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Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
01-15-2019 Pelleas Eve.Indd
CLAUDE DEBUSSY pelléas et mélisande conductor Opera in five acts Yannick Nézet-Séguin Libretto by the composer, adapted from production Sir Jonathan Miller the play by Maurice Maeterlinck set designer Tuesday, January 15, 2019 John Conklin 7:30–11:30 PM costume designer Clare Mitchell First time this season lighting designer Duane Schuler revival stage director Paula Williams The production of Pelléas et Mélisande was made possible by a generous gift from Pierre and Ailene Claeyssens general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 115th Metropolitan Opera performance of CLAUDE DEBUSSY’S pelléas et mélisande conductor Yannick Nézet-Séguin in order of vocal appearance gol aud Kyle Ketelsen mélisande Isabel Leonard geneviève Marie-Nicole Lemieux DEBUT arkel Ferruccio Furlanetto pellé as Paul Appleby* yniold This performance A. Jesse Schopflocher is being broadcast live on Metropolitan a shepherd Opera Radio on Jeremy Galyon SiriusXM channel 75 and streamed at a physician metopera.org. Paul Corona Tuesday, January 15, 2019, 7:30–11:30PM KAREN ALMOND / MET OPERA Paul Appleby and Chorus Master Donald Palumbo Isabel Leonard in Musical Preparation Derrick Inouye, Carol Isaac, the title roles of Jonathan C. Kelly, and Marie-France Lefebvre Debussy’s Pelléas et Mélisande Assistant Stage Director Robin Guarino Children’s Chorus Director Anthony Piccolo Prompter Marie-France Lefebvre Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance is made possible in part by public funds from the New York State Council on the Arts. -
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Delicate Delights BEST LOVED classical mandolin and lute music Delicate Delights Best loved classical mandolin and lute music 1 Johann Sebastian BACH (1675–1750) 6 Isaac ALBÉNIZ (1860–1909) Concerto in the Italian Style, 4:10 Suite española No. 1, Op. 47 – 6:23 BWV 971 ‘Italian Concerto’ – No. 5. Asturias (arr. for mandolin I. Allegro (arr. for mandolin and guitar) and guitar) Dorina Frati, Mandolin Jacob Reuven, Mandolin Piera Dadomo, Guitar (CDS514) Eyal Leber, Guitar (8.573566) 2 Antonio VIVALDI (1678–1741) 7 Tom G. FEBONIO (b. 1950) Mandolin Concerto in C major, 2:52 Water Ballads, Op. 47 – II. Sprite 2:29 RV 425 – I. Allegro Daniel Ahlert, Mandolin Paul O'Dette, Mandolin Birgit Schwab, Guitar (8.559686) The Parley of Instruments • Peter Holman (8.552101-02) 8 Johann HOFFMANN Mandolin Concerto in D major – 4:24 3 Johann HOFFMANN (1770–1814) III. Rondo Mandolin Sonata in D minor – 3:24 Elfriede Kunschak, Mandolin III. Allegro Vienna Pro Musica Orchestra Daniel Ahlert, Mandolin Vinzenz Hladky (CD3X-3022) Birgit Schwab, Archlute (8.557716) 9 Silvius Leopold WEISS (1686–1750) 4 Ludwig van BEETHOVEN (1770–1827) Lute Sonata No. 14 in G minor – 4:07 Mandolin Sonatina in C major, 3:02 VI. Chaconne WoO 44 Daniel Ahlert, Mandolin Elfriede Kunschak, Mandolin Birgit Schwab, Baroque lute (8.557716) Maria Hinterleitner, Harpsichord (CD3X-3022) 10 Antonio VIVALDI Concerto for 2 Mandolins in G major, 3:12 5 Johann Sebastian BACH RV 532 – II. Andante Lute Suite in G minor, BWV 995 – 3:57 Silvia Tenchini and Dorina Frati, Mandolin III. Courante Mauro and Claudio Terroni Mandolin Orchestra Konrad Ragossnig, Lute (CD3X-3022) Dorina Frati, Conductor (CDS7787) 8.578183 2 11 Johann Sebastian BACH 16 Ermenegildo CAROSIO (1886–1928) Lute Partita in E major, BWV 1006a – 3:29 Flirtation Rag 4:18 III. -
Werner-B02c[Erato-10CD].Pdf
