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SIGCD656_16ppBklt**.qxp_BookletSpread.qxt 19/11/2020 17:06 Page 1 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 16 1 291.0mm x 169.5mm SIGCD656_16ppBklt**.qxp_BookletSpread.qxt 19/11/2020 17:06 Page 2 CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. rEDISCOvErEd British Clarinet Concertos Dolmetsch • Maconchy • Spain-Dunk • Wishart 1. Cantilena (Poem) for Clarinet and Orchestra, Op. 51 * Susan Spain-Dunk (1880-1962) ............[11.32] Concertino for Clarinet and String Orchestra Elizabeth Maconchy (1907-1994) 2. I. Allegro .....................................................................................................................................................................................................................[5.01] 3. II. Lento .......................................................................................................................................................................................................................[6.33] 4. III. Allegro ................................................................................................................................................................................................................. [5.32] Concerto for Clarinet, Harp and Orchestra * Rudolph Dolmetsch (1906-1942) 5. I. Allegro moderato ......................................................................................................................................................................................[10.34] -
On the Question of the Baroque Instrumental Concerto Typology
Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used. -
Apollo's Fire
CAL PERFORMANCES PRESENTS PROGRAM Saturday, November 9, 2013, 8pm Johann David Heinichen (1683–1789) Selections from Concerto Grosso in G major, First Congregational Church SeiH 213 Entrée — Loure Menuet & L’A ir à L’Ita lien Apollo’s Fire The Cleveland Baroque Orchestra Heinichen Concerto Grosso in C major, SeiH 211 Jeannette Sorrell, Music Director Allegro — Pastorell — Adagio — Allegro assai Francis Colpron, recorder Kathie Stewart, traverso PROGRAM Debra Nagy, oboe Olivier Brault, violin Johann Sebastian Bach (1685–1750) “Brandenburg” Concerto No. 3 in G major, BWV 1048 Bach “Brandenburg” Concerto No. 4 in G major, BWV 1049 Allegro — Adagio — Allegro Allegro — Andante — Presto Olivier Brault, violin Bach “Brandenburg” Concerto No. 5 in D major, Francis Colpron & Kathie Stewart, recorders BWV 1050 Allegro Affettuoso The Apollo’s Fire national tour of the “Brandenburg” Concertos is made possible by Allegro a generous grant from the National Endowment for the Arts. Jeannette Sorrell, harpsichord Apollo’s Fire’s CDs, including the complete “Brandenburg” Concertos, are for sale in the lobby. Olivier Brault, violin The artists will be on hand to sign CDs following the concert. Kathie Stewart, traverso INTERMISSION Cal Performances’ 2013–2014 season is sponsored by Wells Fargo. 16 CAL PERFORMANCES CAL PERFORMANCES 17 PROGRAM NOTES PROGRAM NOTES a mountaintop experience: extraordinary power to move, delight, and cap- Concerto No. 5 requires from the harpsi- performing concertos for the virtuoso bands of europe tivate audiences for 250 years. But what is it that chordist a level of speed in the scalar passages gives them that power—that greatness that we that far exceeds anything else in the repertoire. -
Delius Monument Dedicatedat the 23Rd Annual Festival by Thomas Hilton Gunn
The Delius SocieQ JOUrnAtT7 Summer/Autumn1992, Number 109 The Delius Sociefy Full Membershipand Institutionsf 15per year USA and CanadaUS$31 per year Africa,Australasia and Far East€18 President Eric FenbyOBE, Hon D Mus.Hon D Litt. Hon RAM. FRCM,Hon FTCL VicePresidents FelixAprahamian Hon RCO Roland Gibson MSc, PhD (FounderMember) MeredithDavies CBE, MA. B Mus. FRCM, Hon RAM Norman Del Mar CBE. Hon D Mus VernonHandley MA, FRCM, D Univ (Surrey) Sir CharlesMackerras CBE Chairman R B Meadows 5 WestbourneHouse. Mount ParkRoad. Harrow. Middlesex HAI 3JT Ti,easurer [to whom membershipenquiries should be directed] DerekCox Mercers,6 Mount Pleasant,Blockley, Glos. GL56 9BU Tel:(0386) 700175 Secretary@cting) JonathanMaddox 6 Town Farm,Wheathampstead, Herts AL4 8QL Tel: (058-283)3668 Editor StephenLloyd 85aFarley Hill. Luton. BedfordshireLul 5EG Iel: Luton (0582)20075 CONTENTS 'The others are just harpers . .': an afternoon with Sidonie Goossens by StephenLloyd.... Frederick Delius: Air and Dance.An historical note by Robert Threlfall.. BeatriceHarrison and Delius'sCello Music by Julian Lloyd Webber.... l0 The Delius Monument dedicatedat the 23rd Annual Festival by Thomas Hilton Gunn........ t4 Fennimoreancl Gerda:the New York premidre............ l1 -Opera A Village Romeo anrl Juliet: BBC2 Season' by Henry Gi1es......... .............18 Record Reviews Paris eIc.(BSO. Hickox) ......................2l Sea Drift etc. (WNOO. Mackerras),.......... ...........2l Violin Concerto etc.(Little. WNOOO. Mackerras)................................22 Violin Concerto etc.(Pougnet. RPO. Beecham) ................23 Hassan,Sea Drift etc. (RPO. Beecham) . .-................25 THE HARRISON SISTERS Works by Delius and others..............26 A Mu.s:;r1/'Li.fe at the Brighton Festival ..............27 South-WestBranch Meetinss.. ........30 MicllanclsBranch Dinner..... ............3l Obittrary:Sir Charles Groves .........32 News Round-Up ...............33 Correspondence....... -
9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op. -
Richard Strauss's Ariadne Auf Naxos
Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails. -
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. -
South Africa: Afrikaans Film and the Imagined Boundaries of Afrikanerdom
A new laager for a “new” South Africa: Afrikaans film and the imagined boundaries of Afrikanerdom Adriaan Stefanus Steyn Thesis presented in fulfilment of the requirements for the degree of Master of Arts in Social Anthropology in the faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Dr Bernard Dubbeld Faculty of Arts and Social Sciences Department of Sociology and Social Anthropology December 2016 Stellenbosch University https://scholar.sun.ac.za By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract The Afrikaans film industry came into existence in 1916, with the commercial release of De Voortrekkers (Shaw), and, after 1948, flourished under the guardianship of the National Party. South Africa’s democratic transition, however, seemed to announce the death of the Afrikaans film. In 1998, the industry entered a nine-year slump during which not a single Afrikaans film was released on the commercial circuit. Yet, in 2007, the industry was revived and has been expanding rapidly ever since. This study is an attempt to explain the Afrikaans film industry’s recent success and also to consider some of its consequences. To do this, I situate the Afrikaans film industry within a larger – and equally flourishing – Afrikaans culture industry. -
DOLCI MIEI SOSPIRI Tra Ferrara E Venezia Fall 2016
DOLCI MIEI SOSPIRI Tra Ferrara e Venezia Fall 2016 Monday, 17 October 6.00pm Italian Madrigals of the Late Cinquecento Performers: Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Dolci miei sospiri tra Ferrara e Venezia Concerto di Margherita Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Giovanna Baviera, voce e viola da gamba Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra We express our gratitude to Pedro Memelsdorff (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) for his assistance in planning this concert. Program Giovanni Girolamo Kapsberger (1580-1651), Toccata seconda arpeggiata da: Libro primo d'intavolatura di chitarone, Venezia: Antonio Pfender, 1604 Girolamo Frescobaldi (1583-1643), Voi partite mio sole da: Primo libro d'arie musicali, Firenze: Landini, 1630 Claudio Monteverdi Ecco mormorar l'onde da: Il secondo libro de' madrigali a cinque voci, Venezia: Gardane, 1590 Concerto di Margherita Giovanni de Macque (1550-1614), Seconde Stravaganze, ca. 1610. Francesca Benetti, voce e tiorba Tanja Vogrin, voce e arpa Luzzasco Luzzaschi (ca. 1545-1607), Aura soave; Stral pungente d'amore; T'amo mia vita Giovanna Baviera, voce e viola da gamba da: Madrigali per cantare et sonare a uno, e due e tre soprani, Roma: Verovio, 1601 Rui Staehelin, voce e liuto Ricardo Leitão Pedro, voce e chitarra Claudio Monteverdi (1567-1463), T'amo mia vita da: Il quinto libro de' madrigali a cinque voci, Venezia: Amadino, 1605 Luzzasco Luzzaschi Canzon decima a 4 da: AAVV, Canzoni per sonare con ogni sorte di stromenti, Venezia: Raveri, 1608 We express our gratitude to Pedro Memelsdorff Giaches de Wert (1535-1596), O Primavera gioventù dell'anno (VIT'04, ESMUC Barcelona, Fondazione Giorgio Cini Venice, Utrecht University) da: L'undecimo libro de' madrigali a cinque voci, Venezia: Gardano, 1595 for his assistance in planning this concert. -
Redakteursbrief
