Vocal Solos and Opera
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Treble Voices in Choral Music
loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today. -
Don Giovanni Was Made Possible by a Generous Gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon
donWOLFGANG AMADEUS MOZARTgiovanni conductor Opera in two acts Fabio Luisi Libretto by Lorenzo Da Ponte production Michael Grandage Saturday, October 22, 2016 PM set and costume designer 1:00–4:30 Christopher Oram lighting designer Paule Constable choreographer Ben Wright revival stage director Louisa Muller The production of Don Giovanni was made possible by a generous gift from the Richard and Susan Braddock Family Foundation, and Sarah and Howard Solomon Additional funding was received from Jane and Jerry del Missier and Mr. and Mrs. Ezra K. Zilkha general manager Peter Gelb The revival of this production is made possible music director emeritus by a gift from Rolex James Levine principal conductor Fabio Luisi 2016–17 SEASON The 556th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S don giovanni conductor Fabio Luisi in order of vocal appearance leporello maset to Adam Plachetka Matthew Rose donna anna Hibla Gerzmava continuo David Heiss, cello don giovanni Howard Watkins*, Simon Keenlyside harpsichord the commendatore mandolin solo Kwangchul Youn Joyce Rasmussen Balint don ot tavio Paul Appleby* donna elvir a Malin Byström zerlina Serena Malfi Saturday, October 22, 2016, 1:00–4:30PM This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD series is made possible by a generous grant from its founding sponsor, The Neubauer Family Foundation. Global sponsorship of The Met: Live in HD is also provided by Bloomberg Philanthropies. Chorus Master Donald Palumbo Musical -
Carl Loewe's "Gregor Auf Dem Stein": a Precursor to Late German Romanticism
Carl Loewe's "Gregor auf dem Stein": A Precursor to Late German Romanticism Item Type text; Electronic Dissertation Authors Witkowski, Brian Charles Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 03:11:55 Link to Item http://hdl.handle.net/10150/217070 CARL LOEWE'S “GREGOR AUF DEM STEIN”: A PRECURSOR TO LATE GERMAN ROMANTICISM by Brian Charles Witkowski _____________________ Copyright © Brian Charles Witkowski 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Brian Charles Witkowski entitled Carl Loewe's “Gregor auf dem Stein”: A Precursor to Late German Romanticism and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts ________________________________________________ Date: 11/14/11 Charles Roe ________________________________________________ Date: 11/14/11 Faye Robinson ________________________________________________ Date: 11/14/11 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
River Songs (2002) and the Brief Light (2010)
An Analysis and Performance Manual of John Musto's Chamber Music for Baritone: River Songs (2002) and the Brief Light (2010) Item Type text; Electronic Dissertation Authors Guenther, Gregory Patrick Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 03:49:35 Link to Item http://hdl.handle.net/10150/595632 AN ANALYSIS AND PERFORMANCE MANUAL OF JOHN MUSTO’S CHAMBER MUSIC FOR BARITONE: RIVER SONGS (2002) AND THE BRIEF LIGHT (2010) by Gregory Patrick Guenther _______________________ Copyright © Gregory Patrick Guenther 2015 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2015 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Gregory Guenther entitled An Analysis and Performance Manual of John Musto’s Chamber Music for Baritone: River Songs (2002) and The Brief Light (2010) and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _______________________________________________________Date: 12/3/2015 Kristin Dauphinais _______________________________________________________Date: 12/3/2015 William Andrew Stuckey _______________________________________________________Date: 12/3/2015 Jay Rosenblatt Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Voice of the Forgotten American: the Oratorios of Horatio Parker
VOICE OF THE FORGOTTEN AMERICAN: THE ORATORIOS OF HORATIO PARKER BY HOWARD SWYERS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree, Doctor of Music. ___________________________________ Carmen-Helena Tellez, Research Director __________________________________ Patricia Stiles, Chairperson __________________________________ Mary Ann Hart __________________________________ Timothy Noble ii Copyright © 2013 Howard Swyers iii ACKNOWLEDGEMENTS Special thanks to Patricia Stiles for being a mentor and a great voice instructor for these many long years. Thanks to Carmen Tellez for her unwavering support, optimism, and the many opportunities she has provided me. Thanks to Patricia Wise and Tim Noble for serving on my committee and for their support. Thanks to my family for putting up with me during the course of my schooling Thanks to all the many people at Indiana University who have helped and supported me through the years in both employment and study. Thanks to Terence Kelly for helping me get started down this long path. iv TABLE OF CONTENTS Acknowledgements iv List of Figures vi List of Musical Examples vii List of Tables ix Chapter 1 - The Cultural Context of Horatio Parker’s Life and His Music 1 Chapter 2 – Hora Novissima 27 Chapter 3 – The Legend of Saint Christopher 70 Chapter 4 – Morven and the Grail 116 Chapter 5 - Conclusion 168 Bibliography 171 v LIST OF FIGURES Figure 1 – Chart of Hora Novissima Structure 29 Figure 2 – First page of libretto. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
