Polarities: Apollo Vs
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Charles M. Joseph. 2011. Stravinsky's Ballets. New Haven: Yale University
Charles M. Joseph. 2011. Stravinsky’s Ballets. New Haven: Yale University Press. Reviewed by Maeve Sterbenz Charles M. Joseph’s recent monograph explores an important subset of Stravinsky’s complete oeuvre, namely his works for dance. One of the aims of the book is to stress the importance of dance for Stravinsky throughout his career as a source of inspiration that at times significantly shaped his develop- ment as a composer. Joseph offers richly contextualized and detailed pictures of Stravinsky’s ballets, ones that will be extremely useful for both dance and music scholars. While he isolates each work, several themes run through Joseph’s text. Among the most important are Stravinsky’s self–positioning as simultaneously Russian and cosmopolitan; and Stravinsky’s successes in collaboration, through which he was able to create fully integrated ballets that elevated music’s traditionally subservient role in relation to choreography. To begin, Joseph introduces his motivation for the project, arguing for the necessity of an in–depth study of Stravinsky’s works for dance in light of the fact that they comprise a significant fraction of the composer’s output (more so than any other Western classical composer) and that these works, most notably The Rite of Spring, occupy such a prominent place in the Western canon. According to Joseph, owing to Stravinsky’s sensitivity to the “complexly subtle counterpoint between ballet’s interlocking elements” (xv), the ballets stand out in the genre for their highly interdisciplinary nature. In the chapters that follow, Joseph examines each of the ballets, focusing alternately on details of the works, histories of their production and reception, and their biographical contexts. -
A Level Schools Concert November 2014
A level Schools Concert November 2014 An Exploration of Neoclassicism Teachers’ Resource Pack Autumn 2014 2 London Philharmonic Orchestra A level Resources Unauthorised copying of any part of this teachers’ pack is strictly prohibited The copyright of the project pack text is held by: Rachel Leach © 2014 London Philharmonic Orchestra ©2014 Any other copyrights are held by their respective owners. This pack was produced by: London Philharmonic Orchestra Education and Community Department 89 Albert Embankment London SE1 7TP Rachel Leach is a composer, workshop leader and presenter, who has composed and worked for many of the UK’s orchestras and opera companies, including the London Sinfonietta, the Orchestra of the Age of Enlightenment, Wigmore Hall, Glyndebourne Opera, English National Opera, Opera North, and the London Symphony Orchestra. She studied at the Guildhall School of Music and Drama, at Opera Lab and Dartington. Recent commissions include ‘Dope Under Thorncombe’ for Trilith Films and ‘In the belly of a horse’, a children’s opera for English Touring Opera. Rachel’s music has been recorded by NMC and published by Faber. Her community opera ‘One Day, Two Dawns’ written for ETO recently won the RPS award for best education project 2009. As well as creative music-making and composition in the classroom, Rachel is proud to be the lead tutor on the LSO's teacher training scheme for over 8 years she has helped to train 100 teachers across East London. Rachel also works with Turtle Key Arts and ETO writing song cycles with people with dementia and Alzheimer's, an initiative which also trains students from the RCM, and alongside all this, she is increasingly in demand as a concert presenter. -
Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 As a Stylistic Guide
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2008 Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide Jonathan Candler Kilgore University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Catholic Studies Commons, Composition Commons, Liturgy and Worship Commons, and the Other Music Commons Recommended Citation Kilgore, Jonathan Candler, "Four Twentieth-Century Mass Ordinary Settings Surveyed Using the Dictates of the Motu Proprio of 1903 as a Stylistic Guide" (2008). Dissertations. 1129. https://aquila.usm.edu/dissertations/1129 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC GUIDE by Jonathan Candler Kilgore A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2008 COPYRIGHT BY JONATHAN CANDLER KILGORE 2008 The University of Southern Mississippi FOUR TWENTIETH-CENTURY MASS ORDINARY SETTINGS SURVEYED USING THE DICTATES OF THE MOTU PROPRIO OF 1903 AS A STYLISTIC -
