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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
Manfred Honeck, Conductor Vilde Frang, Violin Matthias Goerne, Baritone Eric Cutler, Tenor
Pittsburgh Symphony Orchestra 2018-2019 Mellon Grand Classics Season May 10 and 12, 2019 MANFRED HONECK, CONDUCTOR VILDE FRANG, VIOLIN MATTHIAS GOERNE, BARITONE ERIC CUTLER, TENOR LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 I. Allegro ma non troppo II. Larghetto — III. Rondo: Allegro Ms. Frang Intermission GUSTAV MAHLER Das Lied von der Erde for Baritone* and Tenor† Soloists and Orchestra I. Das Trinklied vom Jammer der Erde (“The Drinking Song of the Earth’s Misery”)† II. Der Einsame im Herbst (“The Lonely One in Autumn”)* III. Von der Jugend (“of Youth”)† IV. Von der Schönheit (“of Beauty”)* V. Der Trunkene im Frühling (“The Drunkard in Spring”)† VI. Der Abschied (“The Parting”)* Mr. Goerne Mr. Cutler May 10-12, 2019, page 1 PROGRAM NOTES BY DR. RICHARD E. RODDA LUDWIG VAN BEETHOVEN Concerto in D major for Violin and Orchestra, Opus 61 (1806) Ludwig van Beethoven was born in Bonn on December 16, 1770, and died in Vienna on March 26, 1827. He composed his Violin Concerto in 1806, and it was premiered at the Theater-an-der-Wien in Vienna with Beethoven conducting and soloist Franz Clement on December 23, 1806. The Pittsburgh Symphony first performed the concerto at Carnegie Music Hall with conductor Victor Herbert and violinist Luigi von Kunits in November 1898, and most recently performed it with music director Manfred Honeck and violinist Christian Tetzlaff in June 2015. The score calls for flute, pairs of oboes, clarinets, bassoons, horns, and trumpets, timpani and strings. Performance time: approximately 45 minutes. In 1794, two years after he moved to Vienna from Bonn, Beethoven attended a concert by an Austrian violin prodigy named Franz Clement. -
05-11-2019 Gotter Eve.Indd
Synopsis Prologue Mythical times. At night in the mountains, the three Norns, daughters of Erda, weave the rope of destiny. They tell how Wotan ordered the World Ash Tree, from which his spear was once cut, to be felled and its wood piled around Valhalla. The burning of the pyre will mark the end of the old order. Suddenly, the rope breaks. Their wisdom ended, the Norns descend into the earth. Dawn breaks on the Valkyries’ rock, and Siegfried and Brünnhilde emerge. Having cast protective spells on Siegfried, Brünnhilde sends him into the world to do heroic deeds. As a pledge of his love, Siegfried gives her the ring that he took from the dragon Fafner, and she offers her horse, Grane, in return. Siegfried sets off on his travels. Act I In the hall of the Gibichungs on the banks of the Rhine, Hagen advises his half- siblings, Gunther and Gutrune, to strengthen their rule through marriage. He suggests Brünnhilde as Gunther’s bride and Siegfried as Gutrune’s husband. Since only the strongest hero can pass through the fire on Brünnhilde’s rock, Hagen proposes a plan: A potion will make Siegfried forget Brünnhilde and fall in love with Gutrune. To win her, he will claim Brünnhilde for Gunther. When Siegfried’s horn is heard from the river, Hagen calls him ashore. Gutrune offers him the potion. Siegfried drinks and immediately confesses his love for her.Ð When Gunther describes the perils of winning his chosen bride, Siegfried offers to use the Tarnhelm to transform himself into Gunther. -
The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Download Program Notes
Symphony No. 9 in E minor, Op. 95, From the New World Antonín Dvořák n June 1891 the American philanthropist American years. Ragtime left him cold, but IJeannette Thurber asked Antonín Dvořák he was fascinated by the repertoire of Negro to consider directing the National Conser- spirituals. So far as Native American music is vatory of Music in New York, which she had concerned, it’s known that he attended one been nurturing into existence over the pre- of Buffalo Bill Cody’s Wild West shows in New ceding several years. Dvořák was persuad- York in the spring of 1893, which would have ed. He served as the conservatory’s director included more-or-less authentic singing and from 1892 through 1895, building the school’s dancing from a group of Oglala Sioux who curriculum and faculty, appearing as a guest belonged to Cody’s troupe. Since Dvořák was conductor, and composing such master- just then completing this symphony, it is im- works as his String Quartet in F major (Op. 96, possible that the music he heard on that oc- the American), String Quintet in E-flat major casion could have inspired the work’s materi- (Op. 97), and Symphony From the New World, al in any direct way; the same must be said of which occupied him during the winter and the Iroquois performers Dvořák encountered spring of 1893. Its premiere that December, a few months later at a performance given by with Anton Seidl conducting the New York the Kickapoo Medicine Company during his Philharmonic, was a huge success, a peak of summer in the Czech community of Spill- the composer’s career, and the critic for the ville, Iowa. -
