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14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
June WTTW & WFMT Member Magazine
Air Check Dear Member, The Guide As we approach the end of another busy fiscal year, I would like to take this opportunity to express my The Member Magazine for WTTW and WFMT heartfelt thanks to all of you, our loyal members of WTTW and WFMT, for making possible all of the quality Renée Crown Public Media Center content we produce and present, across all of our media platforms. If you happen to get an email, letter, 5400 North Saint Louis Avenue or phone call with our fiscal year end appeal, I’ll hope you’ll consider supporting this special initiative at Chicago, Illinois 60625 a very important time. Your continuing support is much appreciated. Main Switchboard This month on WTTW11 and wttw.com, you will find much that will inspire, (773) 583-5000 entertain, and educate. In case you missed our live stream on May 20, you Member and Viewer Services can watch as ten of the area’s most outstanding high school educators (and (773) 509-1111 x 6 one school principal) receive this year’s Golden Apple Awards for Excellence WFMT Radio Networks (773) 279-2000 in Teaching. Enjoy a wide variety of great music content, including a Great Chicago Production Center Performances tribute to folk legend Joan Baez for her 75th birthday; a fond (773) 583-5000 look back at The Kingston Trio with the current members of the group; a 1990 concert from the four icons who make up the country supergroup The Websites wttw.com Highwaymen; a rousing and nostalgic show by local Chicago bands of the wfmt.com 1960s and ’70s, Cornerstones of Rock, taped at WTTW’s Grainger Studio; and a unique and fun performance by The Piano Guys at Red Rocks: A Soundstage President & CEO Special Event. -
William Basse's Polyhymnia and the Poetry of Service
Journal of Early Modern Studies, n. 4 (2015), pp. 99-131 DOI: http://dx.doi.org/10.13128/JEMS-2279-7149-15782 William Basse’s Polyhymnia and the Poetry of Service Ben Crabstick Independent Scholar (<[email protected]>) Abstract Th e career of the little-known seventeenth-century poet William Basse (c. 1583-1653?) combined two distinctive elements. He served, in the fi rst instance, as a ‘retainer’ to the Wenman family of Th ame Park in Oxfordshire for a period of more than forty years. He was also, however, a published poet who produced a substantial body of verse which refl ected and intertwined with his career in service. Th e article aims to stimulate interest in Basse by drawing attention to a manuscript collection of his poems which remains unpublished and has until now been considered ‘lost’ in scholarly accounts of the poet. Th e Polyhymnia, held at Chetham’s Library in Manchester, was prepared as a gift in the late 1640s or early 1650s for relations of the Wenmans who lived on the nearby Rycote estate. It brought together poems from across the course of Basse’s career, and displayed him writing in a wide variety of forms and genres. Th e article summarises current knowledge of Basse’s life in service, sets out the context of the Polyhymnia as a manuscript apparently designed to fortify the links between Th ame Park and Rycote, and explores the importance of Basse’s perspective as a servant to some of the more intriguing poems in the collection. -
Orpheus and Mousikê in Greek Tragedy
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Orpheus and mousikê in Greek Tragedy Semenzato, Camille Abstract: Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This legendary singer is mentioned every time, if not explicitly, at least implicitly, in conjunction with DOI: https://doi.org/10.1515/tc-2016-0016 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-171919 Journal Article Published Version Originally published at: Semenzato, Camille (2016). Orpheus and mousikê in Greek Tragedy. Trends in Classics, 8(2):295-316. DOI: https://doi.org/10.1515/tc-2016-0016 TC 2016; 8(2): 295–316 Camille Semenzato* Orpheus and mousikê in Greek Tragedy DOI 10.1515/tc-2016-0016 Abstract: Much as he is famous, Orpheus is only mentioned by name fourteen times in the Greek tragedies and tragic fragments that have survived the ravages of time. Furthermore he is never shown as a protagonist, but always evoked by a dramatic character as an example, a parallel, a peculiarity, or a fantasy. This leg- endary singer is mentioned every time, if not explicitly, at least implicitly, in con- junction with μουσική, the ‘art of the Muses’, namely ‘music’ in its fullest sense. -
