerdì 28 maggio 2004 ore 19.00 turno A domenica 30 maggio 2004 ore 17.00 turno B martedì 1 giugno 2004 ore 19.00 turno D giovedì 3 giugno 2004 ore 19.00 turni E-I sabato 5 giugno 2004 ore 17.00 turni C-H La Fenice prima dell’Opera 2004 5 Caroline Bardua (1781-1864), Ritratto di Carl Maria von Weber. Berlino, Nationalgalerie. La Fenice prima dell’Opera 2004 5 Sommario 5 La locandina 7 «Umsonst ist der Tod» … di Michele Girardi 9 Der Freischütz, libretto e guida all’opera a cura di Davide Daolmi 81 Der Freischütz in breve a cura di Gianni Ruffin 83 Argomento – Argument – Synopsis – Handlung 93 Michela Garda Di selve, cacciatori, angeli e demoni. Romanticismo del Freischütz 103 Jürgen Maedher Poesia del suono e natura demoniaca. Sulla drammaturgia dei timbri nel Freischütz di Carl Maria von Weber 131 Berlioz, Boito e il Freischütz di Weber a cura di Davide Daolmi 149 Nicola Bizzarro Bibliografia 157 Online: Atto col diavolo a cura di Roberto Campanella 167 Carl Maria von Weber a cura di Mirko Schipilliti 175 Der Freischütz a Venezia Johann Friedrich Kind (1768-1843). -
Swr2-Musikstunde-20130215.Pdf
__________________________________________________________________________ 2 MUSIKSTUNDE mit Trüb Freitag, 15. 2. 2013 „Weber, Wald und Wolfsschluchzen: Das Theatergenie Carl Maria von“ (5) MUSIK: INDIKATIV, NACH CA. … SEC AUSBLENDEN Carl Maria von Weber war ein Komponist der Zukunft. Zeitlebens genoss er kein besonders hohes Ansehen innerhalb der „Zunft“ - aber die Nachgeborenen verehren ihn. In seinen Memoiren etwa schrieb Héctor Berlioz: „Der Komponist hat den kindischen Forderungen der Mode und den noch gebieterischeren Forderungen der Sängereitelkeit (…) nirgends auch nur im geringsten nachgegeben. Er hat seine schlichte Wahrhaftigkeit, seine stolze Ursprünglichkeit, seinen Hass gegen den Formelkram, seine Würde dem Publikum gegenüber, dessen Beifall er durch keine feige Herablassung erkaufen wollte, seine Größe ebenso im Freischütz wie im Oberon bewahrt.“ Robert Schumann fand im Weber'schen Oeuvre „alles höchst geistreich und meisterhaft“, Tschaikowsky hörte vor allem „(viel) Wärme, (…) Unmittelbarkeit der Eingebung, (vollständiges) Fehlen von Künstelei und technischer Anstrengung“. Claude Debussy meinte: „Er erforscht die Seele der einzelnen Instrumente und legt sie mit behutsamer Hand bloß. Sie offenbaren sich ihm und geben ihm mehr, als er gefordert hatte.“ Und im Gespräch mit Erwin Kroll, anno 1932, verriet Strawinsky lapidar: „Weber ist einer meiner Lieblingskomponisten.“ Nicht zu vergessen auch die Hommage der Tat: Gustav Mahler bewunderte Weber so sehr, dass er dessen Opernfragment „Die drei Pintos“ bis zur Bühnenreife bearbeitete, und Paul Hindemith schuf eines seiner bekanntesten Orchesterstücke nach Webers Schauspielmusik zu „Turandot“: Sinfonische Metamorphosen über Themen von Carl Maria von Weber. MUSIK: HINDEMITH, SINF. METAMORPHOSEN, TRACK 5 (3:54) Schönste Form des Komplimentes: das liebevoll umspielte Zitat. Herbert Blomstedt dirigierte das San Francisco Symphony Orchestra mit dem Beginn von Paul Hindemiths Sinfonischen Metamorphosen über Themen von Carl Maria von Weber. -
Section 2 Stage Works Operas Ballets Teil 2 Bühnenwerke
