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Borgo of the Holy Ghost
Utah State University DigitalCommons@USU Swenson Poetry Award Winners USU Press 2001 Borgo of the Holy Ghost Stephen Mcleod Follow this and additional works at: https://digitalcommons.usu.edu/swenson_awards Part of the Creative Writing Commons Recommended Citation Mcleod, Stephen, "Borgo of the Holy Ghost" (2001). Swenson Poetry Award Winners. 10. https://digitalcommons.usu.edu/swenson_awards/10 This Book is brought to you for free and open access by the USU Press at DigitalCommons@USU. It has been accepted for inclusion in Swenson Poetry Award Winners by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE BORGO OF THE HOLY GHOST May Swenson Poetry Award Series THE BORGO OF THE HOLY GHOST poems by Stephen McLeod UTAH STATE UNIVERSITY PRESS Logan, Utah Utah State University Press Logan, Utah 84322-7800 Copyright © 2001 Stephen McLeod. Foreword copyright © 2001 Richard Howard. All rights reserved. Manufactured in the United States of America. “The Dead” was first published in Slate Magazine, www.slate.com. Reprinted with permission. Slate is a trademark of the Microsoft Corporation. Grateful acknowledgment is made to the editors of the following publications where versions of these poems first appeared: Agni: “Broken Gull” American Poetry Review: “What Comes Through Hearing” Barrow Street: “All Roads Lead to Kansas”; “Donation”; “The Shoulder Where It Belongs”; “That Crazy Moon” Bay Windows: “Just the Facts” Columbia: A Journal of Literature and Art: “Chronic”; “The Goldberg Variations” The Journal: “Late Reading”; “My Brother’s Ghost” The Paris Review: “At the West Street Piers”; “The Borgo of the Holy Ghost”; “Just By Deciding It” Ploughshares: “Becoming Kansas” Shenandoah: “Pieta” (appeared originally as “Michelangelo’s Pieta”) Slate: “The Dead” Southwest Review: “A.D.” Western Humanities Review: “Against Stevens”; “An Exercise For Lovers”; “For Barbara & Vincent”; “Heaven Reassigned”; “Speaking in Tongues”; “What to Do What to Say”. -
Transmissões Antena 2
Maio 20 TRANSMISSÕES ANTENA 2 CONCERTOS ANTENA 2 DIA 6 19h00 Liceu Camões, Lisboa * José Soares (sax). João Grilo (pn) DIA 18 19h00 MNAA, Lisboa Lançamento do CD - Sons da Minha Terra * Pedro Emanuel Pereira (pn) TEATRO SEM FIOS DIA 5 19h00 A Reviravolta de Almeida Faria Maio 20 1 Sexta ●00H00 | RAÍZES Inês Almeida ●01H00 | MÚSICA HOJE Miso Music Portugal Uma emissão dedicada à divulgação de edições recentes de música electroacústica do compositor João Castro Pinto. Música Hoje apresentará Hiante, uma edição em livro-CD de poesia electroacústica com ilustrações, poemas e voz de Sofia A. Carvalho, ao lado de música e ilustrações de João Castro Pinto, publicado pela Grimaces Éditions (Suíça). Neste programa ouviremos ainda outras criações deste compositor editadas recentemente, incluindo obras do seu novo trabalho monográfico de soundscape composition intitulado The No Land Soundscape, uma edição em formato duplo (cassette e download digital) pela editora Australiana Hemisphäre ○02H00 | JAZZ A 2 João Moreira dos Santos / Maria Alexandra Corvela / Luís Caetano / Produção: Cristina do Carmo ●03H04 | ARGONAUTA Jorge Carnaxide Comunicações Globais II ●04H00 | A RONDA DA NOITE Luís Caetano A Vida Breve 04:40 (Luís Caetano) Última Edição 04:45 (Luís Caetano) ●05H00 | NA CORRENTE Pedro Coelho ●06H00 | NOTAS FINAIS João Pedro Wolfgang Amadeus Mozart Concertos p/ dois pianos em mi bemol maior, K.365 e em fá maior, K.242 e Adagio e fuga p/ cordas em dó menor, K.546 * Duo Crommelynck (pn). Orq. de Câmara de Pádua e do Veneto. Dir. Bruno Giuranna ●07H00 -
Jouer Bach À La Harpe Moderne Proposition D’Une Méthode De Transcription De La Musique Pour Luth De Johann Sebastian Bach
