Music for Mixed Ensembles

Total Page:16

File Type:pdf, Size:1020Kb

Music for Mixed Ensembles Tabelle1 杨静为不同组合的混合室内乐队音乐会而作 Yang Jing Music for Mixed Ensembles Duration Opus No. Instrumentation Title 曲名 长度 作品编号 乐器编制 Soprano, Pipa & Vc. «The Baseless Joy II» «Sozusagen grundlos vergnügt» 6‘35 Op.YJ.2018_03 (Première by Viviane Hasler, Jan-Filip- 无需理由的喜悦 II Tupa and Yang Jing at Te Festival in Zürich 19.09.2018) «Im Blütengarten» 在花园 in three movements Soprano, Pipa & Vc. (Première by Viviane Hasler, Jan-Filip- 13‘ Op.YJ.2018_02 1. Im Frühlingsgarten sitze ich暗香 Tupa and Yang Jing at Te Festival in 2. Der Weg 探香 Zürich 19.09.2018) 3. Weihrauch im Wind 闻香 女高音Soprano, 长笛Flute, 大提琴 琵琶 马林巴 打 «Te Silk Dance» Cello, Pipa, Marimba & 龜茲舞 8’40'' Op.YJ.En-1711 击乐percussion (Première by European Chinese Ensemble Autumn Concert Tour in Switzerland 2017 ) «Mooring on Jiande River» Soprano, Fl, Vc, Pipa, Marimba & Percussion 宿建德江 6- 7' Op.YJ_1710 (Première by European Chinese Amarrage sur la rivière Jiande Ensemble Autumn Concert Tour in Lyric: Meng Haoran (689-740) Switzerland 2017 ) Soprano, Fl, Vc, Pipa, Marimba & Percussion «Es wott es Fraueli z Shanghai gah» 6'-8' Op. YJ_1709 (Première by European Chinese Ensemble Autumn Concert Tour in Switzerland 2017 ) «A Night in Liangzhou» Soprano, Fl, Vc, Pipa, Marimba & 凉州词 Percussion 9‘ Op. YJ_1708 (Première by European Chinese «Une nuit à Liangzhou» Ensemble Autumn Concert Tour in Lyric: Wang Han (687—726) Switzerland 2017 ) Soprano, Fl, Vc, Pipa, Marimba & Percussion «Amarilli» 5’40’’ Op. YJ_2006 (Première by European Chinese Ensemble Autumn Concert Tour in Switzerland 2017 ) Seite 1 Tabelle1 «Tales of Pipa» 四跟弦上的交响 Ein Live-Konzert mit Multimedia I. Moonlight Shimmer on Guan- 琵琶与多媒体音乐会 Acoustic Pipa and Multimedia (Uraufführung Mountain 第一部:汉关秦月 II. Op.YJ_1601 On the Silk Road 第二部:敦煌寻梦 77' 2016 Lichtenstein) DVD: Tales of III. Pearls Falling onto the Jade Plate Pipa 第三部:珠落玉盘 IV. The Global 第四部:龙腾万里 V. Paradise第五部: 天人合一 Coda: Der Mond ist aufgegangen 尾声:月上东山 Voice & Guzheng (Première by Irina Ungureanu & Yang «Lied der Aare» 7' Op. YJ_1602 阿爾河夜曲 Jing in Basel, 2016) CD: A Traveler’s Chant Soprano, Fl, Vc, Pipa, Marimba & «Moonlit Night » Percussion 花月夜 9' Op.YJ_1501 (Première by European Chinese Ensemble in Basel, Switzerland 2016 ) CD: A Traveler’s Chant «Der Grosse Wagen» in Five movements: I. Der Anfang II. Ich will den Wind reiten III.Komme ich wirklich von dort? IV. Das ewige Rad Soprano, Pipa, Flute, Cello, Marimba & V. Yin-Yang Percussion 25' Op.YJ.En-1401 (Uraufführung 2014 Boswiler Ensemble (in English): Te Big Dipper am Boswiler Sommer 2014 ) «瀚空七星» CD: A Traveler’s Chant - 共五个乐章 I. 初始 II. 我欲乘风归去 III.来自天堂? IV. 永恒的轮回V. 阴阳 Voice x2, Sax/Fl., Pipa, Posaune x2, e- 妈妈的手 Guitar x2, Bass & Percussions «Mutterns Hände» 10' Op. YJ.En-1407 Lyric:Kurt Tucholsky (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) Voice x2, Sax/Fl., Pipa, Posaune x2, e- Guitar x2, Bass & Percussions «Yellow in Green» 7' Op. YJ.En-1406 (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) Voice x2, Sax/Fl., Pipa, Posaune x2, e- Guitar x2, Bass & Percussions «Roach-Rutsch-Glück» 9' Op. YJ.En-1404 (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) Seite 2 Tabelle1 Voice x2, Sax/Fl., Pipa, Posaune x2, e- Guitar x2, Bass & Percussions «Fernost im Spiegel» 10' Op. YJ.2014-05 (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) «A Letter to Mingus» Voice x2, Sax/Fl., Pipa, Posaune x2, e- Op. YJ.En-1403 10' Guitar x2, Bass & Percussions (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) Voice, Pipa & Percussion «Good-bye» 再见 8' Op.YJ.En-1408 (Uraufführung Oriental Jazz Ensemble am 11.05.2014 in KuK Aarau, Schweiz) Pipa, Piano, Bass, and Percussion (Première by 4tett Different Song «Qingxu Street No. 48» Concert Tour in China and Switzerland 10' Op.YJ-En1104 清虛街48號 2007) CD: «Step Into Te Future» -4tett Different Song Pipa, Piano, Bass, and Percussion (Première by 4tett Different Song «Water Lily » Concert Tour in China and Switzerland 3'55'' Op.YJ.En1103 水仙 2007) CD: «Step Into Te Future» -4tett Different Song Pipa, Piano, Bass, and Percussion (Première by 4tett Different Song «Step into the Future» Concert Tour in China and Switzerland 9' Op.YJ-En1102 2007) CD: «Step Into Te Future» -4tett Different Song Guqin, Piano, Bass, and Percussion (Première by 4tett Different Song «Farewell to an old Friend» Concert Tour in China and Switzerland 3'35'' Op.YJ-En1101 别故人 2007) CD: «Step Into Te Future» -4tett Different Song «Schritt um Schritt höher» Flute, Pipa, Guzheng and Erhu 步步高 3' Op. YJ.ENR.1009 (Première by European Chinese Ensemble in Zurich 2010) «Pfngstrose» Shakuhachi, Koto, Pipa, Dasanxian, Matouqin, Erhu, Vc. & Percussion - For HIMF 2010 牡丹 11' Op.YJ-2010_01 (Première by Asia Ensemble at the 5th -为 共生共存 音乐节 而作 Hokuto International Music Festival in « » 2010 Japan 2010) Sax, Pipa & Percussion/ Erhu/Vl. Pipa & Perc. (Première by «Far East in Mirror» 10' Op. YJ_2010En Ensemble ‘Yang Jing Trio’ Autumn Tour in Switzerland 2010) «From Shanghai to Luzern» in 6 movements: 1. 22' Op. YJ-En1010 Pipa and Classical Guitar Quartet Vivo 2. Accarezzevole 3. Intenso 4. A Quattro 5. Liberamente 6. Gradevole Seite 3 Tabelle1 Flute, Pipa, Violin, Guzheng, Zhongruan, Daruan, Erhu, Guqin, Vc. «Unter einem hellen & Percussion Sternenhimmel» 30' Op.YJ.En-0903 星月交輝 (Première by European Chinese Ensemble ZHdK at the 'Festival der Künste' in Zurich 2009) «Pipa in Sicilienne» Pipa, Violin, Cello and Piano -After Gabriel Faure Sicilienne 5'30'' Op.YJ.En-0902 (Première by Yang Jing & YUI Ensemble 琵琶在西西里島 in Tokyo, Japan 2009) «A summer Night Silk Dance in Flute, Shakuhachi, Percussion, Changan » Marimba, Pipa, Koto, 17 string Koto and Matouqin - For HIMF 2009 12' Op.YJ.En-0901 霓裳羽衣曲 (Première by Asia Ensemble at the 5th -为 共生共存 音乐节 而作 Hokuto International Music Festival in « » 2009 Japan 2009) Version II for: Flute, Sax, Trumpet, two voices, Drum, «Dragon and Tiger Dance II» percussion, Piano, Violin, Vibraphone, 龍騰虎躍 II 13'-16' Op.YJ.En-0803A Gitarre, E-Bass and Cello. (Long Teng Hu Yue) II (Première by Jazz meets Asia Workshop Ensemble HSLU at Jazzkantine Luzern, Switzerland Version I for: Flute, Sheng, Drum, Percussion, Pipa, Guzheng, Violin, Zhongruan, Daruan, «Dragon and Tiger Dance» Erhu and Cello. 