A Christian Physicist Examines Noah's Flood and Plate Tectonics
A Christian Physicist Examines Noah’s Flood and Plate Tectonics by Steven Ball, Ph.D. September 2003 Dedication I dedicate this work to my friend and colleague Rodric White-Stevens, who delighted in discussing with me the geologic wonders of the Earth and their relevance to Biblical faith. Cover picture courtesy of the U.S. Geological Survey, copyright free 1 Introduction It seems that no subject stirs the passions of those intending to defend biblical truth more than Noah’s Flood. It is perhaps the one biblical account that appears to conflict with modern science more than any other. Many aspiring Christian apologists have chosen to use this account as a litmus test of whether one accepts the Bible or modern science as true. Before we examine this together, let me clarify that I accept the account of Noah’s Flood as completely true, just as I do the entirety of the Bible. The Bible demonstrates itself to be reliable and remarkably consistent, having numerous interesting participants in various stories through which is interwoven a continuous theme of God’s plan for man’s redemption. Noah’s Flood is one of those stories, revealing to us both God’s judgment of sin and God’s over-riding grace and mercy. It remains a timeless account, for it has much to teach us about a God who never changes. It is one of the most popular Bible stories for children, and the truth be known, for us adults as well. It is rather unfortunate that many dismiss the account as mythical, simply because it seems to be at odds with a scientific view of the earth. -
JUNE 27–29, 2013 Thursday, June 27, 2013, 7:30 P.M. 15579Th
06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 23 JUNE 2 7–29, 2013 Two Works by Stravinsky Thursday, June 27, 2013, 7:30 p.m. 15, 579th Concert Friday, June 28, 2013, 8 :00 p.m. 15,580th Concert Saturday, June 29, 2013, 8:00 p.m. 15,58 1st Concert Alan Gilbert , Conductor/Magician Global Sponsor Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director These concerts are sponsored by Yoko Nagae Ceschina. A production created by Giants Are Small Generous support from The Andrew W. Mellon Foundation, Clifton Taylor, Lighting Designer The Susan and Elihu Rose Foun - Irina Kruzhilina, Costume Designer dation, Donna and Marvin Matt Acheson, Master Puppeteer Schwartz, the Mary and James G. Margie Durand, Make-Up Artist Wallach Family Foundation, and an anonymous donor. Featuring Sara Mearns, Principal Dancer* Filming and Digital Media distribution of this Amar Ramasar , Principal Dancer/Puppeteer* production are made possible by the generos ity of The Mary and James G. Wallach Family This concert will last approximately one and Foundation and The Rita E. and Gustave M. three-quarter hours, which includes one intermission. Hauser Recording Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic June 2013 23 06-27 Stravinsky:Layout 1 6/19/13 12:21 PM Page 24 New York Philharmonic Two Works by Stravinsky Alan Gilbert, Conductor/Magician Doug Fitch, Director/Designer Karole Armitage, Choreographer Edouard Getaz, Producer/Video Director A production created by Giants Are Small Clifton Taylor, Lighting Designer Irina Kruzhilina, Costume Designer Matt Acheson, Master Puppeteer Margie Durand, Make-Up Artist Featuring Sara Mearns, Principal Dancer* Amar Ramasar, Principal Dancer/Puppeteer* STRAVINSKY Le Baiser de la fée (The Fairy’s Kiss ) (1882–1971) (1928, rev. -
Virtual Edition in Honor of the 74Th Festival
