Waterford Music Club 1942-1990 by Eric De Courcy
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University of Florida Thesis Or Dissertation Formatting
IRISH MUSIC AND HOME-RULE POLITICS, 1800-1922 By AARON C. KEEBAUGH A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Aaron C. Keebaugh 2 ―I received a letter from the American Quarter Horse Association saying that I was the only member on their list who actually doesn‘t own a horse.‖—Jim Logg to Ernest the Sincere from Love Never Dies in Punxsutawney To James E. Schoenfelder 3 ACKNOWLEDGMENTS A project such as this one could easily go on forever. That said, I wish to thank many people for their assistance and support during the four years it took to complete this dissertation. First, I thank the members of my committee—Dr. Larry Crook, Dr. Paul Richards, Dr. Joyce Davis, and Dr. Jessica Harland-Jacobs—for their comments and pointers on the written draft of this work. I especially thank my committee chair, Dr. David Z. Kushner, for his guidance and friendship during my graduate studies at the University of Florida the past decade. I have learned much from the fine example he embodies as a scholar and teacher for his students in the musicology program. I also thank the University of Florida Center for European Studies and Office of Research, both of which provided funding for my travel to London to conduct research at the British Library. I owe gratitude to the staff at the Library of Congress in Washington, D.C. for their assistance in locating some of the materials in the Victor Herbert Collection. -
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An Chomhaırle Ealaíon An Tríochadú Turascáil Bhliantúil, maille le Cuntais don bhliain dar chríoch 31ú Nollaig 1981. Tíolacadh don Rialtas agus leagadh faoi bhráid gach Tí den Oireachtas de bhun Altanna 6 (3) agus 7 (1) den Acht Ealaíon 1951. Thirtieth Annual Report and Accounts for the year ended 31st December 1981. Presented to the Government and laid before each House of the Oireachtas pursuant to Sections 6 (3) and 7 (1) of the Arts Act, 1951. Cover: Photograph by Thomas Grace from the Arts Council touring exhibition of Irish photography "Out of the Shadows". Members James White, Chairman Brendan Adams (until October) Kathleen Barrington Brian Boydell Máire de Paor Andrew Devane Bridget Doolan Dr. J. B. Kearney Hugh Maguire (until December) Louis Marcus (until December) Seán Ó Tuama (until January) Donald Potter Nóra Relihan Michael Scott Richard Stokes Dr. T. J. Walsh James Warwick Staff Director Colm Ó Briain Drama and Dance Officer Arthur Lappin Opera and Music Officer Marion Creely Traditional Music Officer Paddy Glackin Education and Community Arts Officer Adrian Munnelly Literature and Combined Arts Officer Laurence Cassidy Visual Arts Officer/Grants Medb Ruane Visual Arts Officer/Exhibitions Patrick Murphy Finance and Regional Development Officer David McConnell Administration, Research and Film Officer David Kavanagh Administrative Assistant Nuala O'Byrne Secretarial Assistants Veronica Barker Patricia Callaly Antoinette Dawson Sheilah Harris Kevin Healy Bernadette O'Leary Receptionist Kathryn Cahille 70 Merrion Square, Dublin 2. Tel: (01) 764685. An Chomhaırle Ealaíon An Chomhairle Ealaíon/The Arts Council is an independent organization set up under the Arts Acts 1951 and 1973 to promote the arts. -
Hélène Segré
Contacts presse Concours Long Thibaud Crespin: HÉLÈNE SEGRÉ - (33) 6 14 32 77 43 [email protected] Pianos Hanlet: CAROLINE GORMEZANO - (33) 06.64.98.40.39 - [email protected] Steinway & Sons: LAURE BEUSCHER - (33) 1 53 05 50 00 - [email protected] Fondation Long Thibaud Crespin - 01 42 66 66 80 [email protected] - www.long-thibaud-crespin.org LE CONCOURS en quelques chiffres • 14 pays représentés : Allemagne - Bulgarie - Chine - Corée du Sud - France Hongrie - Inde - Italie - Japon - Roumanie - Royaume Uni - Russie - Taïwan - USA • 45 candidats en compétition • Présélectionnés parmi 157 pianistes auditionnés au printemps 2015 à Paris - Hambourg - Londres - Rome - Moscou - Philadelphie - Tokyo - Rio de Janeiro • Âgés de 16 à 30 ans • 60 000€ de Prix à gagner des engagements dans des Festivals • Un Jury Prestigieux et international Calendrier des épreuves ÉLIMINATOIRES 22-23 octobre, 12h30-22h CRR (14, rue de Madrid, 75008 Paris) Billetterie sur place. DEMI-FINALE - 12 candidats retenus à l’issue des éliminatoires 24 octobre, 10h et 14h Salle Gaveau (47, rue de la Boétie, 75008 Paris) Réservation : 01 49-53 05 07 (www.sallegaveau.com) FINALE RÉCITAL - 5 candidats retenus à l’issue des demi-finales 25 octobre, 16h et 20h Salle Gaveau (47, rue de la Boétie, 75008 Paris) Réservation : 01 49 53 05 07 (www.sallegaveau.com) FINALE CONCERTO 27 octobre, 20h Théâtre des Champs-Élysées (15, avenue Montaigne, 75008 Paris) Réservations : 01 49 52 50 50 (www.theatredeschampselysees.fr) Avec l’Orchestre de chambre de Paris, dir. Fawzi Haimor Candidats retenus à l’issue des présélections Candidats retenus lors des présélections âgés de 16 à 30 ans / Moyenne d’âge 25 ans - Mlle Abe Maria (Japon) 27 ans - M. -
