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A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Ondine - Diary of a Ballet Online
6qNin [Download free ebook] Ondine - Diary of a Ballet Online [6qNin.ebook] Ondine - Diary of a Ballet Pdf Free Hans Werner Henze ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook #4990267 in Books 2015-10-30Original language:EnglishPDF # 1 8.50 x .31 x 5.51l, .54 #File Name: 185273095176 pages | File size: 15.Mb Hans Werner Henze : Ondine - Diary of a Ballet before purchasing it in order to gage whether or not it would be worth my time, and all praised Ondine - Diary of a Ballet: 2 of 2 people found the following review helpful. Dear Hans, thanks for sharing, you're the cat's pajamas. Better, you're The Cat's Fugue.By J. FaulkThese extracts, melded together, from the composer's diary were published in Germany in 1959 and in English in 2003.In 1957 Ashton and Henze meet in Ischia to convert the old German folktale Undine into a ballet scenario that choreographer, composer, and the great ballerina Fonteyn can find inspiring (as well as the traditionalist London audience). The tale commences in the hut of a fisherman and his wife and their foundling daughter, actually an ondine. The girl immediately falls in love (so far as an ondine can) with the guest Knight. It takes Ashton and Henze a long time to jettison this commonplace setting. Meanwhile, Henze's diary wanders off into appreciation of Italian life.Henze goes to London to write the music and his diary shares the milieu with us. Designer Lila De Nobili comes over from Paris and joins in the ever-shifting ideas. -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
HANS WERNER HENZE: TRISTAN (1973) for Thomas Christopher Downes Hans Werner Henze: Tristan (1973)
HANS WERNER HENZE: TRISTAN (1973) For Thomas Christopher Downes Hans Werner Henze: Tristan (1973) STEPHEN DOWNES University of Surrey, UK First published 2011 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2011 Stephen Downes Stephen Downes has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage orretrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Downes, Stephen C., 1962– Hans Werner Henze – Tristan (1973). – (Landmarks in music since 1950) 1. Henze, Hans Werner, 1926– Tristan. 2. Wagner, Richard, 1813-1883–Influence. I. Title II. Series 780.9’2-dc22 Library of Congress Cataloging-in-Publication Data Downes, Stephen C., 1962– Hans Werner Henze : Tristan (1973) / Stephen Downes. p. cm. – (Landmarks in music since 1950) Includes bibliographical references and index. ISBN 978-0-7546-6655-4 (hardcover : alk. paper) 1. Henze, Hans -
Musical Conception, Para-Musical Events and Stage Performance in Jani Christou’S Strychnine Lady (1967)
Musical conception, para-musical events and stage performance in Jani Christou’s Strychnine Lady (1967) Giorgos Sakallieros Department of Music Studies, Aristotle University of Thessaloniki, Greece [email protected] Konstantinos Kyriakos Department of Theatre Studies, University of Patras, Greece [email protected] Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08) Thessaloniki, Greece, 3-6 July 2008, http://web.auth.gr/cim08/ Background in music analysis. Jani Christou (1926-1970) was a eminent Greek avant-garde composer who expanded the traditional aesthetics of musical conception, as well as of concert and stage performance, to a whole new art-form that involved music, philosophy, psychology, mythical archetypes, and dramatic setting. His ideals and envisagements, constantly evolving from the late 1950s, are profoundly denoted in his late works, created between 1965-1968 (Mysterion, Anaparastasis I – III, Epicycle, Strychnine Lady). These works, originally conceived as ‘stage rituals’, include instrumental performance, singing, acting, dance, tape and visual effects, and thus combine musical and para-musical events and gestures. Background in theatre studies. From the early 1960s music theatre comprised a major field of avant-garde composition in which spectacle and dramatic impact were emphasized over purely musical factors. Avant-garde performance trends and media, such as Fluxus or happenings, had a significant impact on several post-war composers both in Europe and North America (i.e. Cage, Ligeti, Berio, Nono, Kagel, Henze, Stockhausen, Birtwistle and Maxwell Davies), which led to the establishment and flourish of the experimental music theatre during the 1960s and 1970s. The use of new dramatic and musical means combined elements of song, dance, mimic, acting, tape, video and visual effects which could be tailored to a wide range of performing spaces. -
