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Rimsky-Korsakov Overture and Suites from the Operas
CHAN 10369(2) X RIMSKY-KORSAKOV OVERTURE AND SUITES FROM THE OPERAS Scottish National Orchestra Neeme Järvi 21 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 220-210-21 221/8/061/8/06 110:02:490:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908) COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 Suite from ‘The Snow Maiden’ 13:16 2 I Beautiful Spring 4:28 Drawing by Ilya Repin /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40 Suite from ‘Mlada’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18 Suite from ‘Christmas Eve’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30 Nikolai Andreyevich Rimsky-Korsakov, 1888 3 CCHANHAN 110369(2)X0369(2)X BBOOK.inddOOK.indd 22-3-3 221/8/061/8/06 110:02:420:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. -
Nikolai Tcherepnin UNDER the CANOPY of MY LIFE Artistic, Creative, Musical Pedagogy, Public and Private
Nikolai Tcherepnin UNDER THE CANOPY OF MY LIFE Artistic, creative, musical pedagogy, public and private Translated by John Ranck But1 you are getting old, pick Flowers, growing on the graves And with them renew your heart. Nekrasov2 And ethereally brightening-within-me Beloved shadows arose in the Argentine mist Balmont3 The Tcherepnins are from the vicinity of Izborsk, an ancient Russian town in the Pskov province. If I remember correctly, my aged aunts lived on an estate there which had been passed down to them by their fathers and grandfathers. Our lineage is not of the old aristocracy, and judging by excerpts from the book of Records of the Nobility of the Pskov province, the first mention of the family appears only in the early 19th century. I was born on May 3, 1873 in St. Petersburg. My father, a doctor, was lively and very gifted. His large practice drew from all social strata and included literary luminaries with whom he collaborated as medical consultant for the gazette, “The Voice” that was published by Kraevsky.4 Some of the leading writers and poets of the day were among its editors. It was my father’s sorrowful duty to serve as Dostoevsky’s doctor during the writer’s last illness. Social activities also played a large role in my father’s life. He was an active participant in various medical societies and frequently served as chairman. He also counted among his patients several leading musical and theatrical figures. My father was introduced to the “Mussorgsky cult” at the hospitable “Tuesdays” that were hosted by his colleague, Dr. -
An Analysis of His Piano Concerto in E-Flat Major
SERGEI TANEYEV (1856-1915): AN ANALYSIS OF HIS PIANO CONCERTO IN E-FLAT MAJOR AND ITS RELATIONSHIP TO TCHAIKOVSKY’S PIANO CONCERTO NO. 1 Louise Jiayin Liu, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Joseph Banowetz, Major Professor Jeffrey Snider, Committee Member Adam Wodnicki, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Liu, Louise Jiayin, Sergei Taneyev (1856-1915): An Analysis of His Piano Concerto in E- flat Major and Its Relationship to Tchaikovsky’s Piano Concerto No.1. Doctor of Musical Arts (Performance), May 2007, 38 pp., 25 examples, bibliography, 26 titles. This lecture recital seeks to prove that Sergei Taneyev’s only piano concerto is a valuable addition to the piano concerto repertoire for historical and theoretical examination. Taneyev’s biographical background proves he was one of the major figures in Russian musical life during the late nineteenth century. For one who had such an important role in music history, it is an unfortunate that his music has not been popular. Through letters to contemporary composers and friends, Taneyev’s master teacher Tchaikovsky revealed why his music and piano concerto were not as popular as they should have been. This lecture recital examines Taneyev’s compositional style and illustrates his influence in the works of his famous student Sergei Rachmaninoff through examples from Taneyev’s Piano Concerto in E-flat Major and Rachmaninoff’s Piano Concerto No. -
Alexander Scriabin (1871-1915): Piano Miniature As Chronicle of His