O Violão Na Era Do Disco: Interpretação E Desleitura Na Arte De Julian Bream
Sidney José Molina Júnior O Violão na Era do Disco: interpretação e desleitura na arte de Julian Bream PROGRAMA DE ESTUDOS PÓS GRADUADOS EM COMUNICAÇÃO E SEMIÓTICA PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO SÃO PAULO, 2006 Sidney José Molina Júnior O Violão na Era do Disco: interpretação e desleitura na arte de Julian Bream Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para a obtenção do título de DOUTOR em Comunicação e Semiótica sob a orientação do Professor Doutor Arthur Rosenblat Nestrovski. PROGRAMA DE ESTUDOS PÓS GRADUADOS EM COMUNICAÇÃO E SEMIÓTICA PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO SÃO PAULO, 2006 ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Autorizo, exclusivamente para fins acadêmicos e científicos, a reprodução total ou parcial desta dissertação por processos fotocopiados ou eletrônicos. ________________________ São Paulo, ______ de ______________________de 2006 Para Ricardo Rizek RESUMO Esta tese procura mostrar como – ao contrário, por exemplo, dos repertórios pianístico, violinístico e orquestral, cujos cânones formaram-se pouco a pouco desde finais do século XVIII – o cânone do violão clássico é um fenômeno do século XX e, como tal, bastante dependente de critérios sonoros fixados por seus -
Upright Pianos
UPRIGHT PIANOS SERIES K–8 K–6 K–5 K–3 K–2 SERIES Not the result of mere assembly, every Kawai professional upright piano is crafted with meticulous skill and care. Kawai artisans begin with the finest materials and create each instrument with a harmonious blend of advanced technology and old-world craftsmanship. The result embodies the passionate quest for excellence that has characterized three generations of Kawai family leadership. Jedes Kawai - Klavier wird mit größter Sorgfalt und immensem Fachwissen geschaffen. Die Klavierbauer selektieren aus den besten Materialien die Teile, die letztlich für den Bau eines hochwertigen Klaviers verwendet werden. In einer perfekten Mischung aus modernster Fertigungstechnologie und traditioneller Klavierbaukunst wird dann jedes einzelne Klavier geschaffen. Jedes Instrument verkörpert den hohen Qualitätsanspruch unseres Unternehmens, das seit drei Generationen von Mitgliedern der Familie Kawai geprägt und geleitet wird. I pianoforti verticali professionali Kawai non sono solo il risultato di un puro e semplice assemblaggio di parti, ma ognuno di essi viene costruito con estrema cura ed abilità. Gli artigiani Kawai utilizzano i materiali più pregiati e uniscono, nella creazione di ogni strumento, la più avanzata tecnologia alla più solida tradizione artigiana. Il risultato è quella appassionata ricerca dell’eccellenza che ha caratterizzato la leadership della famiglia Kawai per tre generazioni 1 The Winner’s Choice Around the globe, the world’s finest pianists are making Kawai the new piano of choice. -
SKIPC2018 Guidelines Es.Pdf
II Concurso Internacional de Piano SHIGERU KAWAI Application Guidelines SALUDOS 1 Indicaciones Koichi Kawai nuestro fundador, soñó un día en construir el mejor piano del mundo. Fue el principio de Con el deseo de descubrir y promover los pianistas de la próxima generación, el Concurso “nuestro sueño”. Internacional de piano SHIGERU KAWAI se estableció en 2017 para los pianistas de una edad entre los 16 y 26 años por la compañía Kawai Musical Inst. Mfg. Co., Ltd que ha estado organizando Shigeru Kawai, el segundo Presidente de la compañía solía decir “Ofrecer la mejor interpretación en el concursos de música para los colegios de primaria y segundaria desde 1967. piano es posible con la combinación de un piano soberbio, un pianista con mucho talento y un técnico Este Concurso tiene su nombre del renombrado piano de concierto SHIGERU KAWAI que experimentado”. Siguiendo esta premisa, plasmó ideas innovadoras con un esquema de cualificaciones del frecuentemente es elegido por los pianistas durante los prestigiosos concursos internacionales “MPA” para preparar afinadores de pianos de alta especialización, y con la construcción de la fábrica de de piano. Su primera edición fue un gran éxito acogiendo a 351 inscripciones de 25 países. En la RYUYO exclusivamente para la fabricación de los pianos de cola. segunda edición, se han efectuado grandes esfuerzos para permitir a un número aún mayor de Los pianos de cola SHIGERU KAWAI fueron presentados por primera vez en 1999, como resultado de competidores puedan pasar la preselección, adaptando además el concierto de piano para dos continuo esfuerzo, mejora de diseño, confianza, propósito y honor en la fabricación de los pianos. -