Johann Sebastian Bach (1685-1750) The Cantatas, Volume 2 Heinrich Schütz Choir, Heilbronn Pforzheim Chamber Orchestra Württemberg Chamber Orchestra (B\,\1/ 102, 137, 150) Südwestfunk Orchestra, Baden-Baden (B\,\ry 51, 104) Fritz Werner L'Acad6mie Charles Cros, Grand Prix du disque (BWV 21, 26,130) For complete cantata texts please see www.bach-cantatas.com/IndexTexts.htm cD t 75.22 Ich hatte viel Bekümmernis, BWV 2l My heart and soul were sore distrest . Mon cceur ötait plein d'ffiiction Domenica 3 post Trinitatis/Per ogni tempo Cantata for the Third Sunday after Trinity/For any time Pour le 3n"" Dimanche aprös la Trinitö/Pour tous les temps Am 3. Sonntag nachTrinitatis/Für jede Zeit Prima Parte 0l 1. Sinfonia 3.42 Oboe, violini, viola, basso continuo 02 2. Coro; Ich hatte viel Bekümmernis 4.06 Oboe, violini, viola, fagotto, basso continuo 03 3. Aria (Soprano): Seufzer, Tränen, Kummer, Not 4.50 Oboe, basso continuo ) 04 4. Recitativo (Tenore): Wie hast du dich, mein Gott 1.50 Violini, viola, basso continuo 05 5. Aria (Tenore): Bäche von gesalznen Zähren 5.58 Violini, viola, basso conlinuo 06 6. Coro: Was betrübst du dich, meine Seele 4.35 Oboe, violini, viola, fagotto, basso continuo Seconda Parte 07 7. Recitativo (Soprano, Basso): Ach Iesu, meine Ruh 1.38 Violini, viola, basso continuo 08 8. Duetto (Soprano, Basso): Komm, mein Jesu 4.34 Basso continuo 09 9. Coro: Sei nun wieder zufrieden 6.09 Oboe, tromboni, violini, viola, fagotto, basso continuo l0 10. Aria (Tenore): Erfreue dich, Seele 2.52 Basso continuo 11 11. -
Geluit-Luthinerie Driemaandelijkse Uitgave Van De Belgische Luitacademie Publication Trimestrielle De L'académie Belge Du Luth
Journée du luth België—Belgique 16 Novembre ‘14 VU / ER : Greet Schamp, Pr. Boudewijnlaan 133, 2650 Edegem 2650 Edegem 1 P8002002 8/4660 Académie de Woluwe St Lambert Luitdag 16 november ‘14 Academie St Lambrechts Woluwe Geluit-Luthinerie Driemaandelijkse uitgave van de Belgische Luitacademie Publication trimestrielle de l'Académie belge du Luth N°67 09/ 2014 dito Christine Ballman E Présidente sponsor Chers amis luthistes Voici notre newsletter annonçant le programme de la journée du luth du 16 no- vembre prochain. Nous espérons vous y voir nombreux ! Nous évoluons avec notre temps et avons dû prendre la décision de ne plus rédiger de newsletter. Celle-ci est donc la dernière. Cela prend énormément de temps et l’équipe reste malheureusement microscopique ! Nous pensons qu’il est plus judicieux de concentrer notre énergie sur la création d’événements, de concerts, de masterclass. Comme de toute manière la newsletter n’est plus en- voyée sous forme papier mais bien électroniquement, nous vous recomman- dons d’aller directement consulter le site web pour les nouveautés et annonces de concert. Nous continuerons comme par le passé à vous envoyer un mes- sage vous priant d’aller voir sur le site pour les plus importantes manifestations que nous organisons, comme la journée du luth. Merci de votre compréhension. an de redactie Greet Schamp V Vice voorzitster Beste lezers, Slechts een heel korte nieuwsbrief dit keer! Sommaire / Inhoud Het programma van de luitdag kreeg intussen vorm, dat vindt u op blz 3, we hopen u daar weer talrijk te mogen begroeten. Edito/Van de redactie p. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
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Aktuelle Rezension Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy aud 23.426 EAN: 4022143234261 4022143234261 orpheus (Christine Lemke-Matwey - 01.05.2012) Eine verdiente künstlerische Würdigung Barry McDaniel – Der Bariton als Liedsänger in SFB-Aufnahmen 1963-1974 bei audite Wie kommt ein junger Mann aus der 800-Seelen-Gemeinde Lyndon in Kansas/USA dazu, nichts auf der Welt so sehr zu lieben wie das deutsche Lied, wie Schubert, Schumann, Brahms und Wolf? Die Antwort fällt Barry McDaniel selbst heute, mit 81 Jahren und im Rückblick auf ein bewegtes Sängerleben, nicht leicht. Gewiss, da ist das Musik liebende Elternhaus, da ist seine Begabung am Klavier und als Knabensopran, die sich früh zeigt und früh gefördert wird, da sind später einflussreiche Lehrer wie Mack HarreIl und Vaterfiguren wie der Pianist Hermann Reutter, die ihn an die Hand nehmen und prägen. Doch warum ausgerechnet das Lied, die intimste, gemütvollste und so sehr ans Deutsche gebundene Kunstform? "Lange bevor ich viele Lieder vom Kopf her verstanden habe, hat etwas in mir sie begriffen, ein Es, meine Seele vielleicht. Ich war naiv, fast jungfräulich. Das einzige, was ich wusste, war: Ich finde diese Musik und diese Texte unglaublich schön. " Und da war nichts Fremdes? "Nein, da gab es keine Fremdheit zwischen uns." Eine Herzensangelegenheit also, von Anfang an. Und ein enormes Talent, auch sprachlich, das sich durchsetzt und entschlossen ist, weite Wege zu gehen. Aus dem tiefsten mittleren Westen Amerikas hinüber ins alte Europa, nach Deutschland – und vom behüteten, hoch sensiblen, stotternden Einzelkind zum gefeierten Bühnenstar. Stottern, sagt McDaniel, sei "ein Fluch Gottes" (wobei es sich in seinem Fall mehr um Blockaden als um ein Repetieren von Lauten oder Silben handelte). -