ALEXANDER SCRIABIN (1871-1915): PIANO MINIATURE AS CHRONICLE OF HIS CREATIVE EVOLUTION; COMPLEXITY OF INTERPRETIVE APPROACH AND ITS IMPLICATIONS Nataliya Sukhina, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2008 APPROVED: Vladimir Viardo, Major Professor Elvia Puccinelli, Minor Professor Pamela Paul, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Sukhina, Nataliya. Alexander Scriabin (1871-1915): Piano miniature as chronicle of his creative evolution; Complexity of interpretive approach and its implications. Doctor of Musical Arts (Performance), May 2008, 86 pp., 30 musical examples, 3 tables, 1 figure, references, 70 titles. Scriabin’s piano miniatures are ideal for the study of evolution of his style, which underwent an extreme transformation. They present heavily concentrated idioms and structural procedures within concise form, therefore making it more accessible to grasp the quintessence of the composer’s thought. A plethora of studies often reviews isolated genres or periods of Scriabin’s legacy, making it impossible to reveal important general tendencies and inner relationships between his pieces. While expanding the boundaries of tonality, Scriabin completed the expansion and universalization of the piano miniature genre. Starting from his middle years the ‘poem’ characteristics can be found in nearly every piece. The key to this process lies in Scriabin’s compilation of certain symbolical musical gestures. Separation between technical means and poetic intention of Scriabin’s works as well as rejection of his metaphysical thought evolution result in serious interpretive implications. -
Tolkien Fandom Review 1968
The Yellowskin of Tuckborough Tolkien fandom review 1968 by Sumner Gary Hunnewell (Hildifons Took) 2013 First Edition (May 2013) 40 copies Number _____ for ________________________. © 2013, The New England Tolkien Society Sumner Gary Hunnewell (Hildifons Took) 2030 San Pedro Dr., Arnold, Missouri 63010 U.S.A. [email protected] The Yellowskin of Tuckborough: Tolkien Fandom Review 1968 Table of Contents Dedication . 2 From the Archives of Hildifons Took . 2 A Short Overview of Tolkien Fandom in 1968 . 2 Errata from The Yellowskin of Tuckborough 1967 . 4 A Few Comments on the Fanzines Covered . 4 Fanzines . 6 Author index . 25 Artist index . 46 Art index by subject . 49 Ephemera . 53 Addenda (1960-1967) . 56 A Few Comments on the Fanzines Covered . 56 Fanzines . 56 Author index . 57 Artist index . 58 Art index by subject . 58 Ephemera . 59 Fan Names – Names / Names - Fan Names . 60 Glossary . 62 Bibliography . 62 1 The Yellowskin of Tuckborough: Tolkien Fandom Review 1968 Dedication This issue is dedicated to Jan Howard Finder and Richard West. From the Archives of Hildifons Took While working on this project, it is easy to ruminate about its scope and future. It is impossible for this to be a day-by-day (or even year by year) chronicle of Tolkien fandom. Time has erased many small Tolkien societies and clubs of which I’ve never heard. The focus has always been to make this a useful view of Tolkien fandom through the use of printed fanzines and some printed ephemeral material. Additionally, I have decided at this point to limit my efforts to English only material. -
B29108986.Pdf
Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk CONCEPTUAL RECOMBINATION: A SUB- CONCEPTUAL DESIGN THEORY FOR CULTURAL PRODUCT CREATION HUNG CHOR KIN Ph.D The Hong Kong Polytechnic University 2016 The Hong Kong Polytechnic University School of Design Conceptual Recombination: A Sub-conceptual Design Theory for Cultural Product Creation Hung Chor Kin A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Sep 2013 CERTIFICATE OF ORIGINALITY I hereby declare that this thesis is my own work and that, to the best of my knowledge and belief, it reproduces no material previously published or written, nor material that has been accepted for the award of any other degree or diploma, except where due acknowledgement has been made in the text. -
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
