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The Songs of the Beggar's Opera
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1966 The onS gs of The Beggar's Opera Carolyn Anfinson Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Anfinson, Carolyn, "The onS gs of The Beggar's Opera" (1966). Masters Theses. 4265. https://thekeep.eiu.edu/theses/4265 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #3 To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institutionts library or research holdings. Date I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because Date Author THE SONGS OF THE BEGGAR'S OPERA (TITLE) BY Carolyn Anfinson THESIS SUBMIITTD IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF M.S. -
Róża Różańska
Kwartalnik Młodych Muzykologów UJ No. 32 (4/2017), pp. 59–78 DOI 10.4467/23537094KMMUJ.17.010.7839 www.ejournals.eu/kmmuj Róża Różańska JAGIELLONIAN UNIVERSITY IN KRAKÓW Leone Leoni as a Forgotten Composer of the Early Baroque Era Abstract The article is a pioneer attempt in Polish literature to develop a syn- thetic resume and the characteristics of the work of the Italian Baroque composer Leone Leoni. Leoni was highly valued in his time; also, he is said to be one of the creators of dramma per musica genre, and his religious compositions served as model examples of counterpoint for many centuries. The first part of the text presents the state of research concerning the life and work of the artist; then, the second part con- tains his biography. The last part discusses Leoni’s works. Finally, the rank of his output is regarded. Keywords Leone Leoni, small-scale concerto, madrigal, early Baroque The following article is a pioneer attempt in Polish literature to develop a synthetic resume of life and art of Leone Leoni (ca. 1560–1627), an Italian composer. Today forgotten, he was a highly valued artist in his epoch. He is regarded as one of the pioneers of dramma per musica and, 59 Kwartalnik Młodych Muzykologów UJ, No. 32 (1/2017) through the centuries, his church music was used by music theorists as models of music rhetoric and concertato style in the compositions for small ensemble. The paper has been planned as an introduction to the cycle of arti- cles dedicated to Leone Leoni, and because of that it is general in the character. -
Monteverdi: Vespers of 1610
MONTEVERDI: VESPERS OF 1610 Monday 7 March 2016, 7.30pm London Concert Choir with Soloists and QuintEssential Conductor: Mark Forkgen Programme: £2 Welcome to St John’s Smith Square • In accordance with the requirements of Westminster City Council, persons shall not be permitted to sit or stand in any gangway. • The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s Smith Square. • Smoking is not permitted anywhere in St John’s Smith Square. • Refreshments are permitted only in The Footstool Restaurant (our café & restaurant in the crypt). • Please ensure that all digital watch alarms, pagers and mobile phones are switched off. • The Footstool Restaurant will serve interval and post-concert refreshments. · Programme note © Sabine Köllmann Programme designed by Stephen Rickett and edited by Eleanor Cowie London Concert Choir - A company limited by guarantee, incorporated in England with registered number 3220578 and registered charity number 1057242 Registered Office7 Ildersly Grove, Dulwich, London SE21 8EU St John’s Smith Square, London SW1P 3HA Box Office 020 7222 1061 www.sjss.org.uk St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. Monday 7 March 2016 St John’s Smith Square MONTEVERDI: VESPERS OF 1610 Mark Forkgen Conductor Rachel Elliott and Rebecca Outram Soprano Nicholas Pritchard and Bradley Smith Tenor Giles Underwood and Colin Campbell Bass London Concert Choir QuintEssential ensemble There will be an INTERVAL of 20 minutes Claudio Monteverdi (1567–1643) VESPERS OF 1610 (Vespro della Beata Vergine, 1610) THE COMPOSER In the history of Western music Claudio Monteverdi occupies an important position at the threshold between Renaissance and Baroque, and his Vespers of 1610, as the compilation of music for the evening service on Marian feast days is often referred to, represents a milestone in the development of modern music. -