The American College Man in Music
THE AMERICAN COLLEGE MAN IN MUSIC By W. J. BALTZELL Downloaded from N the spring of 1914 an incident occurred which has great significance for music in the United States in that it shows, very I definitely, the change in the attitude toward Music which has come about in educational institutions, and therefore reflects a similar change in the attitude toward Music and musical activities http://mq.oxfordjournals.org/ on the part of many persons who shape their opinions upon the stand taken by institutions of high prominence and those who conduct them. David Bispham, then on a concert tour, and singing in vaudeville, received a letter from the President of his Alma Mater, Haverford College, stating that the Board of Managers had decided to confer upon him the honorary degree of Doctor of Laws. Mr. Bispham's surprise was great, perhaps even greater at University of Lethbridge on September 12, 2015 than that of musicians who read later the announcement that the degree had been conferred. Had it ever occurred in these United States that a man prominent in the profession of music as an executive artist should be honored thus for distinguished services to Art? To quote from Mr. Bispham's address on The Ministry qj Music, delivered on the occasion of the conferring of the degree, will give an idea of the significance which Mr. Bispham attached to the letter: To say that I was surprised does not convey in any adequate - manner an idea of the state of my feelings. That I. ... a grand opera singer, a concert singer, and a vaudeville artist, I, whose life had been so unusual in regard to its public activities, should find myself being honored by my former companions and by the friends of my parents, by being made a Doctor of Laws by the college which, of almost all those in America, has upheld religion and scholarship at the expense of music, was astounding. -
C:\Users\User\Documents\04 Reimann\00A-Inhalt-Vorwort.Wpd
Vorwort Aribert Reimann ist einer der erfolgreichsten lebenden Komponisten Deutschlands, von Publikum und Kritik gleichermaßen hoch geschätzt. Bis heute, kurz vor seinem achtzigsten Geburtstag, hat er 78 Vokalwerke kom- poniert. Dazu gehören neben drei Chorwerken und zwei Requiems vor allem Lieder mit Klavier, mit Orchester oder in verschiedenen Kammermusik- besetzungen sowie acht Opern, die weltweit aufgeführt werden. Auch den solistischen Stimmen ohne jede Instrumentalbegleitung bietet Reimann höchst anspruchsvolle Kompositionen: Innerhalb dieses noch immer relativ ungewöhnlichen Genres findet sich neben sieben textinterpretierenden Werken eine sechsteilige Reihe von ganz den ‘Farben’ der menschlichen Stimme nachspürenden Vokalisen. Eine weitere Besonderheit stellen seine Kammermusikbearbeitungen romantischer Klavierlieder von Schubert, Mendelssohn-Bartholdy, Schumann, Brahms und Liszt dar. Obwohl auch die Liste von Reimanns Instrumentalwerken umfangreich und vielfältig ist, konzentriert sich diese Studie ausschließlich auf seine Vokalmusik. Hier kann Reimann aufgrund seiner intimen Vertrautheit mit der menschlichen Stimme aus einem einzigartigen Schatz an Einsichten schöpfen. Seine Affinität zum Gesang hat ihre Basis in seiner Kindheit mit einer Gesangspädagogin und einem Chorleiter als Eltern, in seinen frühen Auftritten als solistischer Knabensopran in konzertanten und szenischen Produktionen und in seiner jahrzehntelangen Erfahrung als Klavierpartner großer Sänger. Den kompositorischen Ertrag dieses Erfahrungsreichtums durch detaillierte Strukturanalysen zu erschließen und in ihrer textinterpre- tierenden Dimension zu würdigen kommt einer Autorin, deren besonderes Interesse dem Phänomen “Musik als Sprache” gilt, optimal entgegen. Die vorliegende Studie stellt in den fünf Hauptkapiteln je fünf Werke aus den vier letzten Dekaden des 20. Jahrhunderts und aus der Zeit seit 2000 vor, darunter die Opern Lear (nach Shakespeare), Die Gespenstersonate (nach Strindberg), Bernarda Albas Haus (nach Lorca) und Medea (nach Grillparzer). -
Discography Markus Stenz GO Live!