GUILD MUSIC GHCD 2422 Tchaikovsky: Goossens & Kindler GHCD 2422 2015 Guild GmbH © 2015 Guild GmbH Guild GmbH Switzerland Pyotr Ilyich TCHAIKOVSKY (1840-1893) Symphony No.2 in C minor, Op.17, ‘Little Russian’ 1 I. Andante sostenuto 9:18 2 II. Andantino marziale, quasi moderato 6:56 3 III. Allegro molto vivace 4:14 4 IV. Moderato assai – Allegro vivace 9:10 CINCINNATI SYMPHONY ORCHESTRA EUGENE GOOSSENS Recorded: 20 February 1941 (RCA Victor 78rpm set M-790 – transferred to RCA Camden LP CAL-185) Symphony No.3 in D, Op.29, ‘Polish’ 5 I. Introduzione e allegro – Moderato assai (Tempo di marcia funebre) – Allegro brillante 12:55 6 II. Alla tedesca – Allegro moderato e semplice 5:33 7 III. Andante elegiaco 8:00 8 IV. Scherzo – Allegro vivo 5:46 9 V. Finale: Allegro con fuoco (Tempo di polacca) 7:39 NATIONAL SYMPHONY ORCHESTRA HANS KINDLER Recorded: 8 November 1940 (RCA Victor 78rpm set M-747 – transferred to RCA Camden LP CAL-182) GUILD MUSIC GHCD 2422 Tchaikovsky: Goossens & Kindler A GUILD HISTORICAL RELEASE • Recordings from the collection of Edward Johnson • Remastering: Peter Reynolds • Final master preparation: Reynolds Mastering, Colchester, England • Design: Paul Brooks, [email protected] • Art direction: Guild GmbH • Executive co-ordination: Guild GmbH ■ Guild GmbH, Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 (0) 52 742 85 00 Fax: +41 (0) 52 742 85 09 (Head Office) ■ Guild GmbH, PO Box 5092, Colchester, Essex CO1 1FN, Great Britain ■ e-mail: [email protected] World WideWeb-Site: http://www.guildmusic.com WARNING: Copyright subsists in all recordings under this label. -
The Fundamental Base of Work Culture and Work Spirituality
1 SZANISZLÓ - UHÁĽ - ČERNÁ - LAPKO THE FUNDAMENTAL BASE OF WORK CULTURE AND WORK SPIRITUALITY KRAKÓW 2013 2 Title: The fundamental base of work culture and spirituality of work First edition Authors: doc. ThDr. Ing. Inocent Mária Szaniszló, PhD. doc. ThDr. Martin Uháľ, PhD. doc. Ing. Ľubica Černá, PhD. doc. ThDr. Róbert Lapko, PhD. Reviewers: doc. Ing. Lidmila Nemcová, CSc. (VŠE, Praha) Dr. hab. Dariusz Lipiec (KUL Lublin, PL) doc. ThDr. Štefan Lenčiš, PhD. (TFKU) Publisher: For Theology Faculty of Catholic University in Košice published: Wydawnictwo Karmelitów Bosych, Kraków http://www.wkb-krakow.pl/ Published in: KRAKÓW 2013 Print: Typopress, Košice-Myslava, Pod horou 8, 040 16. ISBN: ISBN: 978-83-7604-291-6 3 4 Content Introduction ............................................................................................. 6 Abbreviations ............................................................................... ............ 9 I. Human dignity in the context of protection of human rights in modern democratic society .......................................................... 11 1.1. Crucial endeavour about universal validity of human rights` thought ............................................................ 13 1.2. Historic – religious point of view .............................................. 17 1.3. Politically-philosophical problem of the thought of protection of human rights ..................................................... 21 1.4. Church and its historic struggle in order to understand human rights ..................................................... -
PROGRAM NOTES As Young Men, Nikolai Rimsky-Korsakov and Piotr
PROGRAM NOTES As young men, Nikolai Rimsky-Korsakov and Piotr Tchaikovsky (born four years apart) represented opposite tendencies in Russian music. The former started his professional life as a naval officer, largely self-taught in music who, together with his colleagues in the Mighty Handful (also known as the ‟Russian Five”), regarded with a great deal of suspicion the newly-founded St. Petersburg Conservatory which they perceived as having an overly Western orientation. Piotr Tchaikovsky, one of the first graduates of the Conservatory, was steeped in the European classics and therefore seen by the ‟Five” as lacking authenticity as a Russian composer. This was in the 1860s. Thirty years later, the situation was quite different: of the members of ‟Five,” Mussorgsky and Borodin had died, Balakirev had largely withdrawn from the musical scene, and Cui, never an important composer to begin with, was increasingly marginalized. Rimsky-Korsakov alone made the transition from talented amateur to consummate professional, and became the leading professor of composition at the very conservatory which he and his friends had previously disparaged. In