Dimensión Política E Independencia Art Í Stica En Hans We Rner Henze
Theorie und Praxis DaF Teoría y Práctica Dimensión política e independencia art í s t i c a en Hans We rner Henze MARÍA CORREDERA GONZÁLEZ Granada ans We rner Henze es uno faschistischen Herrschaft. Ich sah, wie aus Italia sin re t o rno; una especie de exilio de los compositores ale- diesem Erbe ein neuer Staat entstand, mit voluntario como manifestación y pro t e s- manes contemporáneos den alten miesen Figuren» (Henze, 1984: ta también de la situación del desarro l l o más conocidos e impor- 149). Referente a la música, Henze, que social y político que iba tomando Alema- tantes de posguerra, y, en un principio se había ocupado de la nia desde la Segunda Guerra Mundial. p robablemente también, dodecafonía, no se atiene a las normas y Italia no sólo se convierte en su nuevo uno de los más pro l í f i- leyes dominadas por las vanguardias com- h o g a r, sino que le ofrece la posibilidad de cos. En su larga trayec- positivas en torno a Darmstadt, que le re- adentrarse en su cultura clásica y re l a c i o- toria compositiva ha tra- sultaban herméticas y le re c o rtaban su li- narse con intelectuales y artistas de iz- tado todos los género s b e rtad de composición. La música para q u i e rdas, como Luchino Visconti, Paolo musicales, desde nume- Henze tenía que estar llena de significa- Passolini, Elsa Morante o Luigi Nono, rosas óperas, sinfonías, do, ser directa y comunicativa, llegar al que probablemente influyeran en una u c o n c i e rtos, ballets, ora- mundo, manifestarse en él, tener una for- otra magnitud en su desarrollo social y torios, cantatas, música ma auténtica (Henze, 1984: 98). -
The Element of List in Thirteenth-Century Courtly Romances, with Emphasis on Heinrich Von Dem Türlin’S Diu Crône
“MIT GRÔZEN LISTEN WART GESTALT”: THE ELEMENT OF LIST IN THIRTEENTH-CENTURY COURTLY ROMANCES, WITH EMPHASIS ON HEINRICH VON DEM TÜRLIN’S DIU CRÔNE by Gary C. Shockey Within the greater corpus of courtly romance in the thirteenth century, the concept of list, or cunning, assumes a particularly alluring position. Poets and philosophers throughout the whole of the Middle Ages were clearly fascinated by the notion of a knight, a king, a lady of the court, a seneschal, or a scoundrel twisting others in such a manner as to achieve remarkable success in some venture. The ambiguities of the human condition most likely led men and women to exploit weaknesses in others for personal or professional gain, as well as for the benefit of the realm or sovereign. Clever cunning, guile, and the substance of the quick-thinking man or woman proved to be riveting material for both courtly audiences and the emerging bourgeoisie in the cities and towns, and we are blessed with a variety of texts which demonstrate the art of perspicacity in a myriad of forms. Cognizant of their influence, poets readily employed many of these attributes as socially acceptable vehicles of change, both in a positive and negative sense. The individual bard deliberately chose a path for his protagonists: he or she could use guile in a decidedly evil way, or perhaps in a manner designed to effect a positive outcome. Thus, arguments on the moral underpinnings of list remained the domain of the writer; the poets themselves offer a variety of views on this subject. -
Music Resources – Library Update – March, 2014
Music Resources – Library Update – March, 2014 This music collection’s update is dedicated to the great Canadian music personality Charles Thomas “Stompin’ Tom” Connors who died one year ago this month. “Stompin’ Tom” is widely known for his songs Bud the Spud and The Hockey Song…the latter frequently performed at games throughout the NHL. Within the music business, Tom is greatly admired for his unswerving support for Canadian musicians – including promoting their work through the record labels he founded. Tom, this one’s for you! UBC Library’s music collection receives new materials regularly. The following are highlights from recent acquisitions. A quick way to make your way through the lists below is to use the ‘Control F’ function on your keyboard and search by composer or instrument of interest. Otherwise, the materials are grouped by books, e-books and scores. Call numbers link to catalogue records for more information. “Click here” links to text or performance. Books Britten: Essays, Letters and Opera Guides Keller, Hans, Christopher Wintle, A. M. Garnham, Ines Schlenker, Kate Hopkins, Milein Cosman, and Cosman Keller Art and Music Trust. 