龍騰虎躍 12' Op.YJ.En-0803 (Première by First European Chinese Ensemble ZHdK at the Science City, ETH Standort Hönggerberg Zurich, Switzerland 2009) «River - Our Mother» Shakuhachi, Matouqin, Sanxian, Koto, Pipa, Vc. & Percussion - For HIMF 2008 大 河-我们的母亲 -- 15' Op.YJ.2008-04 (Première by Asia Ensemble at the 3rd 为 共生共存 音乐节 而作 Hokuto International Music Festival in « » 2008 Japan, 2008) Flute, Alto Sax, Trumpet, two Voices, Percussion, Piano, Vl., Vibraphone, «River» Guitar, E-Bass & Vc. (Première by 13 -16' Op.YJ.En-0804 大河 Jazz meets Asia Workshop Ensemble HSLU at Jazzkantine Luzern, Switzerland 2008) Voice, Pipa Piano, Guitar, Drum & «Overture 888» - Drum (Première by For 2008 Olympic Opening Concert 6'30'' Op.YJ-En-0807 Christy Doran's New Bag & Yang Jing at 08.08.08 at Te Olympic Museum Te Olympic Museum in Lausanne, Switzerland, 08.08.2008) Seite 4 Tabelle1 Voice, Pipa, Guitar, Piano, Bass and Drums人声,琵琶,电吉它,钢琴, «Fly –Fly -Fly» 贝斯和鼓 10’ -13' Op.YJ.En-0808 飛飛飛 (Première by Christy Doran's New Bag & Yang Jing at Te Olympic Museum in Lausanne, Switzerland, 08.08.2008) Version 1 for «When Do We See the Bright Moon Voice, Sheng, Pipa, Guzheng, Erhu, Vl. again? » - Vc. & Percussion For HIMF 2007 11' Op.YJ.En-0701 明月機時有 nd (Míng yuè jī shí yǒ u) - (Première by Asia Ensemble at the 2 为 共生共存 音乐节 而作 Hokuto International Music Festival in « » 2007 Japan 2007) Version 2 for Flute, Sheng, Pipa, Guzheng, Violin, Zhongruan, Daruan, Erhu, Vc. & Percussion (Première by European Chinese Ensemble ZHdK at the Cultureescapes Music Festival in Switzerland 2010) Bass, pipa, piano and Percussion / /Premiered 2007 by 4tett Different Song «Qingxu Street No. 48» 9’ Op.YJ.2007-03 during their tours in China and 清虛街48號 Switzerland 2007 CD: «Step Into Te Future» _4tett Different Song Piccolo, Flute, Muyu, Pipa, Guzheng, Zhongruan, Daruan and Vc. «Eastern Song Book»東方曲本 日出 2'40'' Op.YJ.En0805a (Première by First European Chinese 1.Sunrise Ensemble in Concert Hall ZHdK, Zurich 2008) Flute, Pipa, Zhongruan, Daruan and Vc. «Eastern Song Book» 東方曲本 小蘭花 2'40'' Op.YJ.En0805b (Première by First European Chinese 2. Little Blue Flower Ensemble in Concert Hall ZHdK, Zurich 2008) 東方曲本 Flute, Pipa, Zhongruan, Daruan and «Eastern Song Book» 3'20'' Op.YJ.En0805c 3. Te Stone Bridge 小石橋 Violoncello Flute, Pipa, Guzheng, Zhongruan, Daruan, Vc. & Percussion «Eastern Song Book»東方曲本 西湖 2'38'' Op.YJ.En0805d (Première by First European Chinese 4. West Lake Ensemble in Concert Hall ZHdK, Zurich 2008) Big Band and Pipa «On the Way to Hometown» (Première by Yang Jing & ETH Big 5'30 Op.YJ.En-0806 Band Conductor: Christoph Eck in Shanghai, China 2008) Seite 5 Tabelle1 Suite «Journey» 西行記 (为琵琶和三把古典吉他而作) For - Music for Pipa and Guitar Trio Pipa and 3 acoustic Guitars In six Moments: 1. (Première by the Concert Guitar Trio: Vivo_Hahnenkampf in Peking 20' Op.YJ.En-0702 Daniel Erni, Walter Feybli, Daniel 2. Accarezzevole_Am Wasser Zimmermann and Yang Jing 2007 3. Intenso_Beim Abschied autumn concert tour in Zurich, 4. A Quattro_Orient Express Solothurn, Muttenz, Tamins 5. Liberamente_Eine einsame Seele (Graubünden), Biel, Gelterkinden, 6. Gradevole_Ein zwinkerndes Auge Bern, Switzerland) für Mozart Flute, Guzheng, Daruan & Percussion «Little Beijing Tune» Ensemble (5- 6 players) 北京小调 8'30'' Op.YJ.En-0609B
Recommended publications
  • Bath Festival Orchestra Programme 2021