Download Notes 10-04.Pdf
Can you kill a god? Can he feel pain? Can you make him bleed? What do gods eat? Does Zeus delegate authority? Why does Zeus get together with Hera? Which gods are really the children of Zeus and Hera? Anthropomorphic Egyptian Greek ἡ ἀμβροσία ambrosia τὸ νέκταρ nectar ὁ ἰχώρ ichor Games and Traditions epichoric = local tradition Panhellenic = common, shared tradition Dumézil’s Three Functions of Indo-European Society (actually Plato’s three parts of the soul) religion priests τὀ λογιστικόν sovereignty 1 kings (reason) justice τὸ θυμοειδές warriors military 2 (spirit, temper) craftsmen, production τὸ ἐπιθυμητικόν farmers, economy 3 (desire, appetite) herders fertility Gaia Uranus Iapetus X Cœus Phœbe Rhea Cronos Atlas Pleione Leto gods (next slide) Maia Rhea Cronos Aphrodite? Hestia Hades Demeter Poseidon Hera Zeus Ares (et al.) Maia Leto Hephæstus Hermes Apollo Artemis Athena ZEUS Heaven POSEIDON Sea HADES Underworld ἡ Ἐστία HESTIA Latin: Vesta ἡ Ἥρα HERA Latin: Juno Boōpis Cuckoo Cow-Eyed (Peacock?) Scepter, Throne Argos, Samos Samos (Heraion) Argos Heraion, Samos Not the Best Marriage the poor, shivering cuckoo the golden apples of the Hesperides (the Daughters of Evening) honeymoon Temenos’ three names for Hera Daidala Athena Iris Hera Milky Way Galaxy Heracles Hera = Zeus Hephæstus Ares Eris? Hebe Eileithyia ὁ Ζεύς, τοῦ Διός ZEUS Latin: Juppiter Aegis-bearer Eagle Cloud-gatherer Lightning Bolt Olympia, Dodona ἡ ξενία xenia hospitality ὁ ὅρκος horcus ἡ δίκη oath dicē justice Dodona Olympia Crete Dodona: Gaia, Rhea, Dione, Zeus Olympia: -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Berliner Philharmoniker
Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com. -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Sinfonia Varsovia
Sinfonia Varsovia Paul Meyer, Dirigent Lucas und Arthur Jussen, Klaviere Brauchen Sie ein Klavier ? Vergessen Sie nicht Piano Maene zu besuchen ! Neuer Showroom in Oud-Rekem (Lanaken), 45 min. von Aachen Angebot von Neu- und Gebrauchtinstrumenten von Steinway, Boston, Essex, Doutreligne, Yamaha, Kawai und Sauter Digital Pianos Yamaha, Kawai, Roland, Nord Pianovermietung ab 35,- Euro/Monat Piano Maene Limburg Steenweg 224 3621 Oud-Rekem (Lanaken) 089/ 215272 Ab September 2017 : Kirche Oud Rekem Patersstraat 51 3621 Oud-Rekem www.maene.be O zieller Lieferant des Belgischen Hofes — 3 — Meisterkonzerte Aachen.indd 1 22/02/17 11:39 Samstag, 4. März 2017, 19:30 Uhr Eurogress, Aachen Sinfonia Varsovia Paul Meyer, Dirigent Lucas und Arthur Jussen, Klaviere Darius Milhaud (1892 – 1974) Le bœuf sur le toit op. 58 Wolfgang Amadeus Mozart (1756 – 1791) Konzert Es-Dur für 2 Klaviere und Orchester KV 365 Allegro Andante Rondo: Allegro — Pause — Gabriel Fauré (1845 – 1924) Gavotte aus „Masques et bergamasques“ op. 112 Pavane fis-moll op. 50 Antonín Dvorákˇ (1841 – 1904) Tschechische Suite D-Dur op. 39 Preludio: Allegro meoderato – Pastorale Allegro grazioso – Polka Allegro giusto – Sousedská Andante con moto – Romanze Presto – Furiant Bitte beachten Sie, dass jegliche Ton- und Bildaufnahmen des Konzerts nicht gestattet sind. Vielen Dank. — 3 — Masken und Bergamasken ch fand Paris im Siegesrausch vor. Aber ich kehrte als Fremdling in meine alte Wohnung zurück, denn „Imeine Augen waren noch erfüllt von dem verwirren- den Licht, das der brasilianische Himmel widerspiegelt, und meine Ohren klangen noch wider von den üppigen Geräuschen des Urwaldes und dem subtilen Rhythmus des Tango.“ Zwei Jahre hatte Darius Milhaud in Brasilien verbracht, bevor er 1919 in das vom Weltkrieg gezeich- nete Frankreich zurückkehrte. -
Friday 14 February 2020 12:00 Music Through the Night 6:00 Daybreak
