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“Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
“Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions. -
London Symphony Orchestra with Sir Simon Rattle, Music Director
LONDON SYMPHONY ORCHESTRA WITH SIR SIMON RATTLE, MUSIC DIRECTOR PROGRAM BARTÓK Concerto for Orchestra (1881 – 1945) Duke Bluebeard’s Castle VILLA-LOBOS Bachianas Brasileiras No. 5 (1887 – 1959) MAHLER Symphony No. 4 in G Major (1860 – 1911) PROGRAM NOTES Written by Dan Ruccia BÉLA BARTÓK CONCERTO FOR ORCHESTRA Times were rough for Béla Bartók in 1943. He and his wife, pianist Ditta Pázstory, had migrated to the United States in 1940 to escape the pro-Nazi regime in Hungary, but had found limited success as performers. To survive, Bartók did some ethnomusicological work at Columbia and occasionally lectured there and at and Harvard, but he was generally unsatisfied with his situation. To make matters worse, his health had recently deteriorated; in February 1943, he collapsed after a lecture at Harvard. When he was admitted to the hospital, he weighed only 87 pounds. It wasn’t clear how much longer he had to live. Initially, the nature of Bartók’s illness was unclear. Early diagnoses included tuberculosis and polycythemia. It was only in April 1944 that doctors pinned down his actual diagnosis—chronic myeloid leukemia—but by then, there was little that could be done. In May 1943, conductor Serge Koussevitzky of the Boston Symphony commissioned a new orchestral work from Bartók through the recently formed Koussevitzky Music Foundation. The ailing composer was initially hesitant; he did not want to take a commission that he might not be able to finish. But Koussevitzky insisted that the commission was a fait accompli and the money could only go to Bartók. With the commission in hand, it seems that Bartók became energized. -
Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Spring/Summer 2016
News for Friends of Leonard Bernstein Spring/Summer 2016 High-brow, Low-brow, All-brow Bernstein, Gershwin, Ellington, and the Richness of American Music © VICTOR © VICTOR KRAFT by Michael Barrett uch of my professional life has been spent on convincing music lovers Mthat categorizing music as “classical” or “popular” is a fool’s errand. I’m not surprised that people s t i l l c l i n g t o t h e s e d i v i s i o n s . S o m e w h o love classical masterpieces may need to feel reassured by their sophistication, looking down on popular culture as dis- posable and inferior. Meanwhile, pop music fans can dismiss classical music lovers as elitist snobs, out of touch with reality and hopelessly “square.” Fortunately, music isn’t so black and white, and such classifications, especially of new music, are becoming ever more anachronistic. With the benefit of time, much of our country’s greatest music, once thought to be merely “popular,” is now taking its rightful place in the category of “American Classics.” I was educated in an environment that was dismissive of much of our great American music. Wanting to be regarded as a “serious” musician, I found myself going along with the thinking of the times, propagated by our most rigid conservatory student in the 1970’s, I grew work that studiously avoided melody or key academic composers and scholars of up convinced that Aaron Copland was a signature. the 1950’s -1970’s. These wise men (and “Pops” composer, useful for light story This was the environment in American yes, they were all men) had constructed ballets, but not much else. -
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. -
Michael Morgan Playlist
Maestro Michael Morgan Playlist Details For over thirty years, Michael Morgan has been the Oakland Symphony Conductor and Music Director. Here, he puts together a list of his favorite music with a brief explanation on what this music means to him and his life. 1.) Mahler Symphony No. 7. Leonard Bernstein two of my favorite artists. Old school historically conducts New York Philharmonic. This is the informed performance. recording that started my obsession with this piece. It is an amazing puzzle for the conductor. And, of 7.) Dvorak Symphony No. 7 Witold Rowicki/ course, Bernstein was one of my most important London Symphony Orchestra. The greatest Dvorak mentors. Symphony performed by another of my important teachers: Witold Rowicki, a founder of the Warsaw 2.) Mendelssohn Elijah. Rafael Frubeck de Burgos Philharmonic. with New Philharmonia Orchestra. I adore this piece and the peerless singing of Janet Baker, along with 8.) Bach B minor Mass. John Eliot Gardiner/The the spectacular singing and English diction of Nicolai English Baroque Soloists. A favorite piece led by a Gedda make this just a treasured recording. favorite conductor. But I could endorse any of a number of recordings by early music specialists. 3.) Stephen Foster Song Book. Robert Shaw Chorale. Count this as a somewhat guilty pleasure. I 9.) Schumann Frauenlieben und Leben. Any of the love these songs (unfortunate, outdated, racist recordings by Kathleen Ferrier. The combination of language and all) and the sound Robert Shaw got out Schumann's heartfelt song cycle and the great of his singers is incomparable. Robert Shaw was also English Contralto Kathleen Ferrier is highly moving. -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Who Pays for Music?