JOUER BACH À LA HARPE MODERNE PROPOSITION D’UNE MÉTHODE DE TRANSCRIPTION DE LA MUSIQUE POUR LUTH DE JOHANN SEBASTIAN BACH MARIE CHABBEY MARA GALASSI LETIZIA BELMONDO 2020 https://doi.org/10.26039/XA8B-YJ76. 1. PRÉAMBULE ............................................................................................. 3 2. INTRODUCTION ......................................................................................... 5 3. TRANSCRIRE BACH À LA HARPE MODERNE, UN DÉFI DE TAILLE ................ 9 3.1 TRANSCRIRE OU ARRANGER ? PRÉCISIONS TERMINOLOGIQUES ....................................... 9 3.2 BACH TRANSCRIPTEUR ................................................................................................... 11 3.3 LA TRANSCRIPTION À LA HARPE ; UNE PRATIQUE SÉCULAIRE ......................................... 13 3.4 REPÈRES HISTORIQUES SUR LA TRANSCRIPTION ET LA RÉCEPTION DES ŒUVRES DE BACH AU FIL DES SIÈCLES ....................................................................................................... 15 3.4.1 Différences d’attitudes vis-à-vis de l’original ............................................................. 15 3.4.2 La musique de J.S. Bach à la harpe ............................................................................ 19 3.5 LES HARPES AU TEMPS DE J.S. BACH ............................................................................. 21 3.5.1 Panorama des harpes présentes en Allemagne. ......................................................... 21 4. CHOIX DE LA PIECE EN VUE D’UNE TRANSCRIPTION ............................... -
Dedications-Booklet-Web.Pdf
played a ‘try-out’ concert prior to the recording. All of world. This is an atmospheric piece with extended the material on this album was inspired by people I melodic movement. love and admire, even if I never met them personally. It’s the principles they stand for that matter”. “Til Charlotte” is a composition by Lars Andre- as Haug and is the only tune on the album not The album begins with “The Mad Code”. This piece composed by Steffen. Lars Andreas wrote it while was originally written for solo piano for the 2020 staying at Steffen’s flat in Nürnberg. He dedicated Beethoven year celebrations. This version of the piece it to Steffen’s teenage daughter Charlotte. A small was fully orchestrated for the Zurich Jazz Orchestra. point of trivia is that Steffens arrangement of the Musically, the piece is extremely compact and chal- piece was completed on the train, returning from one lenging with fast changing, almost mad emotional of the many concerts the ZJO performed at Moods states trying to stretch the limit of what can be done in Zurich. with a jazz orchestra. Beethoven was known for his outbursts and wild mood swings, especially toward The final track, closing out this album is “Walzer”, the end of his life, and this arrangement represents a longtime repertoire piece of Steffen’s duo with this impeccably. The following track titled “Monsieur clarinettist Claudio Puntin. The fully orchestrated Pf.” recalls a German police officer known to Steffen 3-part version for the Zurich Jazz Orchestra makes with a great sense of humour. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
FOMRHI Quarterly
_. " Elena Dal Cortiv& No. 45 October 1986 FOMRHI Quarterly BULLETIN 45 2 Bulletin Supplement 8 Plans: Bate Collection 9 Plans? The Royal College of Music 12 Membership List Supplement 45 COMMUNICATIONS 745- REVIEWS: Dirtionnaire des facteurs d'instruments ..., by M. Haine £ 748 N. Meeus', Musical Instruments in the 1851 Exhibition, by P. £ A. Mactaggart; Samuel Hughes Ophideidist, by S. J, Weston} Chanter! The Journal of the Bagpipe Sodiety, vol.1, part 1 J. Montagu 14 749 New Grove DoMi: JM 65 Further Detailed Comments: The Gs. J. Montagu 18 750 New Grove DoMi: ES no. 6J D Entries E. Segerman 23 751 More on Longman, Lukey £ Broderip J. Montagu 25 752 Made for music—the Galpin Sodety's 40th anniversary J. Montagu 26 753 Mersenne, Mace and speed of playing E. Segerman 29 754' A bibliography of 18th century sources relating to crafts, manufacturing and technology T. N. McGeary 31 755 What has gone wrong with the Early Music movement? B. Samson 36 / B. Samson 37 756 What is a 'simple' lute? P. Forrester 39 757 A reply to Comm 742 D. Gill 42 758 A follow-on to Comm 739 H. Hope 44 759 (Comments on the chitarra battente) B. Barday 47 760 (Craftsmanship of Nurnberg horns) K. Williams 48 761 Bore gauging - some ideas and suggestions C. Karp 50 7632 Woodwin(On measurind borge toolmeasurins and gmodems tools ) C. Stroom 55 764 A preliminary checklist of iconography for oboe-type instruments, reeds, and players, cl630-cl830 B. Haynes 58 765 Happy, happy transposition R. Shann 73 766 The way from Thoiry to Nuremberg R. -