the 1880s and ‛90s, he and Tchaikovksy entertained cordial relations, even though not untouched by professional jealousy. After Tchaikovsky’s death in 1893, Rimsky-Korsakov, now the undisputed dean of Russian composers, always cherished his colleague’s memory. By that time, whatever aesthetic differences had existed before between these two masters had receded into the past. Together, they represent a classical tradition which is an inalienable part of the background of subsequent generations of composers from what used to be the Soviet Union—no matter how much those generations may have departed from the tradition or even rebelled against it. -
In Music: Beethoven, Psychological Coherence, and Meaning
Humanities 2015, 4, 418–435; doi:10.3390/h4030418 OPEN ACCESS humanities ISSN 2076-0787 www.mdpi.com/journal/humanities Article The Material and “Inner Life” in Music: Beethoven, Psychological Coherence, and Meaning Sara Eckerson 1,2 1 Program in Literary Theory, Faculty of Letters, University of Lisbon, Alameda da Universidade, 1600-214 Lisboa, Portugal; E-Mail: [email protected] 2 Nova Institute of Philosophy (IFILNOVA), Faculty of Social and Human Sciences, New University of Lisbon, Av. de Berna, 26-4 Piso, 1069-061 Lisboa, Portugal Academic Editor: Jacob-Ivan Eidt Received: 13 July 2015 / Accepted: 31 August 2015 / Published: 11 September 2015 Abstract: Current studies on Adolph Bernhard Marx generally focus on Marx’s seminal texts in music theory and pedagogy, such as Die Lehre von der musikalischen Komposition, praktisch theoretisch (1837–1847) and Marx’s theory of sonata form, but they infrequently explore the philosophical and aesthetic dimensions of Marx’s criticism. The present essay will analyze a series of statements Marx wrote that address the aesthetic principles one should employ in descriptions of musical meaning, including “spiritual guidelines” (die geistigen Lenkfäden) and psychological coherence (des psychologischen Zusammenhangs). We will investigate Hegel’s influence on Marx’s thought, in addition to other contemporary philosophical positions, in relation to the themes of musical content, form, and the creative process. The study will aim to reveal the function of “spiritual guidelines” and specifically psychological coherence in aesthetics as the basis of a fresh look into musical meaning and ideal content in Beethoven’s Ninth Symphony, Op. 125. Keywords: A.B. -
The Jewish Experience in Classical Music: Shostakovich and Asia
The Jewish Experience in Classical Music The Jewish Experience in Classical Music: Shostakovich and Asia Edited by Alexander Tentser The Arizona Center for Judaic Studies Publication Series 1 The Jewish Experience in Classical Music: Shostakovich and Asia, Edited by Alexander Tentser This book first published 2014 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2014 by Alexander Tentser and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-5467-0, ISBN (13): 978-1-4438-5467-2 TABLE OF CONTENTS Preface ....................................................................................................... vii Alexander Tentser Acknowledgements .................................................................................... xi Introduction .............................................................................................. xiii A Legacy of Honor and Risk in Jewish Music Janet Sturman Part I: Shostakovich Dmitri Shostakovich and Jewish Music: The Voice of an Oppressed People .......................................................................................................... 3 Alexander Tentser Self-Imagery and Resilience: -
Bergson's Philosophy of Self-Overcoming Thinking Without
Bergson’s Philosophy of Self-Overcoming Thinking without Negativity or Time as Striving Messay Kebede Bergson’s Philosophy of Self-Overcoming Messay Kebede Bergson’s Philosophy of Self-Overcoming Thinking without Negativity or Time as Striving Messay Kebede Department of Philosophy University of Dayton Dayton, OH, USA ISBN 978-3-030-15486-8 ISBN 978-3-030-15487-5 (eBook) https://doi.org/10.1007/978-3-030-15487-5 Library of Congress Control Number: 2019934098 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made.