Audition Pack SP
AUDITION PACK Performance Dates: November 9 - Dec 1st (A total of 18 performances over 4 weeks). Rehearsal Dates & Times: Rehearsals start Sunday June 23rd, and will take place on Monday and Wednesday evenings and Sunday aKernoons at the Coffs Harbour EducaPons Campus, Hogbin Drive, Coffs Harbour. Not everyone will be reQuired to aRend all three rehearsals a week in the early stages. Later in the rehearsal season, aRendance will likely be reQuired at all rehearsals. A schedule will be provided but will be subject to change as necessary. Note: From bump-in on Sunday November 3rd FULL commitment to aRendance is REQUIRED for tech and dress rehearsals from Sunday 3rd (Full day and/or evening), Monday 4th, Tuesday 5th and Wednesday 6th (evenings). IF all goes well, you will get Thursday 7th and Friday 8th off to rest. This schedule is subject to change if the theatre becomes available earlier. Audition Dates: Saturday June 15 Call Backs: Sunday June 16 Director: Judi Williams M.D: Tim Egan AUDITION INFORMATION PLEASE READ ALL INFORMATION CAREFULLY AND COMPLETE ALL SECTIONS ON THE AUDITION FORM AGE RESTRICTIONS Minimum age for adult roles is 16 and up. Two children’s roles are available (Ngana and Jerome). Minimum Age is 8, maximum 12. Two girls and two boys will be cast and will share these roles. AUDITION PIECES REQUIRED Specific songs are reQuired and are listed with the character informaPon. These audiPon pieces are available to download from the audiPon page of our website: www.coffsharbourmusicalcomedycompany.com/audiPons PRIOR COMMITMENTS This secPon of the audiPon registraPon form must be completed and signed by every person audiPoning prior to audiPons. -
Copyright by Joshua Shank 2016
Copyright by Joshua Shank 2016 The Dissertation Committee for Joshua Shank Certifies that this is the approved version of the following dissertation: Two Boys Kissing: An Oratorio for Men's Voices and Instruments Committee: ________________________________ Russell Pinkston, Supervisor ________________________________ Donald Grantham ________________________________ Yevgeniy Sharlat ________________________________ Eric Drott ________________________________ Chad Bennett Two Boys Kissing: An Oratorio for Men's Voices and Instruments by Joshua Shank B.A.; M.Music Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December 2016 Acknowledgments A quick word of thanks to all my composition teachers during my time here at the University of Texas at Austin: Russell Pinkston, Yevgeniy Sharlat, Donald Grantham, Bruce Pennycook, Dan Welcher, and the late Daniel Catán. I feel I needed every bit of knowledge I've learned during my studies with all of you in order to write this piece. My colleagues and friends in the composition department and beyond have also helped me become both a better composer but also a better human being, so to all of them—Andy, Max, Eli, Jon, Joey, Steve, Kramer, Ben, Chris, Ian, Corey, Tim, and Jocelyn—you have the gratitude of one who toils in the same vineyard as you do. Also deserving of thanks are the people who helped make Two Boys Kissing a reality before it was ever a dissertation. Reuben Reynolds III, Bill Casey, and the men of the Boston Gay Men's Chorus introduced me to the world of the GALA Choruses. -
Download Booklet
MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
News Release
news release FOR IMMEDIATE RELEASE PRESS CONTACT: Maggie Stapleton, Jensen Artists September 25, 2019 646.536.7864 x2; [email protected] American Composers Orchestra Announces 2019-2020 Season Derek Bermel, Artistic Director & George Manahan, Music Director Two Concerts presented by Carnegie Hall New England Echoes on November 13, 2019 & The Natural Order on April 2, 2020 at Zankel Hall Premieres by Mark Adamo, John Luther Adams, Matthew Aucoin, Hilary Purrington, & Nina C. Young Featuring soloists Jamie Barton, mezzo-soprano; JIJI, guitar; David Tinervia, baritone & Jeffrey Zeigler, cello The 29th Annual Underwood New Music Readings March 12 & 13, 2020 at Aaron Davis Hall at The City College of New York ACO’s annual roundup of the country’s