Go Forbaroque Program This Evening's Guest Artists
The Plantation Foundation Meet the presents Jacksonville Symphony Orchestra String Quintet Melissa Pierson Barrett, violin, Associate Concertmaster of the JSO since 1990, is also a chamber musician with Chamber Music Hilton Head. She has also played with the Houston Grand Opera, Savannah Symphony Orchestra and at the Aspen, Boulder, Lake George Opera, Sandpoint, Banff, and Sarasota summer festivals Annie Morris, violin, a member of JSO since 1990, has played with the New World, Charleston, Savannah, and Delaware Symphonies, the Philharmonic Orchestra of Florida, Naples Philharmonic, Texas Opera Theater, and the Houston Grand Opera. GoMUSIC forBaroque SOIREE AND BACHTAIL PARTY Summer performances include the Lancaster, Spoleto Festival (US and Italy), Aims, and Heidelberg festivals. Colin Kiely, viola, a member the JSO since 1996 and Acting Assistant Principal Viola in 2006, has performed with the Miami String Quartet and was featured in the University of North Florida’s “Music For Our Time” program . He has performed in Carnegie Hall, Avery Fischer Hall, the Kennedy Center, and at Teatro Colon. Betsy Federman, cello, a JSO member since 1994, has previously played with the New World Symphony, the Naples Philharmonic, and at the Aspen Music Festival, the Colorado Music Festival and the Utah Festival Opera. Baroque Music John Wieland, bass, has been a member of the Jacksonville Symphony Orchestra for Harpsichord, since 1989. John has performed with numerous orchestras as principal bass, Recorder, Guitar including the Virginia Symphony, Oklahoma Symphony, Orquestra Sinfonia de Mineria, and the Colorado Music Festival. He has also been a faculty member at and String Quintet. Stetson University since 1995. -
Programmbuch Festtage Alte Musik Basel
Basel, 23. bis 31. August 2013 Programmbuch Festtage Alte Musik Basel Wege zum Barock – Tradition und Avantgarde um 1600 www.festtage-basel.ch Titel: Pieter Lastman (1583–1633), David im Tempel, 1618, signiert und datiert, Holz, 1 79 cm x 117 cm, Herzog Anton Ulrich-Museum, Braunschweig Zum Geleit Mit der grössten Freude stelle ich der zweiten Edition der Festtage Alte Musik Basel diesen Gruss voran! Die Freude betrifft zuerst die Tatsache, dass die «Kulturstadt Basel» mit sol- chen Ereignissen eine «Fes- tivalstadt» par excellence ist, in der ein hervorragen- des Potenzial an Kreativität herrscht. Grund zur Freu- de ist auch die Bereiche- rung des grossen Gebiets Abdruck mit Quellenangabe erwünscht der Alten Musik, die seit © 2013 Paul Sachers Zeiten einen Verein zur Förderung Basler Absolventen Schwerpunkt des hiesigen auf dem Gebiet der Alten Musik Musiklebens darstellt. Aber Dornacherstrasse 161 A, CH-4053 Basel auch das Auftreten vieler Telefon +41 (0)61 361 03 54 berühmter europäischer En- CH17 0840 1016 1968 0160 3 sembles in Basel, die ohne dieses Festival hier nicht [email protected] zu hören wären, ist sehr lo- www.festtage-basel.ch benswert. Besonders erfreu- Redaktion: Jörg Fiedler, Peter Reidemeister lich ist aber das klare Profil Satz, Gestaltung: Buser, Kommunikation GmbH, Basel des Programms, das höchste Dr. Guy Morin, Regierungspräsident Druck: Druckerei Dietrich AG, Basel Qualität mit der Förderung des Kantons Basel-Stadt des Basler Nachwuchses verbindet: Wer in dieser Stadt Festtage Basel seine Ausbildung durchlaufen und diesem hohen Stan- Geschäftsleitung: Renato D. Pessi Künstlerische Leitung: Peter Reidemeister dard standgehalten hat, der hat es auch verdient, dass er hier mit Engagements zu solchen Ereignissen wei- Preis: 10 Franken terhin Unterstützung erfährt. -
Catalogo 2015