Spanish Songs - Alison Balsom (tpt), G450 - Kazuhito Yamashita (gtr), Phil/Daniel Harding (Virgin 5 45480) Gothenburg SO/Edward Gardner Tokyo String Quartet (RCA RD 60421) (EMI 3 53255) CHOPIN: Ballade No 1 in G minor R SMITH: Air Castles - Ryan Smith HILL: String Quartet No 3 in A minor, Op 23 - Krystian Zimerman (pno) (DG (accordian), Robyn Jaquiery (pno) Carnival - Dominion Quartet (Naxos 423 090) 8.570491) PUCCINI: Oh, saro la piu bella! - Tu, VIVALDI: Violin Concerto in G RV310 Friday 14 February 2020 BACH: Keyboard Concerto in G tu, amore? Tu?, from Manon Lescaut - Adrian Chandler (vln/dir), La Wq43/5 - Trevor Pinnock - Kiri Te Kanawa (sop), José Carreras, Serenissima (Avie AV 2106) 12:00 Music Through the (hpschd/dir), English Concert (CRD Orchestra del Teatro Comunale di Night 3311) Bologna/Richard Cheetham (Decca 7.00 ZIPOLI arr Hunt: Elevazione - SZYMANOWSKI: Nocturne & 475 459) Gordon Hunt (ob/dir), Niklass Tarantella Op 28 - Tasmin Little (vln), KOEHNE: Way Out West - Diana HAYDN: Cello Concerto No 2 in D Veltman (cello), Norrköping SO (BIS Piers Lane (pno) (Chandos CHAN Doherty (ob), Sinfonia HobVIIb/2 (3) - Gautier Capuçon CD 5017) 10940) Australis/Mark Summerbell (ABC 980 (cello), Mahler CO/Daniel Harding LISZT transcr Grainger: Hungarian RACHMANINOV: Prelude No 4 in E 046) (Virgin 5 45560) Fantasy S123 - Ivan Hovorun (pno), Minor, Op 32 - Colin Horsley (pno) DUSSEK: Sinfonia in A - Helsinki Royal Northern College of Music (Atoll ACD 442) Baroque Orch/Aapo Häkkinen RACHMANINOV: Symphony No 2 in Wind Orch/Clark Rundell (Chandos -
The Digital Concert Hall
Welcome to the Digital Concert Hall he time has finally come! Four years have Emmanuelle Haïm, the singers Marlis Petersen passed since the Berliner Philharmoniker – the orchestra’s Artist in Residence – Diana T elected Kirill Petrenko as their future chief Damrau, Elīna Garanča, Anja Kampe and Julia conductor. Since then, the orchestra and con- Lezhneva, plus the instrumentalists Isabelle ductor have given many exciting concerts, fuel- Faust, Janine Jansen, Alice Sara Ott and Anna ling anticipation of a new beginning. “Strauss Vinnitskaya. Yet another focus should be like this you encounter once in a decade – if mentioned: the extraordinary opportunities to you’re lucky,” as the London Times wrote about hear members of the Berliner Philharmoniker their Don Juan together. as protagonists in solo concertos. With the 2019/2020 season, the partnership We invite you to accompany the Berliner officially starts. It is a spectacular opening with Philharmoniker as they enter the Petrenko era. Beethoven’s Ninth Symphony, whose over- Look forward to getting to know the orchestra whelmingly joyful finale is perfect for the festive again, with fresh inspiration and new per- occasion. Just one day later, the work can be spectives, and in concerts full of energy and heard once again at an open-air concert in vibrancy. front of the Brandenburg Gate, to welcome the people of Berlin. Further highlights with Kirill Petrenko follow: the New Year’s Eve concert, www.digital-concert-hall.com featuring works by Gershwin and Bernstein, a concert together with Daniel Barenboim as the soloist, Mahler’s Sixth Symphony, Beethoven’s Fidelio at the Baden-Baden Easter Festival and in Berlin, and – for the European concert – the first appearance by the Berliner Philharmoniker in Israel for 26 years. -
Digital Concert Hall Where We Play Just for You
www.digital-concert-hall.com DIGITAL CONCERT HALL WHERE WE PLAY JUST FOR YOU PROGRAMME 2016/2017 Streaming Partner TRUE-TO-LIFE SOUND THE DIGITAL CONCERT HALL AND INTERNET INITIATIVE JAPAN In the Digital Concert Hall, fast online access is com- Internet Initiative Japan Inc. is one of the world’s lea- bined with uncompromisingly high quality. Together ding service providers of high-resolution data stream- with its new streaming partner, Internet Initiative Japan ing. With its expertise and its excellent network Inc., these standards will also be maintained in the infrastructure, the company is an ideal partner to pro- future. The first joint project is a high-resolution audio vide online audiences with the best possible access platform which will allow music from the Berliner Phil- to the music of the Berliner Philharmoniker. harmoniker Recordings label to be played in studio quality in the Digital Concert Hall: as vivid and authen- www.digital-concert-hall.com tic as in real life. www.iij.ad.jp/en PROGRAMME 2016/2017 1 WELCOME TO THE DIGITAL CONCERT HALL In the Digital Concert Hall, you always have Another highlight is a guest appearance the best seat in the house: seven days a by Kirill Petrenko, chief conductor designate week, twenty-four hours a day. Our archive of the Berliner Philharmoniker, with Mozart’s holds over 1,000 works from all musical eras “Haffner” Symphony and Tchaikovsky’s for you to watch – from five decades of con- “Pathétique”. Opera fans are also catered for certs, from the Karajan era to today. when Simon Rattle presents concert perfor- mances of Ligeti’s Le Grand Macabre and The live broadcasts of the 2016/2017 Puccini’s Tosca.