Classical Vocal Music by Composer
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
We Are Proud to Offer to You the Largest Catalog of Vocal Music in The
Dear Reader: We are proud to offer to you the largest catalog of vocal music in the world. It includes several thousand publications: classical,musical theatre, popular music, jazz,instructional publications, books,videos and DVDs. We feel sure that anyone who sings,no matter what the style of music, will find plenty of interesting and intriguing choices. Hal Leonard is distributor of several important publishers. The following have publications in the vocal catalog: Applause Books Associated Music Publishers Berklee Press Publications Leonard Bernstein Music Publishing Company Cherry Lane Music Company Creative Concepts DSCH Editions Durand E.B. Marks Music Editions Max Eschig Ricordi Editions Salabert G. Schirmer Sikorski Please take note on the contents page of some special features of the catalog: • Recent Vocal Publications – complete list of all titles released in 2001 and 2002, conveniently categorized for easy access • Index of Publications with Companion CDs – our ever expanding list of titles with recorded accompaniments • Copyright Guidelines for Music Teachers – get the facts about the laws in place that impact your life as a teacher and musician. We encourage you to visit our website: www.halleonard.com. From the main page,you can navigate to several other areas,including the Vocal page, which has updates about vocal publications. Searches for publications by title or composer are possible at the website. Complete table of contents can be found for many publications on the website. You may order any of the publications in this catalog from any music retailer. Our aim is always to serve the singers and teachers of the world in the very best way possible. -
Oceanic Encounters
Chapter 4 A Reconsideration of the Role of Polynesian Women in Early Encounters with Europeans: Supplement to Marshall Sahlins’ Voyage around the Islands of History Serge Tcherkézoff Europeans have been losing their way in the Pacific from the beginning when early explorers made up for navigational errors by claiming inhabited islands as new discoveries. Never mind that the islanders had simultaneously discovered the explorers, no doubt with a fair bit of despair and surprise, but since it took years for islanders to learn the tiny scratches that the visitors called writing, the European claims had a head start in the history books. (Aiavao 1994) Je n'ai jamais pu concevoir comment et de quel droit une nation policée pouvait s'emparer d'une terre habitée sans consentement de ses habitants. (Marchand 1961, 253) Ethnohistorical work on first and subsequent early encounters between Polynesians and Europeans remained focused on particular archipelagoes, which has meant that comparative hypotheses spanning the entire Polynesian region have not emerged. Moreover, it has been conducted mainly in eastern Polynesia (including Aotearoa), thus leaving aside the western part of the region.1 In this chapter I examine early encounters in Samoa, from western Polynesia, and also reconsider the Tahitian case, from eastern Polynesia, thus building a comparison of the nature of these early encounters across the region. The focus of the chapter is the apparent sexual offers that women made to the newcomers. If we go back to a number of journals written during the early voyages which have still not been studied in as much detail as they deserve, namely La Pérouse's journal and, for Bougainville's expedition, those of Nassau and Fesche,2 we can see that a crucial aspect of these apparent sexual offers ± 113 Oceanic Encounters the ªgirls' very youngº age and their ªweepingº ± has been overlooked. -
May, 2020 No. 1941 Subscription (Program B) Richard Strauss
May, 2020 ◎No. 1941 Subscription (Program B) ◎ ■Richard Strauss (1864–1949) ■Symphonic Fragment from “Josephs Legende,” ballet (20') Richard Strauss’s Josephs Legende (The Legend of Joseph), Op. 63 is a ballet in a single act, composed between 1912 and 1914 for the Ballets Russes, a well-known ballet company in Paris. Its director Sergei Diaghilev was a charismatic figure who commissioned famous composers such as Igor Stravinsky, Claude Debussy, and Sergei Prokofiev to write pieces for the company. The company’s principal dancer and choreographer was Vaslav Nijinsky, one of the best known male dancers of the time. Strauss’s ballet is about Joseph in the Book of Genesis of the