Download Biography (PDF)
Zlata Chochieva first came to international attention with her highly-praised recordings of works by Chopin and Rachmaninov. Displaying a deep affinity with these composers, combined with probing honesty and imagination, they have established her as a distinctive voice amongst pianists. Hailed by Gramophone as “the possessor of a comprehensive technique who brings an inner glow to every bar”, Zlata Chochieva has been regularly appearing at many prestigious concert halls, most notably at Herkulessaal Munich, Concertgebouw Amsterdam, Philharmonie de Paris, Teatro La Fenice in Venice, Konzerthaus Berlin, Victoria Hall in Geneva, Tivoli Concert Hall in Copenhagen, Casa da Música Porto, the Grand Hall of the Moscow Conservatory and Grand Hall of Saint Petersburg Philharmonia. She has performed with numerous major orchestras, including the Russian National Orchestra, the BBC Scottish Symphony Orchestra, the Copenhagen Philharmonic, the Slovak Radio Symphony, the Munich Chamber Orchestra, and the Aarhus Symphony Orchestra. Conductors Zlata has enjoyed working with include Mikhail Pletnev, Karl- Heinz Steffens, Simon Gaudenz, Terje Mikkelsen, Charles Olivieri-Munroe, Tugan Sokhiev and Vladimir Spivakov. Highlights of the previous seasons include her Wigmore Hall debut, as well as performances in Russia with the Svetlanov State Orchestra and the National Philharmonic. Furthermore, she was guest artist in the Serate Musicali series in Milan, at the Berliner Klavierfestival and at Zaubersee Festival Lucerne. In the 2019/20 season Zlata appeared as “Artist in Focus” in three different programmes with the Aachen Symphony Orchestra as well as making her debut with the BBC Scottish Symphony Orchestra. Solo debuts included the Vienna Konzerthaus, Vancouver Chopin Society, as well as at the Brussels Chopin Days. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
PUPILS of CHOPIN Violin and Piano Works
572460bk 26/1/11 8:50 pm Page 4 Voytek Proniewicz Voytek Proniewicz graduated from the Fryderyk Chopin Academy of Music in Warsaw. He has appeared as a soloist with the Warsaw National Philharmonic Orchestra, the Wroc1aw Philharmonic Orchestra, the Sinfonia Viva orchestra and the Sinfonia Iuventus orchestra, and performed in leading PUPILS OF CHOPIN Polish concert halls. Awards include third prize at the Ludwig van Beethoven International Violin Competition in Hradec nad Moravicí, Czech Republic (1998), first prize at the Violin and Piano Works Stanis1aw Serwaczyƒski National Violin Competition for Young Violinists in Lublin (2002), third prize at the Kiejstut Mikuli • Tellefsen • Filtsch Bacewicz International Chamber Music Contest in Łódê (2004), and distinction at the Karol Szymanowski Voytek Proniewicz, Violin International Violin Competition in Łódê (2005). His international career has taken him to Germany, the Czech Republic, England, Denmark, Cyprus, Italy, Spain, China Alexander Jakobidze-Gitman, Piano and Venezuela. He was a long-standing scholarship holder of the Polish Children’s Fund, and was also granted a scholarship by the Ministry of Culture and National Heritage in 2001, with the M1oda Polska scholarship of the Ministry of Culture and National Heritage in 2009. Alexander Jakobidze-Gitman Alexander Jakobidze-Gitman was born in Moscow in 1981 and by the age of three his musical abilities had been discerned by a prominent music teacher, Vladimir Kiryushin, on whose advice he entered the Special Music School of the Moscow State Tchaikovsky Conservatory. He studied piano with Yuri Martynov and Mikhail Trushechkin, and cello, composition and instrumentation as subsidiary subjects. He was named a laureate of the French Piano Music Festival in 1989. -
Original Song Settings of Irish Texts by Irish Composers, 1900-1930