Kortpad na advertensies 25 Desember 2016 Algemene nuusbrokkies Gemeenskapsadvertensies Kleinadvertensies (Persoonlik) Kleinadvertensies (Besigheid) Geestelike Pitkos Werksgeleenthede Afrikaanse kerkdienste Landswye dagboek Riglyne vir adverteerders Kanselleer intekening / Unsubscribe Redakteursbrief Om praktiese redes aan die einde van ‘n baie besige jaar vir my, gebruik ek heelwat van dieselfde inligting wat in hierdie week se Kiwi-Brokkies verskyn ook hier weens die generiese aard daarvan. Dit was ‘n geskiedkundige jaar in die sin dat Aus-Brokkies ewe beskeie uit Nieu-Seeland se BROKKIES (wat toe reeds vir 15 jaar lank bestaan het) gebore is. So het die twee susterspublikasies ontstaan: Aus-Brokkies en Kiwi-Brokkies. Dit was die verwesenliking van ‘n droom vir my. Ons het nou ook vir die soveelste keer die voorreg om Kersfees te vier, en spesifiek die herdenking van die geboorte van ons Verlosser Jesus Christus, die Goeie Nuus wat soveel eeue lank deur profete voorspel is. Baie mense in hierdie deurmekaar wêreld erken Homs slegs as mens. Hulle is ten minste eerlik oor die emmers vol historiese getuienis (ook buite-Bybels) dat Hy wel bestaan het. Hulle het egter vir hulself ‘n versperring opgerig by die kwessie of Hy wel die dood oorwin het en of Hy God in mensgestalte was. As Jesus nie na sy Kruisdood opgestaan het nie, was hy slegs ‘n goeie mens. Indien Hy egter wel uit die dood opgestaan het, verdien dit dieper besinning – vir ons eie siel se onthalwe. Uit sy Woord leer ons dat Hy elke persoon geskep het met ‘n diepliggende kennis van Hom. Hy sê elke mens weet dat God bestaan, hoewel dit dikwels ten sterkste deur mense betwis word. -
Timothy Burris—Baroque Lute
Early Music in the Chapel at St Luke's Les Goûts Réunis Timothy Neill Johnson—tenor & Timothy Burris—Lute with Michael Albert—violin & Eliott Cherry—'cello So wünsch ich mir zu guter letzt ein selig Stündlein J.S. Bach (1685 - 1750) Jesu, meines Herzens Freud Bist du bei mir Der Tag ist hin Et è per dunque vero Claudio Monteverdi (1567 - 1643) Sonata seconda Dario Castello (c. 1590 – c. 1658) Prelude Amila François Dufaut (1600 – 1671) Tombeau de Mr Blanrocher Music for a while Henry Purcell (1659 – 1695) Evening Hymn Sweeter than roses Domine, Dominus noster André Campra (1660 – 1744) The Composers J.S. Bach The three chorales with figured bass included here are from the Gesangbuch published by Georg Christian Schemelli in 1736. The 69 pieces attributed to Bach in the mammoth Gesangbuch (which contains no fewer than 950 pieces!) are marked by quiet and pious sentiments, unobtrusive and effortless harmonies. The aria “Bist du bei mir” (BWV 508) was part of Gottfried Heinrich Stölzel's opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. Claudio Monteverdi Claudio Monteverdi, the oldest of five children, was born in Cremona, where he was part of the cathedral choir and later studied at the university. -
2018 Discussion Guide
2018 Discussion Guide American Library Association Ethnic and Multicultural Information Exchange Round Table CORETTA SCOTT KING BOOK AWARDS COMMITTEE American Library Association Ethnic and Multicultural Information Exchange Round Table Coretta Scott King Book Awards Committee • www.ala.org/csk The Coretta Scott King Book Awards Discussion Guide was prepared by the 2018 Coretta Scott King Book Award Jury Chair Sam Bloom and members Kacie Armstrong, Jessica Anne Bratt, Lakeshia Darden, Sujin Huggins, Erica Marks, and Martha Parravano. The activities and discussion topics are developed to encompass state and school standards. These standards apply equally to students from all linguistic and cultural backgrounds. Students will demonstrate their proficiency, skills, and knowledge of subject matter in accordance with national and state stan- dards. Please refer to the US Department of Education website, www.ed.gov, for detailed information. The Coretta Scott King Book Awards seal was designed by artist Lev Mills in 1974. The symbolism of the seal reflects both Dr. Martin Luther King Jr.’s philosophy and the award’s ideals. The basic circle represents continuity in movement, revolving from one idea to another. Within the image is an African American child reading a book. The five main religious symbols below the image of the child represent nonsectarianism. The superimposed pyramid symbolizes both stength and Atlanta University, the award’s headquarters when the seal was designed. At the apex of the pyramid is a dove, symbolic of peace. The rays shine toward peace and brotherhood. The Coretta Scott King Book Awards seal image and award name are solely and exclusively owned by the American Library Association.