Old Testament, in particular about Potiphar’s wife Zuleika tries to seduce Joseph. The libretto was written mostly by Hugo von Hofmannsthal (the poet also provided Strauss with a number of libretti, including Elektra, Der Rosenkavalier, Ariadne auf Naxos, Die Frau ohne Schatten, Die ägyptische Helena, and Arabella). Strauss struggled with the ballet. He found the Biblical story uninspiring. Nevertheless, the project was for the renowned ballet company and great dancer/choreographer, an opportunity that could propel Strauss’s career to a higher level. The ballet premiered in Paris on May 14, 1914 where it was performed for seven times, then seven more in London. The outbreak of the First World War, however, eliminated all the chances for the ballet to be staged elsewhere. In 1947, Strauss returned to the piece to make a concert version and published it as Symphonic Fragment from Josephs Legende. This newly arranged piece retains the essence of the original and is filled with beautiful melodies typical of the composer. -
Interpreting Race and Difference in the Operas of Richard Strauss By
Interpreting Race and Difference in the Operas of Richard Strauss by Patricia Josette Prokert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2020 Doctoral Committee: Professor Jane F. Fulcher, Co-Chair Professor Jason D. Geary, Co-Chair, University of Maryland School of Music Professor Charles H. Garrett Professor Patricia Hall Assistant Professor Kira Thurman Patricia Josette Prokert [email protected] ORCID iD: 0000-0002-4891-5459 © Patricia Josette Prokert 2020 Dedication For my family, three down and done. ii Acknowledgements I would like to thank my family― my mother, Dev Jeet Kaur Moss, my aunt, Josette Collins, my sister, Lura Feeney, and the kiddos, Aria, Kendrick, Elijah, and Wyatt―for their unwavering support and encouragement throughout my educational journey. Without their love and assistance, I would not have come so far. I am equally indebted to my husband, Martin Prokert, for his emotional and technical support, advice, and his invaluable help with translations. I would also like to thank my doctorial committee, especially Drs. Jane Fulcher and Jason Geary, for their guidance throughout this project. Beyond my committee, I have received guidance and support from many of my colleagues at the University of Michigan School of Music, Theater, and Dance. Without assistance from Sarah Suhadolnik, Elizabeth Scruggs, and Joy Johnson, I would not be here to complete this dissertation. In the course of completing this degree and finishing this dissertation, I have benefitted from the advice and valuable perspective of several colleagues including Sarah Suhadolnik, Anne Heminger, Meredith Juergens, and Andrew Kohler. -
Introduction
Cambridge University Press 978-0-521-45659-3 - Rounding Wagner’s Mountain: Richard Strauss and Modern German Opera Bryan Gilliam Excerpt More information Introduction Chapter 1 suggests that, despite its obscurity, Guntram (1893) remains the central source for understanding the emergence of Strauss as a mature artist. The work, whose text was written by the composer, documents his early philosophical struggles with the issue of music and metaphysics. Earlier scholars of Strauss’s operatic oeuvre have explained its failure in terms of its miscarried Wagnerism, demonstrating that they themselves have failed to understand that Guntram ultimately rejects Wagnerian metaphysics. In 1949, at the end of his life, Strauss regretted that his biographers tended to downplay Guntram’s rejection of a Wagnerian Erlösung, thereby ignoring the breach between individual (subject) and the world (object), as the Minnesänger breaks his lyre and walks 1 away from his brotherhood and his beloved Freihild. In this single gesture, Strauss, who served as his own librettist on this work, suggests that if one systematically follows Schopenhauer to the end of his four-book World as Will and Representation,thefinal denial of the will must include a rejection of music. Feuersnot (1901), the co-subject, along with Salome, of Chapter 2, marked the end of a seven-year operatic hiatus in the wake of Guntram’s failure. During those years Strauss composed his mature tone poems, all of which exemplify a shift toward ego assertion foreshadowed by that breach between individual and collective treated in Guntram. Informed by Nietzsche and Stirner, these orchestral works feature an individual (whether the visionary hero of Ein Heldenleben or the delusional antihero of Don Quixote) at odds with a complacent society. -