Technological University Dublin ARROW@TU Dublin Masters Applied Arts 2018 Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930. David Scott Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/appamas Part of the Composition Commons Recommended Citation Scott, D. (2018) Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900-1930.. Masters thesis, DIT, 2018. This Theses, Masters is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Masters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Examining the Irish Art Song: Original Song Settings of Irish Texts by Irish Composers, 1900–1930 David Scott, B.Mus. Thesis submitted for the award of M.Phil. to the Dublin Institute of Technology College of Arts and Tourism Supervisor: Dr Mark Fitzgerald Dublin Institute of Technology Conservatory of Music and Drama February 2018 i ABSTRACT Throughout the second half of the nineteenth century, arrangements of Irish airs were popularly performed in Victorian drawing rooms and concert venues in both London and Dublin, the most notable publications being Thomas Moore’s collections of Irish Melodies with harmonisations by John Stephenson. Performances of Irish ballads remained popular with English audiences but the publication of Stanford’s song collection An Irish Idyll in Six Miniatures in 1901 by Boosey and Hawkes in London marks a shift to a different type of Irish song. -
Music Supplement
1964 L books [ Tailoring Under the supervision of most We. books our London-trained cutter silver I I:S. C. TRI N ITY N EWS | GOWNS, HOODS, ,aheny. books CASSOCKS, BLAZERS livered I )Oste~ A Dublin University Undergraduate Weekly 3 CHURCH LANE 01. HOD6ES FIG61S COLLEGE GREEN bretta,. IIRYSON ... where else ? THURSDAY, 3rd DECEMBER, 1963 PRICE THREEPENCE match. LTD. :heese COMMONS AT CROSSROADS? S.R.C. Committee Reports The S.R.C. Sub-Committee which was recently set up to investigate Commons has completed its report. It expanded its terms of reference to include all aspects of evening catering, and its inquiry proceeded along the three lines of examining relevant documents, interviewing various bodies of College opinion, and assessing undergraduate feelings; Under the first head it was made voluntary and argued that seen that the Board had appointed three aims should be sought. a committee under Professor These are, in order of priority, Moody which suggested the pro- the saving of the historic vision of an evening meal for non- Commons as a common, orderly resident students. This was and graced meal for staff and accepted by the Board which students, the provision of a asked the Agent and Treasurer to wholesome meal at the lowest examine its practical application. possible price, and the saving of From their investigations the the " Cista Communis" from all following facts emerged: unnecessary expense. Commons is expensive because From the results of the of the use of waiters, the pro- questionnaire held by the S.R.C. ns vision of stout and the variations to assess undergraduate opinion ,, in attendance. -
Professional Upright Pianos
PROFESSIONAL UPRIGHT PIANOS SERIES K–8 K–6 K–5 K–3 K–2 SERIES Not the result of mere assembly, every Kawai professional upright piano is crafted with meticulous skill and care. Kawai artisans begin with the finest materials and create each instrument with a harmonious blend of advanced technology and old-world craftsmanship. The result embodies the passionate quest for excellence that has characterized three generations of Kawai family leadership. No es solamente el resultado de un mero montaje: cada piano vertical profesional Kawai es manufacturado con meticulosa habilidad y cuidado. Los artesanos de Kawai comienzan su trabajo con los mejores materiales y crean cada instrumento con una armoniosa combinación de avanzada tecnología y artesanía del viejo mundo. El resultado expresa la apasionada búsqueda de la excelencia que ha caracterizado a tres generaciones de liderazgo en la familia Kawai. I pianoforti verticali professionali Kawai non sono solo il risultato di un puro e semplice assemblaggio di parti, ma ognuno di essi viene costruito con estrema cura ed abilità. Gli artigiani Kawai utilizzano i materiali più pregiati e uniscono, nella creazione di ogni strumento, la più avanzata tecnologia alla più solida tradizione artigiana. Il risultato è quella appassionata ricerca dell’eccellenza che ha caratterizzato la leadership della famiglia Kawai per tre generazioni 1 The Winner’s Choice Around the globe, the world’s finest pianists are making Kawai the new piano of choice. Van Cliburn Tchaikovsky Sydney Simone Pedroni Nikolai Lugansky