Carl Schurz Was in the Pledge Class of 1870
Appendix Gamma2: The Breslau Intellectual Line Connecting brothers of Phi Kappa Psi Fraternity at Cornell University, tracing their fraternal Big Brother/Little Brother line to the tri-Founders and their Pledges . Brother Carl Schurz was in the Pledge Class of 1870. . Carl Schurz was friends with Gottfriend . Felix Mendelssohn studied under Kinkel years . Carl Friedrich Zelter . . Gottfried Kinkel was spouse to . Carl Friedrich Zelter studied under Carl Johanna Kinkel. Friedrich Christian Fasch . . Johanna Kinkel studied music under . Carl Philipp Emanuel Bach studied Jewish musician, under Sylvius Leopold Weiss. Felix Mendelssohn . Below we present short biographies of the Breslau intellectual line of the Phi Kappa Psi Fraternity at Cornell University. “Who defends the House.” We begin with brother Carl Schurz (1870), tapped into Phi Kappa Psi at Cornell in the first class after the Founding: Carl Schurz (March 2, 1829 – May 14, 1906) was a German revolutionary, American statesman and reformer, and Union Army general in the American Civil War. He was also an accomplished author, newspaper editor and journalist, who in 1869 became the first German-born American elected to the United States Senate. His wife Margarethe Schurz and her sister Bertha von Ronge were instrumental in establishing the kindergarten system in the United States. During his later years, Schurz was perhaps the most prominent Independent The University of Bonn in American politics, noted for his high principles, his avoidance of political partisanship, and his moral conscience. Brother Schurz is famous for saying: "Our country right or wrong. When right, to be kept right; when wrong, to be put right." Many streets, schools, and parks are named in honor of him, including New York City's Carl Schurz Park. -
Current Review
Current Review Barry McDaniel sings Schubert, Schumann, Wolf, Duparc, Ravel & Debussy aud 23.426 EAN: 4022143234261 4022143234261 Fanfare (Lynn René Bayley - 2012.08.08) Barry McDaniel was an American baritone who, like many classical singers of his generation, found it more congenial (and possibly easier) to make a career in Europe and, in his case, particularly Germany. He gave numerous Lieder recitals and opera performances in Stuttgart, Karlsruhe, Hanover, Brunswick, and Berlin, and appeared at least once (in 1964) at Bayreuth as Wolfram in Wieland Wagner’s production of Tannhäuser. Yet he, like so many other baritones both domestic and foreign who sang Lieder, toiled in the shadow of Dietrich Fischer-Dieskau. This two-CD recital hopes to set things straight by issuing recordings which McDaniel made in German radio studios between 1963 and 1974. At least in the Schubert and Schumann, his singing is exquisitely rounded and well finished in phrasing, his general interpretations sensitive and beautifully articulated, yet he makes very little vocal contrast in these songs. This places his singing into the “very good but not great” category, similar to Heinrich Schlusnus, Herbert Janssen, and Gerhard Hüsch. It is not on the higher level of such pioneers as Karl Erb or Alexander Kipnis, or the more acted-out form of Lieder singing that came to fruition right after World War II in the styles of Fischer-Dieskau, Souzay, or Hotter. It is a subtle distinction, and not every listener may feel the same way I do. It’s the difference between telling a story (the old school) vs.