ARA GUZELIMIAN artistic director 0611-142020* Save-the-Dates 75th Festival June 10-13, 2021 JOHN ADAMS music director “Ojai, 76th Festival June 9-12, 2022 a Musical AMOC music director Virtual Edition th Utopia. – New York Times *in honor of the 74 Festival OjaiFestival.org 805 646 2053 @ojaifestivals Welcome to the To mark the 74th Festival and honor its spirit, we bring to you this keepsake program book as our thanks for your steadfast support, a gift from the Ojai Music Festival Board of Directors. Contents Thursday, June 11 PAGE PAGE 2 Message from the Chairman 8 Concert 4 Virtual Festival Schedule 5 Matthias Pintscher, Music Director Bio Friday, June 12 Music Director Roster PAGE 12 Ojai Dawns 6 The Art of Transitions by Thomas May 16 Concert 47 Festival: Future Forward by Ara Guzelimian 20 Concert 48 2019-20 Annual Giving Contributors 51 BRAVO Education & Community Programs Saturday, June 13 52 Staff & Production PAGE 24 Ojai Dawns 28 Concert 32 Concert Sunday, June 14 PAGE 36 Concert 40 Concert 44 Concert for Ojai Cover art: Mimi Archie 74 TH OJAI MUSIC FESTIVAL | VIRTUAL EDITION PROGRAM 2020 | 1 A Message from the Chairman of the Board VISION STATEMENT Transcendent and immersive musical experiences that spark joy, challenge the mind, and ignite the spirit. Welcome to the 74th Ojai Music Festival, virtual edition. Never could we daily playlists that highlight the 2020 repertoire. Our hope is, in this very modest way, to honor the spirit of the 74th have predicted how altered this moment would be for each and every MISSION STATEMENT Ojai Music Festival, to pay tribute to those who imagined what might have been, and to thank you for being unwavering one of us. -
Stravinsky Oedipus
London Symphony Orchestra LSO Live LSO Live captures exceptional performances from the finest musicians using the latest high-density recording technology. The result? Sensational sound quality and definitive interpretations combined with the energy and emotion that you can only experience live in the concert hall. LSO Live lets everyone, everywhere, feel the excitement in the world’s greatest music. For more information visit lso.co.uk LSO Live témoigne de concerts d’exception, donnés par les musiciens les plus remarquables et restitués grâce aux techniques les plus modernes de Stravinsky l’enregistrement haute-définition. La qualité sonore impressionnante entourant ces interprétations d’anthologie se double de l’énergie et de l’émotion que seuls les concerts en direct peuvent offrit. LSO Live permet à chacun, en toute Oedipus Rex circonstance, de vivre cette passion intense au travers des plus grandes oeuvres du répertoire. Pour plus d’informations, rendez vous sur le site lso.co.uk Apollon musagète LSO Live fängt unter Einsatz der neuesten High-Density Aufnahmetechnik außerordentliche Darbietungen der besten Musiker ein. Das Ergebnis? Sir John Eliot Gardiner Sensationelle Klangqualität und maßgebliche Interpretationen, gepaart mit der Energie und Gefühlstiefe, die man nur live im Konzertsaal erleben kann. LSO Live lässt jedermann an der aufregendsten, herrlichsten Musik dieser Welt teilhaben. Wenn Sie mehr erfahren möchten, schauen Sie bei uns Jennifer Johnston herein: lso.co.uk Stuart Skelton Gidon Saks Fanny Ardant LSO0751 Monteverdi Choir London Symphony Orchestra Igor Stravinsky (1882–1971) Igor Stravinsky (1882–1971) The music is linked by a Speaker, who pretends to explain Oedipus Rex: an opera-oratorio in two acts the plot in the language of the audience, though in fact Oedipus Rex (1927, rev 1948) (1927, rev 1948) Cocteau’s text obscures nearly as much as it clarifies. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Toward a Theory of Formal Function in Stravinsky’S Neoclassical Keyboard Works
Toward a Theory of Formal Function in Stravinsky’s Neoclassical Keyboard Works Item Type text; Electronic Dissertation Authors Mueller, Peter M. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 07/10/2021 03:29:55 Link to Item http://hdl.handle.net/10150/626657 TOWARD A THEORY OF FORMAL FUNCTION IN STRAVINSKY’S NEOCLASSICAL KEYBOARD WORKS by Peter M. Mueller __________________________ Copyright © Peter M. Mueller 2017 A Dissertation Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2017 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. -
Valse Triste, Op. 44, No. 1