Sum Mer Music
EX CATHEDRA excathedra.co.uk Mus er ic m m u S by Candlelight CHOIR | CONSORT | ORCHESTRA | EDUCATION ARTISTIC DIRECTOR & CONDUCTOR JEFFREY SKIDMORE Summer Music by Candlelight St Peter’s Church, Wolverhampton Saturday 5 June 2021, 5pm & 8pm Hereford Cathedral Wednesday 9 June 2021, 3pm & 7.30pm St John’s Smith Square, London Thursday 10 June 2021, 5pm & 8pm Symphony Hall, Birmingham Sunday 13 June 2021, 4pm Programme Hymnus Eucharisticus Benjamin Rogers (1614-1698) Iam lucis orto sidere 6th century plainchant The Windhover (Dawn Chorus, 2020) Liz Dilnot Johnson (b.1964) Sumer is icumen in 13th century English Cuckoo! (1936) Benjamin Britten (1913-1976), arr. Jeffrey Skidmore Revecy venir du Printans Claude le Jeune (c.1528/1530-1600) READING - In defense of our overgrown garden - Matthea Harvey (b.1973) The Gallant Weaver (1997) James MacMillan (b.1959) READING - i thank You God most for this - e.e.cummings (1894-1962) Hymn to St Cecilia (1941- 42) Benjamin Britten READING - Gingo Biloba (1819) - Johann Wolfgang von Goethe (1749-1832) Trois Chansons (1914-15) Maurice Ravel (1875-1937) I Nicolette II Trois beaux oiseaux du Paradis III Ronde READING - maggie and milly and molly and may - e.e.cummings La Mer (1943) Charles Trenet (1913-2001), arr. Jeffrey Skidmore Summer Holiday (1963) Bruce Welch (b.1941) and Brian Bennett (b.1940), arr. Jeffrey Skidmore anyone lived in pretty how town (2018) Geoff Haynes (b.1959) READING - The evening sun retreats along the lawn (Summer Requiem 2015) - Vikram Seth (b.1952) Saint Teresa’s Bookmark (2018) Penelope Thwaites (b.1944) Te lucis ante terminum 7th century plainchant Night Prayer (2016) Alec Roth (b.1948) We would like to offer our thanks for their help and support to: - The Rev Preb. -
Ex Cathedra Scholarships 2020-21
“one of Britain’s very best choirs” (New York Times) Choir І Consort І Orchestra І Education Jeffrey Skidmore OBE Artistic Director & Conductor Ex Cathedra Scholarships 2020-21 “Being a professional choral singer is such a unique vocation, with no real guide book on how to go about your work. Training with Ex Cathedra is that guide book which every young singer wants – lessons in how to be a professional in a safe, supportive environment.” (Ellie Sperling, 2018-19 Scholar) What is it: A year-long choral Scholarship, worth £4000, for 4 of the UK’s very best young singers Who is it for: Singers who will finish their degrees this summer, or have finished in the past 2-3 years, are not continuing in education, and are focussed on being professional singers Apply by: Friday 20 March 2020, 5pm Auditions: Friday 3 April 2020 - CBSO Centre, Birmingham (save the date) If you are shortlisted we will communicate the timetable to you on or by Friday 20 March. The day will include group workshops as well as an individual audition, so please save the whole day. About Ex Cathedra Ex Cathedra is a leading UK choir and Early Music ensemble, based in Birmingham. We explore, research and commission the finest choral music and aim to set the highest standards for excellence in performance and training. We perform perhaps the widest repertoire of any professional choir in the country – the best, the unfamiliar and the unexpected! Our 2019-20 Scholars have performed the Rachmaninoff Vespers, Bach Mass in B Minor, Bach St John Passion, Beethoven Missa Solemnis, recorded choral music by Penelope Thwaites and over the summer will be performing verse anthems alongside Fretwork viol Consort. -
CENTURY ORGAN MUSIC for the Degree of MASTER of MUSIC By
