The Leonard Bernstein Letters
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
Cabinet Member Report William Somerset Maugham PDF 182 KB
Cabinet Member Report Decision Maker: Cabinet Member for the Built Environment Date: 8 June 2016 Classification: For General Release Title: Commemorative Green Plaque for William Somerset Maugham at 2 Wyndham Place, W1 Wards Affected: Bryanston and Dorset Square Key Decision: An entry has been included in the Forward Plan of Key Decisions Financial Summary: The Green Plaque Scheme depends on sponsorship. Sponsorship has been secured for this plaque Report of: Director of Policy, Performance & Communications 1. Executive Summary William Somerset Maugham was a British playwright, novelist and short story writer. He was among the most popular writers of his era and reputedly the highest paid author during the 1930’s. 2. Recommendations That the nomination for a Westminster Commemorative Green Plaque for William Somerset Maugham at his London home at 2 Wyndham Place, be approved, subject to Listed Building Consent being granted for the Plaque and for sponsorship in full . 3. Reasons for decision William Somerset Maugham was a complex and interesting character and master of the short, concise novel. The last years of the British Empire offered him magnificent canvasses on which to write his stories and plays, evoking the feelings and emotions that allow the reader to understand and identify with the characters. 4. Policy Context The commemorative Green Plaques scheme complements a number of Council strategies: to improve the legibility and understanding of Westminster’s heritage and social history; to provide information for Westminster’s visitors; to provide imaginative and accessible educational tools to raise awareness and understanding of local areas, particularly for young people; to celebrate the richness and diversity of Westminster’s former residents. -
TOCC0329DIGIBKLT.Pdf
SOME THOUGHTS ON MY ORCHESTRAL SONGS by Michael Csányi-Wills I was lucky enough to have had an opera-loving grandmother, who took me with her as often as she could. When I was three, she took me to see Donizetti’s Don Pasquale and I am told that I stared at Sir Geraint Evans in awe, without moving or saying a word. It seems that feeling has followed me ever since. I began piano soon after, immersing myself in repertoire from Bach to Widmann, studying with Hilary Coates at Wells Cathedral School and then with Christopher Elton and Frank Wibaut at the Royal Academy of Music. It was there that I met Nigel Clarke, with whom I began to study composition properly. Even though the piano is still a very important part of my life, it’s composition that drives me, and I have Nigel to thank for that. We then went on to collaborate on several feature- film scores, which was as much of an education for me as it was to study at the Academy. Since that time, I’ve been juggling playing the piano, writing film-scores and concert music and have been lucky enough to have encountered some wonderful musicians along the way. I met Mark Eager, conductor of the Welsh Sinfonia, in 2012 and became their composer-in-residence in 2013, which has resulted in several pieces for chamber orchestra, as well as some projects in music education, which is something I’m passionate about. I’ve since been made Head of Composition at the World Heart Beat Academy in Wandsworth, which supports young musicians of all backgrounds and cultures, and awards scholarships to those who would otherwise not have access to music. -
A Letter by the Composer About "Giovanni D'arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid
Performance Practice Review Volume 3 Article 10 Number 1 Spring A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Chusid, Martin (1990) "A Letter by the Composer about "Giovanni d'Arco" and Some Remarks on the Division of Musical Direction in Verdi's Day," Performance Practice Review: Vol. 3: No. 1, Article 10. DOI: 10.5642/perfpr.199003.01.10 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/10 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Tempo and Conducting in 19th-century Opera A Letter by the Composer about Giovanna d'Arco and Some Remarks on the Division of Musical Direction in Verdi's Day Martin Chusid Vcnezia 28 Marzo 1845 Venice 28 March 1845 Carissimo Romani My very dear Romani Ti ringrazio dei saluti mandalimi dalla Thank you for conveying Mme Bortolotti.1 Tu vuoi che t'accenni aleune Bortolotti's greetings. You want me cose sul la Giovanna? Tu non ne to point out some things about abbisogni, e sai bene inlerpretare da te; Giovanna? You don't need them, and ma se ti fa piacere che te ne dica are well able to interpret by yourself; qualcosa; cccomi a saziarti [?]. -
