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Portada 2 Vivaldi
Bajo el título “La Sombra de Vivaldi” ofrecemos esta mañana de Sábado un recorrido por diferentes países y estilos, un repertorio variado pero con un nexo común : El Concierto Solista y un punto de referencia claro : Venecia y Antonio Vivaldi . En 1712 publica Vivaldi en Amsterdam su Opus 3 “L'Estro Armonico” una de las obras más influyentes de la Historia de la Música, un grupo de 12 conciertos que, gracias al trabajo del editor Estienne Roger, consiguió tener una distribución -podríamos decir -masiva, dentro de las posibilidades del momento. Los Conciertos de Vivaldi llegan pues a gran parte de Europa y, aunque están dedicados a los músicos “ Diletantes” son también interpretados, estudiados, copiados o arreglados por la inmensa mayoría de los compositores, incluyendo a personalidades como Bach , Telemann, Handel, Leclair o Locatelli . Tomando como punto de partida el modelo de los “Concerti Grossi” de Arcangello Corelli, Vivaldi da un paso más y escribe, no solo para el grupo de “Concertino “ formado por dos violines y cello, sino que en 6 de los 12 conciertos que forman la colección, dedica el protagonismo a un único instrumento (en este caso el violín) sentando las bases de una nueva forma que tendrá su apogeo ya bien entrado el Siglo XIX . La primera obra del programa es el “Concerto a 8 “ del compositor alemán Johann David Heinichen. Atención a este nombre porque aunque para muchos puede no resultar familiar estamos ante uno de los compositores más solventes e inspirados de la escena Alemana . Aquí la herencia recibida de Vivaldi es seguramente directa, pues Heinichen pasó varios años en Venecia antes de ser contratado en la corte de Augusto II de Polonia en Dresde . -
Printcatalog Realdeal 3 DO
DISCAHOLIC auction #3 2021 OLD SCHOOL: NO JOKE! This is the 3rd list of Discaholic Auctions. Free Jazz, improvised music, jazz, experimental music, sound poetry and much more. CREATIVE MUSIC the way we need it. The way we want it! Thank you all for making the previous auctions great! The network of discaholics, collectors and related is getting extended and we are happy about that and hoping for it to be spreading even more. Let´s share, let´s make the connections, let´s collect, let´s trim our (vinyl)gardens! This specific auction is named: OLD SCHOOL: NO JOKE! Rare vinyls and more. Carefully chosen vinyls, put together by Discaholic and Ayler- completist Mats Gustafsson in collaboration with fellow Discaholic and Sun Ra- completist Björn Thorstensson. After over 33 years of trading rare records with each other, we will be offering some of the rarest and most unusual records available. For this auction we have invited electronic and conceptual-music-wizard – and Ornette Coleman-completist – Christof Kurzmann to contribute with some great objects! Our auction-lists are inspired by the great auctioneer and jazz enthusiast Roberto Castelli and his amazing auction catalogues “Jazz and Improvised Music Auction List” from waaaaay back! And most definitely inspired by our discaholic friends Johan at Tiliqua-records and Brad at Vinylvault. The Discaholic network is expanding – outer space is no limit. http://www.tiliqua-records.com/ https://vinylvault.online/ We have also invited some musicians, presenters and collectors to contribute with some records and printed materials. Among others we have Joe Mcphee who has contributed with unique posters and records directly from his archive. -
Cecilia Bartoli 3 De Venècia a Sant Petersburg