ol 0002 -T-E CHACONNE AND PASSACAGLIA IN TVVENTIETH CENTURY ORGAN MUSIC THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By U3arney C. Tiller, Jr., B. M., B. A. Denton, Texas January, 1966 TABLE OF CONTENTS Chapter Page I. INTRODUCTION . II. THE HISTORY OF THE CHACONNE AND PASSACAGLIA . 5 III. ANALYSES OF SEVENTEEN CHACONNES AND PASSACAGLIAS FROM THE TWENTIETH CENTURY. 34 IV. CONCLUSIONS . 116 APPENDIX . 139 BIBLIOGRAPHY. * . * . * . .160 iii LIST OF TABLES Table Page I. Grouping of Variations According to Charac- teristics of Construction in the Chaconne by Brian Brockless. .. 40 TI. Thematic Treatment in the Chaconne from the Prelude, Toccata and Chaconne by Brian Brockless. .*0 . 41 III. Thematic Treatment in the Passacaglia from the Passacaglia and Fugue by Roland Diggle. 45 IV. Thematic Treatment in the Passacaglia from the Moto Continuo and Passacglia by 'Herbert F. V. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia by Alan Gray . $4 VI. Thematic Treatment in the Passacaglia from the Introduction and Passacaglia b Robert . .*. -...... .... $8 Groves * - 8 VII. Thematic Treatment in the Passacaglia by Ellis B. Kohs . 64 VIII. Thematic Treatment in the Passacaglia from the Introduction and Passaglia in A Minor by C. S. Lang . * . 73 IX. Thematic Treatment in the Passacaglia from the Passaca a andin D Minor by Gardner Read * . - - *. -#. *. 85 X. Thematic Treatment in the Passacaglia from the Introduction, Passacgland ugue by Healey Willan . 104 XI. Thematic Treatment in the Passacaglia from the Introduction, Passacaglia and F by Searle Wright . -
Wolverhampton & Black Country Cover
Shropshire Cover November 2019.qxp_Shropshire Cover 22/11/2019 15:53 Page 1 Your FREE essential entertainment guide for the Midlands JIM JEFFERIES OUT ON TOUR... SHROPSHIRE WHAT’S ON DECEMBER 2019 ON DECEMBER WHAT’S SHROPSHIRE Shropshire ISSUE 408 DECEMBER 2019 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On shropshirewhatson.co.uk PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART inside: Yourthe 16-pagelist week by week listings guide THE NUTCRACKER Birmingham Royal Ballet’s festive family favourite returns TWITTER: @WHATSONSHROPS TWITTER: HANDEL’S MESSIAH ever-popular Christmas concert at Shrewsbury’s Abbey Church FACEBOOK: @WHATSONSHROPSHIRE STEP BACK IN TIME a Victorian-style Christmas at Ironbridge Gorge’s Blists Hill SHROPSHIREWHATSON.CO.UK IFC Shropshire.qxp_Layout 1 21/11/2019 14:29 Page 1 Contents December Wolves/Shrops/Staffs.qxp_Layout 1 22/11/2019 14:38 Page 2 December 2019 Contents Hi-Dick-Hi! Su Pollard and Jeffrey Holland reunite in Dick Whittington at the Wolverhampton Grand... page 26 Ex Cathedra The King And I Enchanted Weston the list perform festive favourites from West End musical dances into explore an illuminated Your 16-page around the globe... the Midlands for Christmas wonderland this festive season week-by-week listings guide page 16 page 20 page 47 page 51 inside: 4. First Word 12. Food 17. Gigs 19. Comedy 24. Theatre 34. Film 36. Visual Arts 41. Events @whatsonwolverhampton @staffordshirewhatson @whatsonshropshire Wolverhampton What’s On Staffordshire What’s On Shropshire What’s -
La Musica a Cremona All'epoca Di Monteverdi
RODOBALDO TIBALDI LA MUSICA A CREMONA ALL’EPOCA DI MONTEVERDI ABSTRACT L’intervento si ripropone di delineare il quadro della vita musicale cremonese nella quale venne a formarsi il giovane Claudio, concentrandosi sui principali luoghi di pro- duzione e di fruizione musicale: la cattedrale e le chiese cittadine, l’Accademia degli Animosi (nella sua prima fase di storia) ed eventuali circoli nobiliari e/o dilettanti, la piazza del Comune, intesa come luogo di azione dei musici comunali. Si mette poi in rilievo il ruolo fondamentale rivestito da Marc’Antonio Ingegneri nel creare i presup- posti per una ‘sprovincializzazione’ musicale della città. Questa risulta evidente so- prattutto esaminando due punti: () l’azione, condotta sistematicamente per quanto gli veniva concesso, di organizzare la cappella della cattedrale secondo i più avanzati modelli nord-italiani del tardo Cinquecento; () l’introduzione del madrigale polifo- nico nella realtà cremonese – che fino al suo arrivo non sembra aver costituito un reale motivo di interesse –, ovvero del genere più alla moda e in grado di dare maggiore visibilità sul piano internazionale a un compositore e a un luogo. In relazione