Guide to Copyright and Permissions
GUIDANCE ON COPYRIGHT AND PERMISSIONS This guide offers basic advice on when permission is needed to use extracts from the works of others. It does not explore how far indirect copying, paraphrasing or the use of copyright works in other ways may amount to infringement. Members are welcome to contact the office for more detailed guidance. Every reasonable effort has been made to ensure that the information provided in this Guide is reasonably comprehensive, accurate and clear and up to date as at the date stated in the Guide. However, the information provided is necessarily general and should not be relied on as specific legal or professional advice. If you have any specific queries, contact our advisers or a suitably qualified lawyer or professional. If you think you may have noticed any error or omission, please let us know. CONTENTS 1(a) Is the work in copyright? General rule 1(b) Variations in how long copyright lasts i) works not available to the public during the author’s lifetime ii) translations iii) letters iv) the publisher’s copyright v) works by non-European authors vi) US copyright vii) anonymous and pseudonymous works viii) crown and parliamentary copyright vix) the ‘publication right’ 2(a) How much may be quoted from a copyright work without permission? 2(b) Exceptions i) fair dealing in quotations ii) fair dealing for purposes of parody, pastiche or caricature iii) fair dealing for educational purposes 2(c) What is ‘fair dealing’? 3 The logistics of obtaining copyright permissions 3(a) Who can grant, and whose job is it to obtain, copyright permissions? 3(b) Who and what to ask 3(c) How much will the fee be? 4 What if the rights holder will not reply to permission requests? 5 What if I cannot trace/identify the rights holder? 5(a) What constitutes ‘diligent search’? 6 Model permission licence from rights holder to prospective user. -
Best Short Stories of W. Somerset Maugham
BEST SHORT STORIES OF W. SOMERSET MAUGHAM Introduced by ned halley Coeor’s LıBrarY 3 Somerset Maugham 1-4163 16/3/11, 9:53 am Contents introduction 7 biography 17 further reading 18 The Letter 21 The Verger 67 The Vessel of Wrath 77 The Book-Bag 129 The Round Dozen 179 The Facts of Life 215 Lord Mountdrago 241 The Colonel’s Lady 273 The Treasure 299 Rain 321 P&O 375 5 Somerset Maugham 1-4165 15/4/11, 2:00 pm Introduction Somerset Maugham’s short stories are among the most accessible in all English literature. They are wonderfully easy to read. Maugham addresses the reader with a candour entirely his own. He is matter- of-fact in his depiction of character, direct in his handling of narrative. He does not play tricks or contrive surprise outcomes. But his people and his plots are nonetheless powerfully compelling. The lack of embellishment heightens both tension and credibility. No other writer comes close to Maugham in this respect. How did he do it? A great part of the secret has to be his own life, which was long and extremely eventful. He harvested the experiences of his travels and acquaintanceships, his triumphs and his sorrows, with ruthless determination. Even though he was argu- ably the most celebrated, and certainly the best paid, writer of his day, he did not consider himself a serious creative force. ‘I have small power of imagination,’ he confessed, ‘but an acute power of observation.’ William Somerset Maugham, always known in his circle as Willie, was born in Paris on 24 January 1874. -
Productions for 2018-2019
Productions for 2018-2019 Snow College Theatre produces two mainstage productions each semester for a total of four productions each year. The plays selected are chosen to give our theatre students exposure to a variety of dramatic genres as performers and technicians, and to educate and entertain our audiences. In addition to our mainstage productions we present a secondary Black-Box Series each Spring Semester of scenes and plays directed and performed by advanced theatre students. Adults: $9.00 Seniors/High School & Younger: $8.00 Snow College Students: $2.00 w/Activity Card Musical Adults: $10.00 Seniors/High School & Younger: $9.00 Snow College Students: $3.00 w/Activity Card Season Ticket Adults: $28.00 Seniors/High School & Younger: $25.00 For more information, call 435.283.7478 2018-2019 Theatre Productions www.snow.edu Page - 1 www.snow.edu Page - 2 February 28 & March 1-2, 7-9, 2019 The Phantom of the Opera Andrew Lloyd Webber's masterwork is a timeless story of seduction and despair. Phantom of the Opera is the musical all others are measured against. The timeless story, the unforgettable score, and an undeniable obsession that could never die. The Phantom of the Opera tells the story of a masked figure who lurks beneath the catacombs of the Paris Opera House, exercising a reign of terror over all who inhabit it. He falls madly in love with an innocent young soprano, Christine, and devotes himself to creating a new star by nurturing her extraordinary talents by employing all of the devious methods at his command. -
Elmley Church and It's History
ELMLEY CHURCH AND IT'S HISTORY By Derek Faulkner The small Elmley church had stood on Elmley since c.1247, when it was confirmed and dedicated to St. James. Later, in the reign of Henry 6th, it was in the hands of the Crown but in 1449 he granted the patronage and advowson of it to All Souls College, Oxford, and they continued as it's patrons until it's eventual demise in the 1950's. From then on there was a yearly pension of 40 shillings, payable from the church to the Abbot of St. Mary Graces near the Tower (of London?). In 1640 the rectory was valued in the King's books at £70 and by 1788 still only £80. In 1816, after more than 200 years of dilapidation, it was fitted up again for Divine Service by a Dr. Percy, which seems quite surprising given that the scattered population of Elmley by 1831 was still only 29 people. However, from 1697 it had still continued to have a continuous line of Rectors, appointed to it, almost always the vicar from nearby Iwade church, who would have the responsibility for services at both churches. Among a long list of Rectors names, the stand out one for me was one Savage Tyndall, rector from 1746-1751 - what a splendid name for a vicar! However from 1850 as a brick-making factory and it's subsequent workers' cottages began to take shape alongside Elmley hill, the need for what the church could offer intensified. But before that could happen the church was in need of repairs, substantially so. -
Constant Wife Program:Constant Wife Program
We l c o m e t o Dear Friends — it’s good to have you here! Old friends are best, wouldn’t you agree? With so much activity in and around our theatres of late, with the red carpet out for the likes of Twyla Tharp, Chita Rivera, and Sandy Duncan, it’s good to know that we continue to be loyal to and support artists whose evolving careers have made such a contribution to our community, and who are largely responsible for the extraordinary level of accomplishment of these past decades. There is a small cavalcade of Associate Artists returning for this next round, and it’s worth noting that among them, with the presence of director Seret Scott, costume designer Lewis Brown, set designer Ralph Funicello, and the great Kandis Chappell of The Constant Wife, we are also delighted to welcome home to the Carter our beloved Jonathan McMurtry whose tenure here on our stages rivals Craig Noel’s for quality, consistency, and sheer endurance. Trying, directed by Rick Seer, could have been written for Jonathan, and that comfortable fit in no way diminishes our awareness of just how fortunate we are to provide a creative home for these men and women whose talents are so interwoven with the pleasure of our playgoing. We don’t forget nor neglect the men and women upon whose backs we’ve made our reputation, any more than we ever wish to overlook your importance to us in the planning and the sustaining of this Theatre. JACK O’BRIEN Artistic Director Last summer The Old Globe celebrated its 70th Anniversary and its rich history as one of the most prominent theatres in North America. -
Download Booklet