Richard Strauss and Vienna.Pdf
Arabella 2018 insert.qxp_Arabella 2018 10/3/18 3:36 PM Page 4 B Y P AUL T HOMASON man, not an Austrian. For many Americans today that can seem like a distinction without much of a difference, but a century ago it was ichard trauss enough to make Strauss’ tenure at the Vienna State Opera a night- R S mare, rather than the dream job he had hoped it would be. Strauss stepped foot in Vienna for the first time in December 1882. ienna He wrote back home to his parents in Munich with all the savoir faire &V of a typical 18-year-old boy that it was “… just an ordinary city like Munich, only the houses are bigger, more palaces than inhabitants. t is natural we should equate Richard Strauss with Vienna. The girls aren’t any prettier than they are in Munich.” His weeklong After all, he wrote the quintessential Viennese opera, Der stay was designed to introduce himself to prominent musicians and Rosenkavalier, a glittering yet poignant work shot through with to make his music known. Toward that end he and his cousin, the vio- waltzes that seems to define the soul of the 18th-century city. The linist Benno Walter, gave a concert on the fifth of December in the old Ifact that Rosenkavalier is so much more than a nostalgic Neverland Bösendorfer concert rooms. On the program was the premiere of of an opera is what keeps its characters and their situations so Strauss’ Violin Concerto with the composer at the piano in place of an alive and makes it meaningful to listeners today. -
AMS-CC Spring 2011 Final Program
AMERICAN MUSICOLOGICAL SOCIETY CAPITAL CHAPTER SPRING MEETING SATURDAY, APRIL 2, 2011 LIBRARY OF CONGRESS, WHITTALL PAVILLION, WASHINGTON, DC PROGRAM 9:00 am Coffee and Tea Session I 9:30 am Laura Youens (The George Washington University): “Franz Liszt and an African Explorer” 10:00 am Therese Ellsworth (Washington, DC): “Victorian Pianists and the Emergence of International Virtuosos: The Worldwide Tour of Arabella Goddard” Session II: Lowens Award Competition 10:30 am Robert Lintott (University of Maryland, College Park): “The Manipulation of Time in Act II of John Adams’ Doctor Atomic.” 11:00 am Christopher Bowen (The Catholic University of America): “Fusing the Romantic and the Modernist: Richard Strauss’s Songs” 11:30 am Angeline Smith (The Catholic University of America): “Wohin? Toward Rediscovering Forgotten Attributes of Schubert’s Die schöne Müllerin Through Well-Temperament Analysis” 12:00-1:30 Lunch Session III 1:30 pm Vanessa L. Rogers (Rhodes College): “The Salon of Violet Gordon Woodhouse and the Cult for Baroque Music in Early Twentieth-century England” 2:00 pm Kirstin Ek (University of Virginia): “The Common Man Meets the Matinee Idol: Harry Belafonte, Folk Identity, and the 1950s Mass Media” 2:30 pm Matt McAllister (The Florida State University and Valencia Community College): “A Spectacle Worth Attending To”: The Ironic Use of Preexisting Art Music in Three Films Adapted from Stephen King Session IV: 3:15 pm Ilias Chrissochoidis (Kluge Center, The Library of Congress): “Dramatic Pairing in Fidelio: A Structuralist Approach” 3:45 pm Paul-André Bempéchat (Center for European Studies, Harvard University): “The Location of Mendelssohn’s Culture: Religious Counterpoint, Confusion and Synthesis in the ‘Reformation’ Symphony” 4:15 pm Business Meeting ABSTRACTS (in program order) Laura Youens (The George Washington University): “Franz Liszt and an African Explorer” I was fortunate enough to inherit three letters and a music manuscript by Franz Liszt. -
Richard Strauss Society DVD Ad Bluray Sale
Richard Strauss Society DVD ad Bluray Sale No: Please quote this Price No of when (incl. Discs in Recording ordering postage) Label Case Date Work (s) Conductor Orchestra Soloist 1 Soloist 2 Soloist 3 Soloist 4 Soloist 5 £ DVD - STRAUSS OPERAS 1 7 Decca 1 1995 Arabella Thielemann Metropolitan Opera Te Kanawa McLaughlin Dernesch McIntyre 2 5 Decca 1 2007 Arabella Welser-Möst Zurich Opera Fleming Kleiter Larsen Weigel 3 5 DG 1 1965 Ariadne auf Naxos Böhm Wiener Philharmoniker Jurinac Grist Hillebrecht Thomas 4 7 DG 1 1989 Ariadne auf Naxos Levine Metropolitan Opera Norman Battles Troyanos King 5 5 Opera Paris 1 2004 Capriccio Schirmer Paris Opera Fleming Henschel Trost Finley von Otter 6 7 Decca 2 2011 Capriccio Davis Metropolitan Opera Fleming Haiser Braun Rose Connolly 7 7 Decca 1 2011 Capriccio Runnicles San Francisco Te Kanawa Hagegard Troyanos Braun Flamand 8 7 Arthaus Musik 2 2004 Capriccio Schirmer Paris Opera Fleming Henschel Trost Finley von Otter 9 5 Dynamic Italy 1 2006 Daphne Reck La Fenice Anderson Saccà MacAllister Williams Remmert 10 7 Dynamic Italy 1 2006 Daphne Reck La Fenice Anderson Saccà MacAllister Williams Remmert 11 7 Arthaus Musik 2 2004 Der Rosenkavalier Bychkov Wiener Philharmoniker Pieczonka Kirchslager Persson Hawlata 12 7 DG 2 2004 Der Rosenkavalier Bychkov Wiener Philharmoniker Pieczonka Kirchslager Persson Hawlata 13 7 Sony 2 1984 Der Rosenkavalier Kleiber Bayerisches Staatsorchester Jones Fasbaender Popp Moll Jungwirth 14 10 Sony 2 1984 Der Rosenkavalier Kleiber Bayerisches Staatsorchester Jones Fasbaender -