a questo secondo aspetto, un po’ per lo scioglimento dell’Accademia degli Animosi, soprattutto per il continuo disinteresse mostrato da gran parte dell’aristocrazia o della ricca bor- ghesia cittadina, l’azione di Ingegneri non ebbe alcun esito, e i più ambiziosi dotati compositori di madrigali furono obbligati a cercare fortuna altrove. PAROLE CHIAVE Monteverdi, Claudio; Ingegneri, Marc’Antonio; Cremona; madrigale SUMMARY The intervention aims to outline the background of Cremona’s musical life in which the young Claudio was formed, focusing on the main places of musical production and musical employment: the cathedral and the city's churches, the “Accademia degli Animosi” (in its first phase of history) and possible noble and / or amateur circles, the “Piazza del Comune”, intended as a place of action for municipal musicians. -
Gesualdo Madrigaux Livre I Solistes Des Arts Florissants Paul Agnew
AMPHITHÉÂTRE – CITÉ DE LA MUSIQUE Gesualdo Madrigaux Livre I Solistes des Arts Florissants Paul Agnew Mardi 23 octobre 2018 – 20h30 Concert enregistré par France Musique. Ce concert est diffusé en direct sur le site internet live.philharmoniedeparis.fr où il restera disponible pendant 4 mois. PROGRAMME Carlo Gesualdo (1566-1613) Ne reminiscaris Domine Luzzasco Luzzaschi (1545-1607) Dolorosi martir, fieri tormenti Claudio Monteverdi (1567-1643) Baci soavi, e cari Luca Marenzio (1553-1599) Baci soavi, e cari (Prima parte) Baci amorosi, e belli (Seconda parte) Baci affamati, e ‘ngordi (Terza parte) Baci cortesi, e grati (Quarta parte) Baci, ohimè, non mirate (Quinta & ultima parte) Carlo Gesualdo Tribulationem et dolorem Hei mihi domine Luca Marenzio Tirsi morir volea (Prima parte) Frenò Tirsi il desio (Seconda parte) Così moriro i fortunati amanti (Terza parte) 3 Benedetto Pallavicino (1551-1601) Tirsi morir volea (Prima parte) Frenò Tirsi il desio (Seconda parte) Così moriro i fortunati amanti (Terza parte) ENTRACTE Carlo Gesualdo Baci soavi e cari Quant’ha di dolce Amore (Seconda parte) Madonna, io ben vorrei Com’esser può ch’io viva se m’uccidi? Gelo ha Madonna il seno, e fiamma il volto Mentre Madonna il lasso fianco posa Ahi, troppo saggia nell’errar (Seconda parte) Se da sì nobil mano Amor, pace non chero (Seconda parte) Sì gioioso mi fanno i dolor miei O dolce mio martire Tirsi morir volea Frenò Tirsi il desio (Seconda parte) Mentre, mia stella, miri Non mirar, non mirare Questi leggiadri odorosetti fiori Felice primavera Danzan -
Venice Music Biennale Announces 2021 Programme, ‘Choruses’, September 17-26
VENICE MUSIC BIENNALE ANNOUNCES 2021 PROGRAMME, ‘CHORUSES’, SEPTEMBER 17-26 FIRST MUSIC BIENNALE UNDER ARTISTIC DIRECTOR LUCIA RONCHETTI FIFTEEN WORLD PREMIERES TO BE GIVEN KAIJA SAARIAHO RECEIVES GOLDEN LION LIFETIME ACHIEVEMENT AWARD Lucia Ronchetti. Photo credit: Vanessa Francia The programme for the 2021 Venice Music Biennale, one of the six Biennale di Venezia that showcase the best in contemporary Architecture, Art, Dance, Film, Music and Theatre, has been announced by Artistic Director Lucia Ronchetti. For her first Biennale as Artistic Director the Italian composer is presenting 15 world premieres over 10 days of performances across Venice under the heading of ‘Choruses.’ ‘Choruses’ will focus on contemporary choral writing through performances of new commissions and some of the most important works of the last 50 years that explore the human voice. The Venice Music Biennale 2021 is fostering a dialogue between the Venetian past and the present, and the possible renaissance of vocal polyphony through performances from major Venetian organisations across the city. The 65th Music Biennale will welcome major European vocal and choral ensembles such as Theatre of Voices from Copenhagen, Neue Vocalsolisten from Stuttgart, Accentus choir from Paris, vocal ensemble Sequenza 9.3 from Paris and SWR Vokalensemble from Stuttgart, as well as the renowned historical Venetian choirs the Cappella Marciana di San Marco and the choir of the Teatro La Fenice. The Festival will open at the Teatro La Fenice with a performance of Oltra mar for choir and orchestra by Kaija Saariaho, winner of the Golden Lion for Music, whose chamber work Only the sound remains will also be presented at the Teatro Malibran. -