SECTION 2 STAGE WORKS OPERAS BALLETS TEIL 2 BÜHNENWERKE BALLETTE 267 268 Bergh d’Albert, Eugen (1864–1932) Amram, David (b. 1930) Mister Wu The Final Ingredient Oper in drei Akten. Text von M. Karlev nach dem gleichnamigen Drama Opera in One Act, adapted from the play by Reginald Rose. Libretto by von Harry M. Vernon und Harald Owen. (Deutsch) Arnold Weinstein. (English) Opera in Three Acts. Text by M. Karlev based on the play of the same 12 Solo Voices—SATB Chorus—2.2.2.2—4.2.3.0—Timp—2Perc—Str / name by Harry M. Vernon and Harald Owen. (German) 57' Voices—3.3(III=Ca).2(II=ClEb).B-cl(Cl).3—4.3.3.1—Timp—Perc— C F Peters Corporation Hp/Cel—Str—Off-stage: 1.0.Ca.0.1—0.0.0.0—Perc(Tamb)—2Gtr—Vc / 150' Twelfth Night Heinrichshofen Opera. Text adapted from Shakespeare’s play by Joseph Papp. (English) _________________________________________________________ 13 Solo Voices—SATB Chorus—1.1.1.1—2.1.1.0—Timp—2Perc—Str C F Peters Corporation [Vocal Score/Klavierauszug EP 6691] Alberga, Eleanor (b. 1949) _________________________________________________________ Roald Dahl’s Snow White and the Seven Dwarfs Text by Roald Dahl (English) Becker, John (1886–1961) Narrator(s)—2(II=Picc).2.2(II=B-cl).1.Cbsn—4.2.2.B-tbn.1—5Perc— A Marriage with Space (Stagework No. 3) Hp—Pf—Str / 37' A Drama in colour, light and sound for solo and mass dramatisation, Peters Edition/Hinrichsen [Score/Partitur EP 7566] solo and dance group and orchestra. -
THE BARBER of SEVILLE a Study Guide to Accompany the Xstrata Ensemble Studio School Tour
THE BARBER OF SEVILLE A Study Guide to accompany the Xstrata Ensemble Studio School Tour Introduction A history of opera in two minutes ~ What is opera? Glossary ~ Voice types ~ The cast The story of The Barber of Seville ~ Meet the composer Commedia dell’arte ~ Lesson plans 1 Education and Outreach ~ coc.ca ~ 416-306-2307 About the COC’s education and outreach department How does a 400-year-old art form remain relevant to students today? Students must put in practice the co-operation and problem solving skills necessary to work artistically while language, media literacy, math, science and history naturally blend with the music, drama and design components of opera. Our programming enriches Ontario Curriculum expectations and applies skills you are already teaching your students. Education and Outreach at the Canadian Opera Company works with your school to provide appropriate programming for your teachers and students. The array of workshops ensures that you will find something that fits your schedule, your budget and your needs. EDUCATION AND OUTREACH STAFF Katherine Semcesen Zoë Ludski Daniella Marchese Diana Weir Acting Education and Education Associate Community Outreach Education and Outreach Outreach Manager Associate Assistant Find resources, activity sheets and lesson plans at coc.ca/education.html Opera programs for your school If you and your students are interested in further exploring opera, Education and Outreach at the COC offers an array of programs and workshops to enhance classroom activities! Call 416-306-2307 or e-mail -
Catalogue-76-T-Z.Pdf
J & J LUBRANO MUSIC ANTIQUARIANS Item 577 Catalogue 76 Rare Printed Music & Musical Literature Musical Autographs & Manuscripts Part VI: T-Z 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 e-mail [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Checks in U.S. dollars drawn on a U.S. bank - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) - International money order All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.