2013. Woodbridge, Suffolk: Cosman Keller Art and Music Trust in association with Plumbago Books. Call Number: ML410 B853 K455 2013 Location: I.K. BARBER LIBRARY stacks Mapping Canada's Music: Selected Writings of Helmut Kallmann Kallmann, Helmut, John Beckwith, and Robin Elliott. 2013. Waterloo, Ont: Wilfrid Laurier University Press. Call Number: ML205 K35 2013 Location: I.K. BARBER LIBRARY stacks Fandom, Authenticity, and Opera: Mad Act n tt S n in in- -Si i Fishzon, Anna. -
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Teresa de Lauretis Futurism: A Postmodern View* The importance of Modernism and of the artistic movements of the first twenty or so years of this century need not be stressed. It is now widely acknowledged that the "historical avant-garde" was the crucible for most of the art forms and theories of art that made up the contemporary esthetic climate. This is evidenced, more than by the recently coined academic terms "neoavanguardia" and "postmodernism," 1 by objective trends in the culture of the last two decades: the demand for closer ties between artistic perfor- mance and real-life interaction, which presupposes a view of art as social communicative behavior; the antitraditionalist thrust toward interdisciplinary or even non-disciplinary academic curri- cula; the experimental character of all artistic production; the increased awareness of the material qualities of art and its depen- dence on physical and technological possibilities, on the one hand; on the other, its dependence on social conventions or semiotic codes that can be exposed, broken, rearranged, transformed. I think we can agree that the multi-directional thrust of the arts and their expansion to the social and the pragmatic domain, the attempts to break down distinctions between highbrow and popular art, the widening of the esthetic sphere to encompass an unprecedented range of phenomena, the sense of fast, continual movement in the culture, of rapid obsolescence and a potential transformability of forms are issues characteristic of our time. Many were already implicit, often explicit, in the project of the historical avant-garde. But whereas this connection has been established and pursued for Surrealism and Dada, for example, Italian Futurism has remained rather peripheral in the current reassessment; indeed one could say that it has been marginalized and effectively ignored. -
Recent Publications in Music 2009
Fontes Artis Musicae, Vol. 56/4 (2009) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2009 On behalf of the International Association of Music Libraries Archives and Documentation Centres / Pour le compte l'Association Internationale des Bibliothèques, Archives et Centres de Documentation Musicaux / Im Auftrag der Die Internationale Vereinigung der Musikbibliotheken, Musikarchive und Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2008. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in the IAML journal Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. Compiled and edited by Geraldine E. Ostrove Reporters: Austria: Thomas Leibnitz Canada: Marlene Wehrle China, Hong Kong, Taiwan: Katie Lai Croatia: Zdravko Blaţeković Czech Republic: Pavel Kordík Estonia: Katre Rissalu Finland: Ulla Ikaheimo, Tuomas Tyyri France: Cécile Reynaud Germany: Wolfgang Ritschel Ghana: Santie De Jongh Greece: Alexandros Charkiolakis Hungary: Szepesi Zsuzsanna Iceland: Bryndis Vilbergsdóttir Ireland: Roy Stanley Italy: Federica Biancheri Japan: Sekine Toshiko Namibia: Santie De Jongh The Netherlands: Joost van Gemert New Zealand: Marilyn Portman Russia: Lyudmila Dedyukina South Africa: Santie De Jongh Spain: José Ignacio Cano, Maria José González Ribot Sweden Turkey: Paul Alister Whitehead, Senem Acar United States: Karen Little, Liza Vick. With thanks for assistance with translations and transcriptions to Kersti Blumenthal, D.