    Bath Festival Orchestra photo credit: Nick Spratling Peter Manning Conductor Rowan Pierce Soprano Monday 17 May 7:30pm Bath Abbey Programme Carl Maria von Weber Overture: Der Freischütz Weber Der Freischütz (Op.77, The Marksman) is a German Overture to Der Freischütz opera in three acts which premiered in 1821 at the Schauspielhaus, Berlin. Many have suggested that it was the first important German Romantic opera, Strauss with the plot based around August Apel’s tale of the same name. Upon its premiere, the opera quickly 5 Orchestral Songs became an international success, with the work translated and rearranged by Hector Berlioz for a French audience. In creating Der Freischütz Weber Brentano Lieder Op.68 embodied the ideal of the Romantic artist, inspired Ich wollt ein Sträuẞlein binden by poetry, history, folklore and myths to create a national opera that would reflect the uniqueness of Säusle, liebe Myrthe German culture. Amor Weber is considered, alongside Beethoven, one of the true founders of the Romantic Movement in Morgen! Op.27 music. He lived a creative life and worked as both a pianist and music critic before making significant contributions to the operatic genre from his appointment at the Dresden Staatskapelle in 1817, Das Rosenband Op.36 where he realised that the opera-goers were hearing almost nothing other than Italian works. His three German operas acted as a remedy to this situation, Brahms with Weber hoping to embody the youthful Serenade No.1 in D, Op.11 Romantic movement of Germany on the operatic stage. These works not only established Weber as a long-lasting Romantic composer, but served to define German Romanticism and make its name as an important musical force in Europe throughout the 19th century.
    [Show full text]
  • Composer Performer
    Capital Normal University is well-known for its role in educational and cultural transmission and innovation in China. It has set up various departments and offers complete sets of academic disciplines, including liberal arts, science, engineering, management, law, education, art, music and foreign languages etc.. It has also opened many research fields with unique oriental cultural characteristics. Music College of CNU is one of the most famous music schools in China. It comprises 7 departments serving undergraduate and graduate degrees in music education, composing, conducting, piano, vocal, Chinese and western musical instruments, recording technique, dancing,. It also serving doctoral degrees of music education, composing, theory of composing, musicology, music science as well as dancing. The Music College has its chorus troupe, national music band, Chinese and western chamber music band and dancing troupe. Composer Yangqing: Famous composer of Zhou Xueshi: composer,Professor of China. Professor, Dean of Music College Music College of CNU. of CNU. His works involves orchestral <New arrangement: Birds in the Shade>, music, chamber music, dance drama for Chinese Flute, Sheng, Xun, Pipa, Erhu and movie music, His music win a high and Percussion. The musical materials of admiration in china. Leader of this this piece originate from this work—Birds visiting group to USA. Special invited in the Shade for Chinese Flute Solo by to compose a piece of music for both Guanyue Liu. It presents an interesting Chinese and USA instrumentalists. counterpoint in ensemble and shows the technical virtuosity of performers by developing fixed melody patterns and sound patterns. Performer Zhou Shibin: Vice dean, professor Wang Chaohui: Pipa performer .
    [Show full text]
  • Singapore Chinese Orchestra Instrumentation Chart
    Singapore Chinese Orchestra Instrumentation Chart 王⾠威 编辑 Version 1 Compiled by WANG Chenwei 2021-04-29 26-Musician Orchestra for SCO Composer Workshop 2022 [email protected] Recommendedabbreviations ofinstrumentnamesareshown DadiinF DadiinG DadiinA QudiinBb QudiinC QudiinD QudiinEb QudiinE BangdiinF BangdiinG BangdiinA XiaodiinBb XiaodiinC XiaodiinD insquarebrackets ˙ ˙ ˙ #˙ ˙ ˙ #˙ ˙ ˙ 2Di ‹ ˙ ˙ ˙ ˙ #˙ [Di] ° & ˙ (Transverseflute) & ˙ ˙ ˙ ˙ ¢ ˙ ˙ ˙ ˙ b˙ ˙ ˙ ˙ s˙ounds 8va -DiplayerscandoubleontheXiaoinForG(samerangeasDadiinForG) -ThischartnotatesmiddleCasC4,oneoctavehigherasC5etc. #w -WhileearlycompositionsmightdesignateeachplayerasBangdi,QudiorDadi, -8va=octavehigher,8vb=octavelower,15ma=2octaveshigher 1Gaoyin-Sheng composersareactuallyfreetochangeDiduringthepiece. -PleaseusethetrebleclefforZhonghupartscores [GYSh] ° -Composerscouldwriteonestaffperplayer,e.g.Di1,Di2andspecifywhentousewhichtypeofDi; -Pleaseusethe8vbtrebleclefforZhongyin-Sheng, (Sopranomouthorgan) & ifthekeyofDiislefttotheplayers'discretion,specifyatleastwhetherthepitchshould Zhongyin-GuanandZhongruanpartscores w soundasnotatedor8va. w -Composerscanrequestforamembranelesssound(withoutdimo). 1Zhongyin-Sheng -WhiletheDadiandQudicanplayanother3semitonesabovethestatedrange, [ZYSh] theycanonlybeplayedforcefullyandthetimbreispoor. -ForeachkeyofDi,thesemitoneabovethelowestpitch(e.g.Eb4ontheDadiinG)sounds (Altomouthorgan) & w verymuffledduetothehalf-holefingeringandisunsuitableforloudplaying. 低⼋度发⾳ ‹ -Allinstrumentsdonotusetransposednotationotherthantranspositionsattheoctave.
    [Show full text]
  • Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
    Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy.
    [Show full text]
  • Instrument List
    Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe.
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert United States Premieres New York Philharmonic Commission as of November 30, 2020 NY PHIL Biennial Members of / musicians from the New York Philharmonic Click to jump to decade 1842-49 | 1850-59 | 1860-69 | 1870-79 | 1880-89 | 1890-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 1940-49 | 1950-59 | 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1849 Beethoven Symphony No. 3, Sinfonia Eroica 18-Feb 1843 Hill Beethoven Symphony No. 7 18-Nov 1843 Hill Vieuxtemps Fantasia pour le Violon sur la quatrième corde 18-May 1844 Alpers Lindpaintner War Jubilee Overture 16-Nov 1844 Loder Mendelssohn The Hebrides Overture (Fingal's Cave) 16-Nov 1844 Loder Beethoven Symphony No. 8 16-Nov 1844 Loder Bennett Die Najaden (The Naiades) 1-Mar 1845 Wiegers Mendelssohn Symphony No. 3, Scottish 22-Nov 1845 Loder Mendelssohn Piano Concerto No. 1 17-Jan 1846 Hill Kalliwoda Symphony No. 1 7-Mar 1846 Boucher Furstenau Flute Concerto No. 5 7-Mar 1846 Boucher Donizetti "Tutto or Morte" from Faliero 20-May 1846 Hill Beethoven Symphony No. 9, Choral 20-May 1846 Loder Gade Grand Symphony 2-Dec 1848 Loder Mendelssohn Violin Concerto in E minor 24-Nov 1849 Eisfeld Beethoven Symphony No. 4 24-Nov 1849 Eisfeld 1850 – 1859 Schubert Symphony in C major, Great 11-Jan 1851 Eisfeld R. Schumann Introduction and Allegro appassionato for Piano and 25-Apr 1857 Eisfeld Orchestra Litolff Chant des belges 25-Apr 1857 Eisfeld R. Schumann Overture to the Incidental Music to Byron's Dramatic 21-Nov 1857 Eisfeld Poem, Manfred 1860 - 1869 Brahms Serenade No.
    [Show full text]
  • Shijing and Han Yuefu
    SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU by Yumei Wang A thesis submitted in conformity with the requirements for the degree of Master of Art Graduate Department of the East Asian Studies University of Toronto © Yumei Wang 2012 SONGS THAT TOUCH OUR SOUL A COMPARATIVE STUDY OF FOLK SONGS IN TWO CHINESE CLASSICS: SHIJING AND HAN YUEFU Yumei Wang Master of Art Graduate Department of the East Asian Studies University of Toronto 2012 Abstract The subject of my thesis is the comparative study of classical Chinese folk songs. Based on Jeffrey Wainwright, George Lansing Raymond, and Liu Xie’s theories, this study was conducted from four perspectives: theme, content, prosody structure and aesthetic features. The purposes of my thesis are to trace the originality of 160 folk songs in Shijing and 47 folk songs in Han yuefu , to illuminate the origin of Chinese folk songs and to demonstrate the secularism reflected in Chinese folk songs. My research makes contribution to the following four areas: it explores the relation between folk songs in Shijing and Han yuefu and compares the similarities and differences between them ; it reveals the poetic kinship between Shijing and Han yuefu; it evaluates the significance of the common people’s compositions; and it displays the unique artistic value and cultural influence of Chinese early folk songs. ii Acknowledgments I would like to express my sincere gratitude to my supervisor Professor Graham Sanders for his supervision, inspirations, and encouragements during my two years M.A study in the Department of East Asian Studies at University of Toronto.
    [Show full text]
  • Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(S): Eugene Yuejin Wang Source: the Art Bulletin, Vol
    Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Author(s): Eugene Yuejin Wang Source: The Art Bulletin, Vol. 76, No. 3, (Sep., 1994), pp. 511-534 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3046042 Accessed: 17/04/2008 11:17 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=caa. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We enable the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Mirror, Death, and Rhetoric: Reading Later Han Chinese Bronze Artifacts Eugene Yuejin Wang a 1 Jian (looking/mirror), stages of development of ancient ideograph (adapted from Zhongwendazzdian [Encyclopedic dictionary of the Chinese language], Taipei, 1982, vi, 9853) History as Mirror: Trope and Artifact people.
    [Show full text]
  • Mahler's Song of the Earth
    SEASON 2020-2021 Mahler’s Song of the Earth May 27, 2021 Jessica GriffinJessica SEASON 2020-2021 The Philadelphia Orchestra Thursday, May 27, at 8:00 On the Digital Stage Yannick Nézet-Séguin Conductor Michelle DeYoung Mezzo-soprano Russell Thomas Tenor Mahler/arr. Schoenberg and Riehn Das Lied von der Erde I. Das Trinklied von Jammer der Erde II. Der Einsame im Herbst III. Von der Jugend IV. Von der Schönheit V. Der Trunkene im Frühling VI. Der Abschied First Philadelphia Orchestra performance of this version This program runs approximately 1 hour and will be performed without an intermission. This concert is part of the Fred J. Cooper Memorial Organ Experience, supported through a generous grant from the Wyncote Foundation. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. Our World Lead support for the Digital Stage is provided by: Claudia and Richard Balderston Elaine W. Camarda and A. Morris Williams, Jr. The CHG Charitable Trust Innisfree Foundation Gretchen and M. Roy Jackson Neal W. Krouse John H. McFadden and Lisa D. Kabnick The Andrew W. Mellon Foundation Leslie A. Miller and Richard B. Worley Ralph W. Muller and Beth B. Johnston Neubauer Family Foundation William Penn Foundation Peter and Mari Shaw Dr. and Mrs. Joseph B. Townsend Waterman Trust Constance and Sankey Williams Wyncote Foundation SEASON 2020-2021 The Philadelphia Orchestra Yannick Nézet-Séguin Music Director Walter and Leonore Annenberg Chair Nathalie Stutzmann Principal Guest Conductor Designate Gabriela Lena Frank Composer-in-Residence Erina Yashima Assistant Conductor Lina Gonzalez-Granados Conducting Fellow Frederick R.
    [Show full text]
  • Book Reviews 329 Reference Cited Jones, Stephen. Plucking the Winds
    book reviews 329 a general feel for the landscape of Chinese culture. However, if it is intended to be an in- depth discussion on Chinese culture, the work needs more structure. The topics are meant to be woven together through the notion of family, yet the Chinese concept of family (jia) is in fact ambiguous. The meaning of family ranges from the idea of a family unit to broader social relationships, and even to the notion of the state-family (guojia). Without a refined and critical framework, the perspectives in this volume remain loosely connected. reference cited Ong, Walter J. 2002 [1982] Orality and literacy: The Technologizing of the Word. London: Routledge. Pui-lam Law The Hong Kong Polytechnic University Jones, Stephen. Plucking the Winds: Lives of Village Musicians in Old and New China. Chime Studies in East Asian Music Volume 2. Leiden: Chime European Foundation for Chinese Music Research, 2004. x + 426 pages. Maps, illustrations, genealogy, appendices, music examples, bibliography, glossary-index, cd. Paper n. p.; isbn 90-803615-2-6 Stephen Jones is a well known and respected ethmusicologist specializing in the ritual and folk music of Northern China. He is a founding member of the editorial board of the European Foundation for Chinese Music Research, Chime. Since 1989 he has been studying the sheng-guan 笙管 music of the South Gaoluo Music Association. Founded in the Ming Dynasty, Gaoluo is situated between Laishui and Dingxing south of Beijing. The author was assisted by colleagues Xue Yibing and Zhang Zhentao who apparently did “much of the interviewing and notetaking” (viii).