Catalogo 2015 ISTITUTO ITALIANO PER LA STORIA DELLA MUSICA VIA VITTORIA , 6 - 00187 - ROMA (RM) TEL ./F AX (+39) 06.36000146 - WWW.IISM .IT EDIZIONI MUSICALI | MUSICAL EDITIONS Canti Liturgici Ebraici di rito spagnolo del Tempio di Roma Canti Liturgici Ebraici di rito spagnolo del Tempio di Roma , a cura di E. Piattelli e P. Troìa, 2003, 33,80 € pp. 154 Codici Musicali Trentini del Quattrocento a cura di M. Gozzi I. Sequenze , a cura di M. Gozzi, 2012, pp. 360 26,00 € II. I Kyrie di Tr93 , a cura di Antonio Chemotti, 2014, pp. 240 26,00 € Per il piano editoriale: www.iism.it Luigi Boccherini (1743-1805) Prezzo della serie completa: 340,60 € I. Quintetti Op. 10 (da 1 a 6), a cura di P. Carmirelli, 1970, pp. 196 33,80 € II. Quintetti Op. 11 (da 7 a 12), a cura di P. Carmirelli, 1970, pp. 205 33,80 € III. Quintetti Op. 13 (da 13 a 18), a cura di P. Carmirelli, 1972, pp. 178 33,80 € IV. Quintetti Op. 18 (da 19 a 24), a cura di P. Carmirelli, 1972, pp. 201 33,80 € V. Quintetti Op. 20 (da 25 a 30), a cura di P. Carmirelli, 1974, pp. 179 33,80 € VI. Quintetti Op. 25 (da 31 a 36), a cura di P. Carmirelli, 1975, pp. 178 33,80 € VII. Quintetti Op. 27 (da 37 a 42), a cura di P. Carmirelli, 1976, pp. 93 33,80 € VIII. Quintetti Op. 28 (da 43 a 48), a cura di P. Carmirelli, 1977, pp. 215 33,80 € IX. -
4 Classical Music's Coarse Caress
The End of Early Music This page intentionally left blank The End of Early Music A Period Performer’s History of Music for the Twenty-First Century Bruce Haynes 1 2007 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2007 by Bruce Haynes Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication 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 Oxford University Press. Library of Congress Cataloging-in-Publication Data Haynes, Bruce, 1942– The end of early music: a period performer’s history of music for the 21st century / Bruce Haynes. p. cm. Includes bibliographical references and index. ISBN 978-0-19-518987-2 1. Performance practice (Music)—History. 2. Music—Interpretation (Phrasing, dynamics, etc.)—Philosophy and aesthetics. I. Title. ML457.H38 2007 781.4′309—dc22 2006023594 135798642 Printed in the United States of America on acid-free paper This book is dedicated to Erato, muse of lyric and love poetry, Euterpe, muse of music, and Joni M., Honored and Honorary Doctor of broken-hearted harmony, whom I humbly invite to be its patronesses We’re captive on the carousel of time, We can’t return, we can only look behind from where we came. -
2 October 2009 Page 1 of 21
Radio 3 Listings for 26 September – 2 October 2009 Page 1 of 21 SATURDAY 26 SEPTEMBER 2009 L137 Andras Schiff (piano) Tom Ottar Andreassen (flute) TELDEC 0630 171 412 CD2 Tr 1 SAT 01:00 Through the Night (b00mrycn) Jon Sonstebo (viola) 1.00am Sidsel Walstad (harp) 8.10 Haydn, Joseph (1732-1809): Die Schopfung (The Creation), H XXI 2 5.59am HOLST Isa Katharina Gericke (soprano) Glick, Srul Irving (1934-2002): Divertimento for string Scherzo Rickard Soderberg (tenor) orchestra London Symphony Orchestra Jochen Kupfer (baritone) 13 Strings of Ottawa Richard Hickox Oslo Chamber Choir Brian Law (conductor) CHANDOS CHAN 9420 Tr 3 Norwegian Radio Orchestra Christopher Bell (conductor) 6.19am 8.16 Schubert, Franz (1797-1828): Six Moments Musicaux, D780 2.40am Alfred Brendel (piano) DVORAK Noskowski, Zygmunt (1846-1909): The Steppes - symphonic Slavonic Dance Op.72 No.2 in E minor poem, Op 66 6.45am Royal Philharmonic Orchestra Sinfonia Varsovia Bach, Johann Sebastian (1685-1750): Violin Concerto in A Antal Dorati Grzegorz Nowak (conductor) minor, BWV1041 DECCA 411 735 2 CD1 Tr 10 Midori Seiler (violin) 3.01am Akademie fur Alte Musik Berlin. 8.22 Debussy, Claude (1862-1918): Piano Trio in G (Premier Trio) - c.1879 BRETT DEAN Grumiaux Trio: SAT 07:00 Breakfast (b00mvd9j) Viola Concerto, mvt 1: Fragment Luc Devos (piano) Fiona Talkington Sydney Symphony Philippe Koch (violin) BIS CD 1696 Tr 1 Luc Dewez (cello) 7.03 8.25 3.24am CHABRIER Wieniawski, Henryk (1835-1880): Concerto No 2 in D minor Joyeuse Marche BIBER for violin and orchestra, Op 22 Vienna