Who Pays For Music? The Honors Program Senior Capstone Project Meg Aman Professor Michael Roberto May 2015 Who Pays For Music Senior Capstone Project for Meg Aman TABLE OF CONTENTS ABSTRACT ....................................................................................................................... 3 LITERATURE REVIEW ................................................................................................ 4 INTRODUCTION ................................................................................................................. 4 MUSIC INDUSTRY BACKGROUND ...................................................................................... 6 THE PROBLEM .................................................................................................................. 8 THE MUSIC INDUSTRY ..................................................................................................... 9 THE CHANGING MUSIC MARKET .................................................................................... 10 HOW CAN MUSIC BE FREE? ........................................................................................... 11 MORE OR LESS MUSIC? .................................................................................................. 12 THE IMPORTANCE OF SAMPLING ..................................................................................... 14 THE NETWORK EFFECTS ................................................................................................. 16 WHY STREAMING AND DIGITAL MUSIC STORES ............................................................ -
Joana Carneiro Music Director
JOANA CARNEIRO MUSIC DIRECTOR Berkeley Symphony 17/18 Season 5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 16 Berkeley Sound Composer Fellows & Full@BAMPFA 18 Berkeley Symphony 17/18 Calendar 21 Tonight’s Program 23 Program Notes 37 About Music Director Joana Carneiro 39 Guest Artists & Composers 43 About Berkeley Symphony 44 Music in the Schools 47 Berkeley Symphony Legacy Society 49 Annual Membership Support 58 Broadcast Dates 61 Contact 62 Advertiser Index Media Sponsor Gertrude Allen • Annette Campbell-White & Ruedi Naumann-Etienne Official Wine Margaret Dorfman • Ann & Gordon Getty • Jill Grossman Sponsor Kathleen G. Henschel & John Dewes • Edith Jackson & Thomas W. Richardson Sarah Coade Mandell & Peter Mandell • Tricia Swift S. Shariq Yosufzai & Brian James Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change. October 5 & 6, 2017 3 4 October 5 & 6, 2017 Message from the Music Director Dear Friends, Happy New Season 17/18! I am delighted to be back in Berkeley after more than a year. There are three beautiful reasons for photo by Rodrigo de Souza my hiatus. I am so grateful for all the support I received from the Berkeley Symphony musicians, members of the Board and Advisory Council, the staff, and from all of you throughout this special period of my family’s life. -
Atlanta Chamber Players, "Music of Norway"
ATLANTA CHAMBER PLAYERS Music of Norway featuring Efe Baltacigil, cello David Coucheron and Helen Hwaya Kim, violins Julie Coucheron and Elizabeth Pridgen, piano Monday, March 6, 2017 at 8 pm Dr. Bobbie Bailey & Family Performance Center, Morgan Hall Eighty-ninth Concert of the 2016-17 Concert Season program JOHAN HALVORSEN (1864-1935) Concert Caprice on Norwegian Melodies David Coucheron and Helen Hwaya Kim, violins EDVARD GRIEG (1843-1907) Andante con moto in C minor for Piano Trio David Coucheron, violin Efe Baltacigil, cello Julie Coucheron, piano EDVARD GRIEG Violin Sonata No. 3 in C minor, Op. 45 Allegro molto ed appassionato Allegretto espressivo alla Romanza Allegro animato - Prestissimo David Coucheron, violin Julie Coucheron, piano INTERMISSION JOHAN HALVORSEN Passacaglia for Violin and Cello (after Handel) David Coucheron, violin Efe Baltacigil, cello EDVARD GRIEG Cello Sonata in A minor, Op. 36 Allegro agitato Andante molto tranquillo Allegro Efe Baltacigil, cello Elizabeth Pridgen, piano featured musician FE BALTACIGIL, Principal Cello of the Seattle Symphony since 2011, was previously Associate Principal Cello of The Philadelphia Orchestra. EThis season highlights include Brahms' Double Concerto with the Oslo Radio Symphony and Vivaldi's Double Concerto with the Seattle Symphony. Recent highlights include his Berlin Philharmonic debut under Sir Simon Rattle, performing Bottesini’s Duo Concertante with his brother Fora; performances of Tchaikovsky’s Variations on a Rococo Theme with the Bilkent & Seattle Symphonies; and Brahms’ Double Concerto with violinist Juliette Kang and the Curtis Symphony Orchestra. Baltacıgil performed a Brahms' Sextet with Itzhak Perlman, Midori, Yo-Yo Ma, Pinchas Zukerman and Jessica Thompson at Carnegie Hall, and has participated in Yo-Yo Ma’s Silk Road Project. -
Bath Festival Orchestra Programme 2021
Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey Programme Carl Maria von Weber Overture: Der Freischütz Weber Der Freischütz (Op.77, The Marksman) is a German Overture to Der Freischütz opera in three acts which premiered in 1821 at the Schauspielhaus, Berlin. Many have suggested that it was the first important German Romantic opera, Strauss with the plot based around August Apel’s tale of the same name. Upon its premiere, the opera quickly 5 Orchestral Songs became an international success, with the work translated and rearranged by Hector Berlioz for a French audience. In creating Der Freischütz Weber Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a national opera that would reflect the uniqueness of Säusle, liebe Myrthe German culture. Amor Weber is considered, alongside Beethoven, one of the true founders of the Romantic Movement in Morgen! Op.27 music. He lived a creative life and worked as both a pianist and music critic before making significant contributions to the operatic genre from his appointment at the Dresden Staatskapelle in 1817, Das Rosenband Op.36 where he realised that the opera-goers were hearing almost nothing other than Italian works. His three German operas acted as a remedy to this situation, Brahms with Weber hoping to embody the youthful Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic stage. These works not only established Weber as a long-lasting Romantic composer, but served to define German Romanticism and make its name as an important musical force in Europe throughout the 19th century. -
WTX Microstream EN Manual-1
WTX MicroStream First Multiroom Plug & Play Audiophile Streamer What is the WTX-MicroStream The WTX-Microstream is an innovative wireless HiFi streamer which can be used with any amplier, HiFi sytem, soundbar, home theater into your home wi network. This system is multiroom. You can play your own music (PC/MAC, NAS), enjoy streaming services like Spotify, Tidal, Qobuz, etc... or radio service. The WTX-Microstream has an open interface with upgradable capability for future services and evolutions. Android and IOS apps will be available soon. What you will nd in the gift box - The WTX MicroStream x1 - The power adapter x1 - The EC plug x1 - The UK plug x1 - The US plug x1 Interface Wi-Fi led WPS button indicator for association Left channel Power supply To plug on your HiFi, active speaker, soundbar... Right channel Download your App / Android or Apple - To control your WTX-Microstreamer, please download on the App Store (if you are using Apple devices) or on Google Play (if you you are using an Android device). The name of the App is ADVANCE PLAYSTREAM How to connect your WTX MicroStream with WPS - Make sure your phone connect to your Wi-Fi home network. - Run ADVANCE PLAYSTREAM App and choose Add Device. - Type your password of your router in ADVANCE PLAYSTREAM App. - Press WPS button on WTX MicroStream How to connect your WTX MicroStream without WPS - Make sure your phone connect to your Wi-Fi home network. - Run ADVANCE PLAYSTREAM App and choose Add Device. - Enter “Setting” ->”WLAN” ->directly connect WTX MicroStreamer - Type your password of your router in ADVANCE PLAYSTREAM App.