Discography Markus Stenz GO live! Symphony Concert No. 7 13/14 Schumann | Wagner Gürzenich Orchestra Cologne Anja Kampe soprano Sieglinde Lance Ryan tenor Siegmund Eric Halfvarson bass Hunding Robert Schumann: Symphony No. 1 in B-flat major op. 38 “Spring Symphony” Richard Wagner: first act from »Die Walküre« WWV 86 B GO live! | January 2014 New Year’s Eve Concert 13/14 Beethoven Gürzenich Orchestra Cologne Vokalensemble Kölner Dom Anne Schwanewilms soprano Ingeborg Danz alto Max Schmitt tenor Markus Butter bass Ludwig van Beethoven: Symphony No. 9 in D minor op. 125 GO live! | December 2013 Symphony Concert No. 4 13/14 Haydn | Mahler Gürzenich Orchestra Cologne Joseph Haydn: Symphony No. 94 in G major Hob. I:94 Gustav Mahler: Symphony No. 6 in A minor “Tragic” GO live! | November 2013 Symphony Concert No. 2 13/14 Beethoven | Henze | Ives Gürzenich Orchestra Cologne Lars Vogt piano Ludwig van Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37 Hans Werner Henze: Symphony No. 7 Charles Ives: “The Unanswered Question” for four flutes, trumpet and orchestra GO live! | October 2013 Symphony Concert No. 1 13/14 Dvořák | Strauss Gürzenich Orchestra Cologne Bonian Tian Violoncello Antonín Dvořák: Concerto for Violoncello and Orchestra in B minor op. 104 Richard Strauss: “Ein Heldenleben” op. 40 GO live! | September 2013 Symphony Concert No. 12 12/13 Jongen | Glanert | Bruckner Gürzenich Orchestra Cologne Vokalensemble Kölner Dom Domkantorei Köln Mädchenchor am Kölner Dom Kölner Domchor Iveta Apkalna organ Juliane Banse soprano Franziska Gottwald mezzosoprano Allan Clayton tenor Christof Fischesser bass Joseph Jongen: Symphonie Concertante op. -
History of the Pittsburgh Symphony Orchestra
HISTORY OF THE PITTSBURGH SYMPHONY ORCHESTRA For more than 119 years, the Pittsburgh Symphony Orchestra has been an essential part of Pittsburgh’s cultural landscape. The Pittsburgh Symphony, known for its artistic excellence, is credited with a rich history of the world’s finest conductors and musicians, and a strong commitment to the Pittsburgh region and its citizens. This tradition was furthered in fall 2008, when Austrian conductor Manfred Honeck assumed the position of music director with the Pittsburgh Symphony Orchestra. Heading the list of internationally recognized conductors to have led the Pittsburgh Symphony is Victor Herbert, music director between 1898 and 1904, who influenced the early development of the symphony. Preceding Herbert was Frederic Archer (1896-1899), the first Pittsburgh Orchestra conductor. The symphony’s solidification as an American institution took place in the late 1930s under the direction of Maestro Otto Klemperer. Conductors prior to Klemperer were Emil Paur (1904-1910), Elias Breeskin (1926-1930) and Antonio Modarelli (1930-1937). From 1938 to 1948, under the dynamic directorship of Fritz Reiner, the Pittsburgh Symphony Orchestra embarked on a new phase of its history, making its first international tour and its first commercial recording. The Pittsburgh Symphony Orchestra’s standard of excellence was maintained and enhanced through the inspired leadership of William Steinberg during his quarter-century as music director between 1952 and 1976. André Previn (1976-1984) led the Orchestra to new heights through tours, recordings and television, including the PBS series, “Previn and the Pittsburgh.” Lorin Maazel began his relationship with the Pittsburgh Symphony in 1984 as music consultant but later served as a highly regarded music director from 1988 to 1996. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father.