559219 bk Pasatieri 15/03/2004 10:44am Page 12 AMERICAN CLASSICS Also available on American Classics: THOMAS PASATIERI Letter to Warsaw Jane Eaglen, Soprano Music of Remembrance • Gerard Schwarz 8.559177 8.559153 8.559219 12 559219 bk Pasatieri 15/03/2004 10:44am Page 2 Thomas Pasatieri (b. 1945) Letter to Warsaw World première: 10th May, 2004, Benaroya Hall, approximately 350,000 Jews found themselves Seattle, WA at Music of Remembrance’s Holocaust imprisoned. Jews from elsewhere in Poland and from Also available on American Classics: Remembrance concert. Letter to Warsaw was composed other parts of the Reich were resettled into the ghetto. By for soprano Jane Eaglen and conductor Gerard Schwarz. early 1941 the ghetto held over 440,000 souls. Over thirty It is dedicated to Music of Remembrance’s founder and percent of Warsaw’s population was crammed into less artistic director, Mina Miller. than three percent of the city’s total area. The Warsaw ghetto contained three sectors. The In January 2003, MOR Artistic Director Mina Miller “little ghetto” had some modern apartment houses along approached me about writing a song-cycle based on six wide streets where one could find the occasional shop, unpublished texts by the Polish cabaret artist Pola Braun. and for a time even cafés, restaurants and cinemas. Its These texts were composed while Braun was incarcerated population included an intelligentsia and some in the Warsaw ghetto and in the concentration camp comparatively affluent families. In contrast, the “big Majdanek. They were originally set to music that no ghetto” further north was a “jungle of oppressed longer exists. -
SWEENEY TODD Is Presented Through Special Arrangement with Musical Theatre International (MTI)
July 22-August 7, 2021 Music and Lyrics by Book by Stephen Sondheim Hugh Wheeler From an Adaptation by CHRISTOPHER BOND Originally Directed On Broadway by HAROLD PRINCE Orchestrations by Jonathan Tunick Scenic Designer Costume Designer Lighting Designer Sound Designer Diggle† Sarita P Fellows† Marika Kent Sun Hee Kil† Music Director Choreographer Casting Director Simone Allen Ben Hobbs Michael Cassera Production Stage Manager Production Manager Assistant Musical Director Amanda Spooner* Adam Zonder Megan Smythe Assistant Directors/Dramaturgs Deck Stage Manager/ Dialect Coach/ Fight Captain Intimacy Consultant Kate Semmens~, Arianna Tilley~ Vicki Whooper* Robin Christian McNair * Directed by Member of the Actors' Equity Association, Sanaz Ghajar the Union of Professional Actors and Stage Managers in the United States. Originally Produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards in Association with Dean and Judy Manos † USA - Member of United Scenic Artists Local 829 SWEENEY TODD Is presented through special arrangement with Musical Theatre International (MTI). ‡ Member of the Hangar Theatre All authorized performance materials are also supplied by MTI. Company Design Fellows www.mtishows.com ~ Member of the Hangar Theatre Any video and/or audio recording of this production is strictly prohibited. 2021 Lab Company Premier Performance Sponsor Mainstage Media Sponsor Partner In The Arts Partner In Health CAST Sweeney Todd.............................................................................................................................................................Nik -
The Inventory of the Rothschild-Maugham Collection
The Inventory of the Rothschild-Maugham Collection #1619 Howard Gotlieb Archival Research Center 11 TABLE OF CONTENTS Biographical Sketch 111. Scope and Content Note V. Series Organization Vll. Series Outline IX. Box List 1 111 BIOGRAPHICAL SKETCH William Somerset Maugham was born in 1874 at the British Embassy in Paris, France to Robert Ormond and Edith Mary Maugham, who had both spent most of their adult lives living in France. Maugham's hardships began early on as he was born with frail health and an understated stature, and without the good looks of his mother. fu January of 1882, Edith Maugham died of Tuberculosis, and from this trauma, Maugham was never to fully recover. Two years later, Maugham's father died of stomach cancer and subsequently, he was sent to the rather alien country of his ancestors to live with his father's clergyman brother, Henry MacDonald Maugham, at the vicarage in Whitstable. A stammer in Maugham's speech soon developed; likely as the result of being forced to speak English rather than the French that he preferred. Life with his uncle and aunt was stable, but lonely, and it was at this age that Maugham's love of reading began to bloom. From May of 1885 to July of 1889, Maugham attended King's School in Canterbury, which was a nightmare he would never quite forget. Deciding to forgo a future with the Church, Maugham escaped to the University of Heidelberg from 1891-92, where he was to discover and embrace Schopenhauer, Ibsen, and his own homosexuality. After a brief stint studying accounting in Kent, Maugham decided to pursue a medical degree at St.