Aber Der Richtige
Richard Strauss Aber der Richtige... Violin Concerto Miniatures Arabella Steinbacher WDR Symphony Orchestra Lawrence Foster Maybe it is because of my name, which my parents gave me as great Strauss lovers, that his music touches me so much. Born into a world full of singing, as a child I used to sit under the grand piano in my "music cave" while my father rehearsed with singers. The famous duet from Arabella, which my parents engraved in our banisters, has accompanied me since I can remember. This duet was finally the impetus to record an album with only works by Richard Strauss. Of course, even if the sung lyrics are missing, I have dared to sing these songs on my violin and hope that singers will forgive me. I hope you enjoy traveling through this Romantic sound world. Yours, Richard Strauss (1864-1949) Violin Concerto in D minor op. 8 (1882) 1 Allegro 15. 10 2 Lento, ma non troppo 6. 09 3 Rondo 8. 30 4 Romanze (Cello-Romanze, for violin) (1883) 9. 36 5 Little Scherzino op 3. No 4 (1881) * 4. 12 6 Zueignung op 10. No. 1 (1885) 1. 34 7 Traum durch die Dämmerung op. 29 No. 1 (1895) 2. 46 8 Cäcilie op. 27 No. 2 (1894) 2. 27 9 Wiegenlied op 41. No. 1 (1900) 4. 30 10 From “Arabella” (1933): “Aber der Richtige...“ * 5. 09 * Arranged by Peter von Wienhardt Total playing time: 60. 35 Arabella Steinbacher, violin WDR Symphony Orchestra Conducted by Lawrence Foster But the right one for me Arabella Steinbacher. -
Paul Motian Trio and Guest Bass Player Tobiography
www.winterandwinter.com P a u l M o t i a n 25 March 1931 – 22 November 2011 In many interviews, this New York drum- and recordings with Keith Jarrett, Charles mer of Turkish-Armenian extraction has Lloyd and Charlie Haden’s »Liberation been asked time after time for anecdotes Music Ensemble« follow, but over the about Bill Evans, Paul Bley and Keith Jar- years, almost unnoticed, Motian develops rett. His early days attract attention be- his first trio, with Bill Frisell on guitar and cause he was one of the few musicians who Joe Lovano on saxophone. In the mid- can look back on eighties, Motian experiences with begins to collab- Lennie Tristano, orate with Ste- Tony Scott and fan Winter ’s Coleman Haw- newly founded kins, who even music company appeared with JMT Production. Billie Holiday In contrast to and Thelonious the productions Monk in his up to this point, youth, and the first concept played with albums now ap- Arlo Guthrie at pear. The first is the legendary »Monk in Mo- Woodstock Fest- tian«, played by ival. The list of his trio, with great stars Mo- guest musicians tian has played Geri Allen on with goes on for Ꭿ Robert Lewis piano and pages; for some Dewey Redman years he has been reading through his on tenor saxophone. Next comes »Bill painstakingly documented annual calen- Evans«, recorded without pianist by the dars, to stir his memory and write his au- Paul Motian Trio and guest bass player tobiography. Marc Johnson. Winter & Winter, founded at It is not until 1972, at the age of 41, that the end of 1995, takes over and publishes Paul Motian records his debut album under all JMT’s productions, as well as continu- his own name (»Conception Vessel«, with ing work already begun. -
The Genre of Cabaret
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret Deborah Tedrick University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Tedrick, Deborah, "Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret" (2006). Electronic Theses and Dissertations, 2004-2019. 972. https://stars.library.ucf.edu/etd/972 BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET by DEBORAH LYNNE TEDRICK Bachelor of Music, California State University at Los Angeles, 1989 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2006 © 2006 Deborah Lynne Tedrick ii ABSTRACT Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks.