Faure Requiem Program V2
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ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Requiem, Op. 48 Gabriel Fauré (1845 - 1924)
ASO Program Notes Requiem, Op. 48 Gabriel Fauré (1845 - 1924) Gabriel Fauré grew up in the French Pyrenees and began his musical education at a very early age. He studied organ, piano and choral music at increasingly more prestigious schools, ending up at the Niedermeyer School in Paris. His teachers included Camille Saint-Saëns. When he later became a teacher at the Paris Conservatory, Maurice Ravel and Nadia Boulanger were among his pupils. He served as organist and choirmaster at a number of large churches in Paris, and enjoyed an excellent reputation as a successful composer until he grew deaf and had to give up much of his musical life. There have been many famous Requiems, and all have their own style. Verdi, Berlioz, and Brahms all composed glorious Requiems addressing the themes of death, resurrection and final judgment. The tone of their works is grand and even theatrical. Mozart’s Requiem is moving and poignant. Fauré chose to make his gentler, full of solace and comfort for the mourners. It is also moving, but in a kinder, more consoling way. The awesome vision of “The Last Judgement” would have meant little to Fauré. In spite of the fact that most of his life had been dedicated to service to the church, he was an unbeliever, and so he focused more on the blessed rest for those whose life journey had come to an end. In Fauré’s words, “Everything I managed to entertain in the way of religious illusion I put into my Requiem, which is…dominated from beginning to end by a very human feeling of faith in eternal rest.” and at another time, “I see death as a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.” Although firmly agnostic, he was a spiritual man, and sought to compose a newer kind of church music, different from the heavily romantic style of the German composers dominating European music at the time. -
37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE
37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. -
Performing Michael Haydn's Requiem in C Minor, MH155
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service. -
Ethereal Light Program Notes
Ethereal Light – Program Notes Ethereal: adj. very light or airy, belonging to the heavens, otherworldly Light: n. energy that makes seeing possible, the representation of light or the effect it has in a work of art, God as a source of spiritual illumination This afternoon’s program features music of the great French composer Gabriel Fauré, as well as a singular work each from the celebrated Sergei Rachmaninoff and the contemporary genius of Morten Lauridsen. Composed during a span of over one hundred years, these divergent works are drawn together by the subject of Light. In Fauré’s Requiem, the familiar text from the Catholic Mass for the Dead speaks directly of “eternal light” and “perpetual light,” invoked to “shine forever” on those who have died. They are asked to be saved from “utter darkness” and the “darkness of hell,” perhaps implying that the unmistakable quality of heaven is Light itself. In the same composer’s Après un Rêve, the singer wishes to return to the “awakening light” of his dream, now sadly over. In Lauridsen’s masterwork, Lux Aeterna (Light Eternal), each of the five movements reference Light in their own way, the opening and closing movements not dissimilarly to the Requiem of Fauré. The texts of the inner three movements, all drawn from sacred Latin sources, contain their own unique references to Light, including one of the most celebrative moments in the work which uses the words, “O Lux beatissima” (O Light most blessed). It is in the hearing of today’s two works without text – Pavane and Vocalise – in which perhaps the ear of the listener is most responsible for providing the connection to the theme of Light. -
September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below). -
Berlioz Requiem Alto Road
BERLIOZ: Grand Messe des Morts Alto Road Map I. Requiem and Kyrie (Introit) •First entrance at rehearsal B: sing tenor I part, stop singing at 7 measures after rehearsal C. •Re-enter at 13 measures after rehearsal C: sing soprano (II) part here. •Switch to tenor part at 6 measures after rehearsal E. •Switch to soprano II part 5 measures after rehearsal F. •Sing tenor part 10th-14th measures after rehearsal F. •Switch back to soprano II 4 measures before rehearsal G. •Sing soprano II part until end of movement, II. Dies irae •First entrance: sing tenor part 5 measures after rehearsal B. •Switch to soprano II 5 measures after rehearsal C. •Hum tenor part 4 measures before rehearsal D •Stay humming tenor part until 9 measures before rehearsal E—switch to soprano II here. •Switch to tenor I part at 17 measures after rehearsal F. •Do not sing at 9 measures before rehearsal K. •Re-enter on tenor I part 7 measures after rehearsal L •Tacet from 3 measures before rehearsal M to 4 measures before rehearsal P. •Re-enter at 4 measures before rehearsal P on soprano part. •Switch to tenor I at rehearsal Q. •Switch to soprano II at rehearsal R to end of movement. III. Quid sum miser •Hum tenor I line at throughout, IV. Rex tremendae •Begin with soprano II part. •Tacet from rehearsal B to rehearsal C. •Re-enter at rehearsal C with soprano II part. •Remain on sropano II part except sing tenor I for the four measures before rehearsal E. •Return to soprano II from rehearsal E to 6 measures after rehearsal E, •Switch to tenor I at 7 measures after rehearsal E. -
Summary-Of-The-World-Peace-Choral
In 2020, a global pandemic has brought an unprecedented impact to the world. In the face of the common challenges of mankind, peace and unity have become the common voice of the international community under the pandemic. In 2021 the World Peace Choral Festival celebrated its 11th anniversary Online. more than 340 choirs from 55 countries participated in the online events of the World Peace Choral Festival 2021! Our sincere thanks to all choirs and their members, the artistic committee, jurors, and staff members contributing to the festival! FACTS AND FIGURES The choirs participating in the 2021 World Peace Choral Festival came from Armenia, Argentina, Austria, Australia, Belgium, Brazil, Bulgaria, Canada, Czech Republic, Croatia, Chile, China(Mainland, Hong Kong, Taiwan, Macau), Denmark, Estonia, Egypt, Finland, France, Germany, Georgia, Greece, Hungary, Italy, Indonesia, Israel, India, Kenya, Kosovo, Lithuania, Latvia, Mauritius, Macedonia, Malta, Moldova, Mexico, Norway, Philippines, Poland, Portugal, Romania, Russia, Slovenia , Spain, Syria, Serbia, Sweden, South Africa, Switzerland, Spska, Turkey, Tanzania, Ukraine, Uganda, United States, United Kingdom and Vietnam. 2021 May 22th Grand opening ceremony of the 11th World Peace Choral Festival “Coming together to sing Singing for a better future” The 2021 11th World Peace Chorus Festival opened online on May 22th. The webcast of the concert attracted more than 10,000 people to watch it online. Our sincere thanks to all choirs and their members, the artistic committee, jurors, and staff -
Arcada Theatre St
Live in the United States LIBERA Arcada Theatre St. Charles, IL April 8Washington,TH 2015 at D.C. 7:30pm Joyful Joyful How Can I Keep From Singing Sanctus Salva Me Amazing Grace Morning Has Broken Voca Me Exultate The Prayer INTERVAL Always With You Song Of Life Orinoco Flow Wayfaring Stranger How Great Thou Art Wonderful World Going Home How Shall I Sing That Majesty April 8TH 2015 | The Arcada Theatre | 7:30 PM — PLEASE NOTE — Program subject to change. All forms of recording, video filming, photography, use of mobile phone cameras etc are strictly prohibited. There will be an opportunity to purchase CDs/DVDs during the interval and at the end of the concert. Copyright©Libera 2015. All rights reserved. LIBERA MARC ALVARES, SHAY BALSEKAR, CIARAN BRADBURY-HICKEY, MERLIN BROUWER, BENEDICT BYWATER, GABRIEL COLLINS, THOMAS DELGADO-LITTLE, ALEX GULA, ADAM IZGHOUTI, MATTHEW JANSEN, TIMOTHY LEE, ISAAC LONDON, MATTHEW MADINE, ALESSANDRO MACKINNON-BOTTI, JAMES MENEZES, MICHAEL MENEZES, ALEX MONTORO, CASSIUS O’CONNELL-WHITE, TAICHI SHINOKUBO, CAMDEN STEWART, ROCCO TESEI, MARK USTYNOVYCH-REPA, JOSEPH WALSHE, SAM WIGGIN, LUCAS WOOD Musical Director – Robert Prizeman Assistant musical directors – Sam Coates & Steven Geraghty Flute / Whistle – Percussion – Keyboard – Candice Hamel Jonathan Ormston Joshua Madine Steven Geraghty Sound mixing & production – Sam Coates Lighting – Luke Avery Stage management – Jonathan Barrington & Simon Lewis Stage direction – Steven Geraghty Tour coordination and chaperone – Barbara Geraghty & Eleanor Lewis Tour coordination -
The International Implications of the Los Angeles Riots
Denver Law Review Volume 70 Issue 2 Colloquy - Racism in the Wake of the Article 7 Los Angeles Riots January 2021 The International Implications of the Los Angeles Riots Henry J. Richardson III Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Henry J. Richardson, The International Implications of the Los Angeles Riots, 70 Denv. U. L. Rev. 213 (1993). This Article is brought to you for free and open access by the Denver Law Review at Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. THE INTERNATIONAL IMPLICATIONS OF THE Los ANGELES RIOTS HENRY J. RICHARDSON, III* I. INTRODUCTION By now much has been written, preached, propagandized, analyzed and moralized about the Los Angeles riots. We need not rehearse here either the facts of the trial and acquittal of the police officers who beat Rodney King, the subsequent fire and destruction or the resulting fed- eral and state trials of the officers and riot participants. This Article will discuss the international reactions to the acquittals and the riot while exploring several crucial issues with implications for United States pol- icy, international law and Afro-America in the world community. The Article will also explore comparative claims regarding causation for the riots and the responses of the Vatican and the southern tier of the world community to these claims. Some initial consideration will be given to recent United States. policy trends in order to place the international community's response to Los Angeles in context. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.