    [Show full text]
  • Kodály and Orff: a Comparison of Two Approaches in Early Music Education
    ZKÜ Sosyal Bilimler Dergisi, Cilt 8, Sayı 15, 2012 ZKU Journal of Social Sciences, Volume 8, Number 15, 2012 KODÁLY AND ORFF: A COMPARISON OF TWO APPROACHES IN EARLY MUSIC EDUCATION Yrd.Doç.Dr. Dilek GÖKTÜRK CARY Karabük Üniversitesi Safranbolu Fethi Toker Güzel Sanatlar ve Tasarım Fakültesi Müzik Bölümü [email protected] ABSTRACT The Hungarian composer and ethnomusicologist Zoltán Kodály (1882-1967) and the German composer Carl Orff (1895-1982) are considered two of the most influential personalities in the arena of music education during the twentieth-century due to two distinct teaching methods that they developed under their own names. Kodály developed a hand-sign method (movable Do) for children to sing and sight-read while Orff’s goal was to help creativity of children through the use of percussive instruments. Although both composers focused on young children’s musical training the main difference between them is that Kodály focused on vocal/choral training with the use of hand signs while Orff’s main approach was mainly on movement, speech and making music through playing (particularly percussive) instruments. Finally, musical creativity via improvisation is the main goal in the Orff Method; yet, Kodály’s focal point was to dictate written music. Key Words: Zoltán Kodály, Carl Orff, The Kodály Method, The Orff Method. KODÁLY VE ORFF: ERKEN MÜZİK EĞİTİMİNDE KULLANILAN İKİ METODUN BİR KARŞILAŞTIRMASI ÖZET Macar besteci ve etnomüzikolog Zoltán Kodály (1882-1967) ve Alman besteci Carl Orff (1895-1982) geliştirmiş oldukları farklı 2 öğretim metodundan dolayı 20. yüzyılda müzik eğitimi alanında en etkili 2 kişi olarak anılmaktadırlar. Kodály çocukların şarkı söyleyebilmeleri ve deşifre yapabilmeleri için el işaretleri metodu (gezici Do) geliştirmiş, Orff ise vurmalı çalgıların kullanımı ile çocukların yaratıcılıklarını geliştirmeyi hedef edinmiştir.
    [Show full text]
  • Ming Wang Whilst Studying Painting in the 1970'S, I Began Learning Chinese Music
    A review of my experiences, and criticism of the music exchange projects Ming Wang Whilst studying painting in the 1970's, I began learning Chinese music. This was introduced to Taiwan from mainland China after the Chinese Civil War in 1949. Hence my first “great love” of this music, but it was extremely difficult to learn. Because of the political situation with mainland China the culture of this music was totally separated from its roots. We had very limited teaching material and literature, had no systematic pedagogical methodology. We were young and passionate at the time and wanted to find a solution, a future for this music. The introduction of Western Modernism was a great hope for us then, as it has often been in the history of China over the last 150 years. While my music friends founded the first revolutionary ensemble with Chinese instruments, to specialize in Taiwanese and Western contemporary music, I decided to study composition in Europe; to learn the western avant-garde, so that we could enrich Chinese music. With this goal in mind, since 1996 – during my studies - I have initiated or participated in several exchange projects between Austria and Taiwan. I try not only to present new european music in Taiwan, but also to introduce Taiwanese musicians, Chinese instruments and music to Europe. Twenty years later in the age of globalisation, I often think about whether such exchange projects really make artistic sense, or whether we have gradually lost our ideals in the workings of the music business. With a few concrete examples, I would like to give a review of my years of experience with the music exchange projects, and offer this topic for discussion.
    [Show full text]