Monteverdi Ohimè, Se Tanto Amate
35: Monteverdi Ohimè, se tanto amate (For Unit 3: Developing Musical Understanding) Background information and performance circumstances Claudio Monteverdi was born in Cremona, Italy in 1567 and died in Venice in 1643. He was the most important Italian composer of his generation, with a key part in the transition from Renaissance to Baroque music. He was based in Mantua from 1590/1 to 1613, working for the aristocratic Gonzaga family. Ohimè, se tanto amate was published in Venice in 1603 in Il quarto libro di madrigali (‘The Fourth Book of Madrigals’). It was probably performed at the Mantuan court by professional singers. The text is a poem by Giovanni Battista Guarini (1538-1612). Monteverdi set a number of texts by Guarini, who had close ties with Mantua. The translation of Guarini’s poem at http://www.recmusic.org/lieder/get_text.html?TextId=21607 is more literal than the anthology translation, and perhaps preferable in showing exactly what particular words or phrases mean. Monteverdi would have chosen his text in the knowledge that Benedetto Pallavicino (c.1551- 1601), a now little-known rival, had published a setting in 1600. This is available on The Consort of Musicke’s CD 070976; it is interesting but Monteverdi’s setting is much more striking. The original singers sang from separate part-books not from a score. Editions of the time typically had no barlines, and used to have C-clefs for some parts. Ohimè, se tanto amate is an example of the then new seconda pratica. Its emotional intensity (arising partly from daring use of dissonance) must have made it seem very ‘modern’, even shocking, to people accustomed to the late Renaissance prima pratica of such composers as Palestrina. -
Musica Antica in Casa Cozzi
venerdì 14 chiesa febbraio 2020 di San Teonisto ore 20.30 Treviso Splendori della Serenissima Magnificenze della Basilica di San Marco Musica antica in casa Cozzi Made in Venice Musica Serenissima Stagione di musica antica Direzione artistica settima edizione Stefano Trevisi iniziativa promossa da con il patrocinio Fondazione Benetton e il sostegno di almamusica433 organizzata da Culturae srl Città di Treviso Splendori della Serenissima Programma Magnificenze della Basilica di San Marco Il viaggiatore inglese Thomas Coryate (1577–1617), nel dimenticare i molti che, dando ampia diffusione Jacques Buus (1500 ca.–1565) Giovanni Croce (1557–1609) Coryat’s Crudities: Hastily gobled up in Five Moneth’s Travels, al suo lavoro, contribuirono alla creazione di una Recercar primo, 1547, a quattro voci Laudans exultet, 1595, a otto voci pubblicato nel 1611, racconta le memorie del viaggio vera e propria “scuola”. compiuto dal maggio all’ottobre del 1608 tra Francia, La Basilica Marciana, con la sua posizione strategica Iachet Van Berchem (1505–1567), Giovanni Gabrieli (1557 ca.–1612) Svizzera, Germania, Paesi Bassi e Italia. accanto al palazzo Ducale, era il centro musicale più Dominique Phinot (1510 ca.–1556 ca.) O Domine Iesu Christe, 1597, a otto voci E, del suo soggiorno veneziano, descrive la cerimonia attivo di Venezia, connessa com’era alla vita civile, Beati omnes, 1550, a otto voci avvenuta alla Scuola Grande di San Rocco il 16 agosto pubblica e anche religiosa della Repubblica. E così, Giovanni Bassano (1558 ca.–1617) di quel 1608: «era così bella e dilettevole, così tanto nella musica sacra, quanto in quella profana, Adrian Willaert (1490 ca.–1562) Viri Galilaei, 1598, a sette voci eccezionale ed ammirevole, così super eccellente Willaert e i musicisti della Marciana diventarono Te Deum, 1559, a sette voci che non poteva che incantare e meravigliare tutti gli un punto di riferimento importante per gli sviluppi Baldassarre Donato (1525/30–1603) stranieri che non avevano mai sentito niente di simile!» musicali, anche alla moda, della città.