brightest young and emerging composers EarShot Readings January 28 & 29, 2020 with Buffalo Philharmonic Orchestra May 5 & 6, 2020 with Houston Symphony Third Annual Commission Club with composer Mark Adamo to support the creation of Last Year ACO Gala 2020 honoring Anthony Roth Constanzo, Jesse Rosen, & Yolanda Wyns March 4, 2020 at Bryant Park Grill www.americancomposers.org New York, NY – American Composers Orchestra (ACO) announces its full 2019-2020 season of performances and engagements, under the leadership of Artistic Director Derek Bermel, Music Director George Manahan, and President Edward Yim. ACO continues its commitment to the creation, performance, preservation, and promotion of music by 1 American Composers Orchestra – 2019-2020 Season Overview American composers with programming that sparks curiosity and reflects geographic, stylistic, racial and gender diversity. ACO’s concerts at Carnegie Hall on November 13, 2019 and April 2, 2020 include major premieres by 2015 Rome Prize winner Mark Adamo, 2014 Pulitzer Prize winner John Luther Adams, 2018 MacArthur Fellow Matthew Aucoin, 2017 ACO Underwood Commission winner Hilary Purrington, and 2013 ACO Underwood Audience Choice Award winner Nina C. -
Download Booklet
Cast in order of appearence Gordon Getty (born 1933) PLUMP JACK Henry IV / Pistol - Christopher Robertson, Bass-baritone Hal (Henry V) - Nikolai Schukoff, Tenor Libretto by the composer after Shakespeare (Henry IV Part 1 & 2, Henry V) Opera in Two Acts Boy / Clarence - Melody Moore, Soprano Bardolph / Chief Justice - Nathaniel Webster, Baritone Concert Version (Scene 1 and Scene 8 of the opera are not included in the concert version) Falstaff - Lester Lynch, Baritone First Traveler - Diana Kehrig, Mezzo-soprano Act One 1 Overture 11. 18 Second Traveler / Second Captain/ Warwick - Bruce Rameker, Baritone 2 Scene 2: “Hal’s Memory” 3. 27 Hostess (Nell Quickly) - Susanne Mentzer, Mezzo-soprano (Henry IV, Hal) Shallow / First Captain - Robert Breault, Tenor 3 Scene 3: “Gad’s Hill” 3. 35 Davy - Chester Patton, Bass-baritone (Falstaff, Hal, Boy, 1st Traveler, 2nd Traveler, Bardolph, Pistol) 4 Scene 4: “Clarence” 5. 16 Chor des Bayerischen Rundfunks (Henry IV, Chief Justice, Clarence) Chorus Master: Florian Helgath 5 Scene 5: “Boar’s Head Inn” 9. 00 (Falstaff, Hal, Hostess, Boy, Pistol, 1st Captain, 2nd Captain ) Münchner Rundfunkorchester Concertmaster: Olga Pogorelova Act Two 6 Scene 6: “Shallow’s Orchard” 5. 04 conducted by: Ulf Schirmer (Shallow, Falstaff) 7 Scene 7: “Jerusalem” 6. 33 Recording Venue: Studio One of the Bavarian Radio Munich, May 2011 (Clarence, Chief Justice, Henry IV, Warwick, Hal, Chorus) Executive Producers: Lisa Delan (Rork Music), Veronika Weber & Florian Lang (Bavarian 8 Scene 9: “Pistol’s News” 4. 47 Radio), Job Maarse (PentaTone Music) (Davy, Falstaff, Bardolph, Shallow, Pistol, Chorus) Recording Producer: Job Maarse 9 Scene 10: “Banishment” 10. -
Kent Tritle's 2014-15 Season
Contact: Jennifer Wada 718-855-7101 [email protected] KENT TRITLE’S 2014-15 SEASON: Verdi’s Requiem in a Unique Collaboration Early and New Music in Great Music in a Great Space at the Cathedral of St. John the Divine Tenth Anniversary Season with Oratorio Society of New York World Premieres of Works by Filas, Gilbertson, Paterson, with Musica Sacra Manhattan School of Music Chamber Choir at The Metropolitan Museum of Art More New York Synergy: Musica Sacra with Orchestra of St. Luke’s A performance of Verdi’s Requiem that is a tripartite collaboration highlights the 2014-15 season of Kent Tritle, called “New York’s reigning choral conductor” by The New York Times. In an event emblematic of Kent’s multiple roles in the city’s choral life, he will conduct a performance of the massive work by the Oratorio Society of New York, of which he is Music Director, and the Symphony and Symphonic Chorus of the Manhattan School of Music, where he is Director of Choral Activities, in the grand space of the Cathedral of St. John the Divine, where he is Director of Cathedral Music and Organist – with a new choral configuration that features the more-than-250 singers on risers in the cathedral’s Great Choir space. The program is perhaps Tritle’s most ambitious yet at the Cathedral, where he marks his fourth season in 2014-15 also with concerts of early music and contemporary works by the professional Cathedral Choir, and holiday programs. The season also marks Kent’s tenth anniversary as Music Director of the 200-voice avocational Oratorio Society of New York (he has just renewed his contract through 2016-17), which he will lead in three Carnegie Hall concerts of grand choral repertoire; it is also his eighth season as Music Director of the acclaimed professional chorus Musica Sacra, and they will highlight their season with a program of three world premieres.