Much of the Sibelius Violin Concerto’s beauty comes from its eccentricity — while it has elements of a traditional Romantic concerto, Sibelius constantly asks the musicians to play in quirky, counterintuitive ways, and often pits the soloist and orchestra against each other. BOB ANEMONE, NCS VIOLIN Valse triste, Op. 44, No. 1 JEAN SIBELIUS BORN December 8, 1865, in Hämeenlinna, Finland; died September 20, 1957, in Järvenpää, Finland PREMIERE Composed 1903; first performance December 2, 1903, in Helsinki, conducted by the composer OVERVIEW Though Sibelius is universally recognized as the Finnish master of the symphony, tone poem, and concerto, he also produced a large amount of music in the more intimate forms, including the scores for 11 plays — the music to accompany a 1926 production of Shakespeare’s The Tempest was his last orchestral work. Early in 1903, Sibelius composed the music to underscore six scenes of a play by his brother-in-law, Arvid Järnefelt, titled Kuolema (“Death”). Among the music was a piece accompanying the scene in which Paavali, the central character, is seen at the bedside of his dying mother. She tells him that she has dreamed of attending a ball. Paavali falls asleep, and Death enters to claim his victim. The mother mistakes Death for her deceased husband and dances away with him. Paavali awakes to find her dead. Sibelius gave little importance to this slight work, telling a biographer that “with all retouching [it] was finished in a week.” Two years later he arranged the music for solo piano and for chamber orchestra as Valse triste (“Sad Waltz”), and sold it outright to his publisher, Fazer & Westerlund, for a tiny fee. -
November 6, 2018 to the Board of Directors of the Voice Foundation
November 6, 2018 To the Board of Directors of The Voice Foundation, This is a letter of interest in the Van L. Lawrence Fellowship, to be awarded in 2019. As I look through the bullet points to be included in this document, it’s clear to me that what I should really be submitting is simply a thank-you note, since attending the Annual Symposium has comprehensively re-shaped me as a vocal pedagogue since I began attending four years ago. The singers I teach (at the University of Missouri, and as of this year, at the Jacobs School of Music at IU-Bloomington) are music majors ranging from freshmen to young professionals, c. 18-26 years old. The freshmen arrive having had some introductory experience with vocal instruction, but are basically wide-open to the unknown. They leave after their first lesson knowing what vowel formants are and where they are located, understanding the contribution of harmonics to an expressive vocal color, and demonstrating a solid rudimentary understanding of resonance strategies (including divergence and off-resonance, aka inertance). I’ve been diligent in streamlining this information; I want them to gain fluency in these concepts before they even think twice. The rapidity with which these talented students assimilate a paradigm so squarely founded on acoustics and physiology is inspiring, and very exciting. As recently as three years ago, I felt obliged to defend the validity of these ideas, and my qualifications to present them as established fact. Now, that defensive stance (at least with these superlative students) is already obsolete. -
5 Noah and the Flood
5 Noah and the Flood Read Genesis 6–9 Go into the ark, you and all your household, for I have seen that you alone are righteous. Genesis 7:ı he story of Noah is told to illustrate how deeply the human Tfamily has fallen into sinfulness. Sin is now so universal that a troubled God decides to complete the work of destruction that the human family has begun (Genesis 6:13). However, God sees that Noah is a good man and decides that humanity will survive through Noah’s family. God tells Noah to build an ark, which God will use to save Noah’s family and members of the animal kingdom. God is pained by and disappointed in humankind, but in his mercy he will save the human family through Noah. Noah builds the ark and, following God’s instructions, loads himself, his family, and the animals into it. God closes the door of the ark, showing his care for all inside and for the future human family. The flood comes, joining the waters of the sky with the waters on the earth. As the ark floats higher, everything beneath 11 12 • Noah and the Flood it drowns. For forty days and nights it rains. It is another 150 days before the water recedes. Then God remembers Noah. In his remembering, God begins the process of re-creation: “And God made a wind blow over the earth, and the waters subsided” (Genesis 8:1). Noah sends out birds to see if it is safe to disembark. He first sends a raven, then a dove.