Cecilia Bartoli 3 De Venècia a Sant Petersburg DIMARTS, 3 DE NOVEMBRE DE 2015 – 20.30 h Sala de Concerts Cecilia Bartoli, mezzosoprano I Barocchisti Diego Fasolis, director Programa I 54' II 40' Antonio Vivaldi (1678-1741) Baldassare Galuppi (1706-1785) Obertura en Do major, de Farnace (1727) Obertura d’Iphigenia in Tauride (1768) (Allegro) – Andante – Allegro “Gelosia, tu già rendi l’alma mia” Francesco Domenico Araia (1709-c. 1770) Ària de Caio, d’Ottone in villa (1713) “Pastor che a notte ombrosa” “Sol da te, mio dolce amore” Ària de Demetrio, de Seleuco (1744) Ària de Ruggiero, d’Orlando furioso (1727) Pier Luigi Fabretti, oboè Jean-Marc Goujon, flauta Johann Adolf Hasse (1699-1783) “Agitata da due venti” Ària de Costanza, de Griselda (1735) Obertura de La clemenza di Tito (1727) Concerto alla rustica, en Sol major, per a cordes, RV 151 “Se mai senti spirarti sul volto” Allegro – Adagio – Allegro Ària de Sesto, de La clemenza di Tito (1727) “Gelido in ogni vena” “Vò disperato a morte” Ària de Farnace, de Farnace (1727) Ària de Sesto, de La clemenza di Tito (1727) “Sventurata navicella” Ària de Leocasta, de Giustino (1724) Francesco Domenico Araia Hermann Raupach (1678-1741) Obertura de Bellerofonte (1750) Marxa d’Altsesta* (1758) Nicola Porpora (1686-1768) “Idu na smert”* Ària d’Altsesta, d’Altsesta (1758) “Nobil onda” Ària d’Adelaide, d’Adelaide (1723) “O placido il mare”* Ària de Laodice, de Siroe, re di Persia (1760) *La interpretació d’aquestes obres és possible gràcies a l’Arxiu Musical del Teatre Nacional Acadèmic Mariinski (Sant Petersburg), que ha posat a disposició les partitures originals. -
Songs for Shakespeare the Baltimore Consort
The Food of Love: Songs for Shakespeare The Baltimore Consort As You Like It Kemp’s Jig anon, Cambridge MS, late 16th c. It was a Lover and his Lass Thomas Morley, First Booke of Ayres, 1600 Twelfth Night O Mistresse Mine Morley, Consort Lessons, 1599 Peg a Ramsey Playford, The English Dancing Master, 1651 Farewell, dear love Robert Jones, First Book of Songs, 1600 The Buffens (Les Buffons) Jean d’Estrée Tiers livre de danseries, 1559 Romeo and Juliet When Griping Grief Richard Edward, 1525-1566 Lady Carey’s Dump anon., Marsh Lutebook, 16th c. Complain my lute anon., broadside ballad, 16th c. Heart’s Ease (The Honeysuckle) Anthony Holborne, Pavans, Galliards, and Almains….1599 Henry IV, Part II & A Winter’s Tale Queen’s Goodnight Thomas Robinson, 1560-1620 Fancy John Dowland, 1563-1626 The Carman’s Whistle anon, broadside ballad, c. 1600 Whoope, do me no harm/Jog on anon., late 16th c. ----------- INTERMISSION --------- Hamlet King of Denmark’s Galliard John Dowland Tarleton’s Riserrectione anon., late 16th c. Gravedigger song (“In Youth When I Did Love”) anon., late 16th c. Tarleton’s Riserrectione .anon., late 16th c. Bonny sweet robin Matthew Holmes MSS, c. 1588-97 Tarleton’s Jig anon., late 16th c The Tempest Greensleeves anon., 16th c., and John Johnson c.1545 -1594 Where the bee sucks Robert Johnson, c. 1583-1634 Loth to depart John Dowland Full fathom five Robert Johnson Merry Wives of Windsor & Othello Fortune my foe anon., The Dallis Lute book, 1585 Willow Song anon., The Lodge Lute Book, c.1559 Midsummer Night’s Dream Fairie -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Anthony Braxton
Call for Papers 50+ Years of Creative Music: Anthony Braxton – Composer, Multi-Instrumentalist, Music Theorist International Conference June 18th‒20th 2020 Institute for Historical Musicology of the University Hamburg Neue Rabenstr. 13 | 20354 Hamburg | Germany In June, 2020, Anthony Braxton will be celebrating his 75th birthday. For more than half a century he has played a key role in contemporary and avant-garde- music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference is the first one dealing with his multifaceted work. It aims to discuss different research projects concerned with Braxton’s compositional techniques as well as his instrumental- and music-philosophical thinking. The conference will take place from June 18th to 20th 2020 at the Hamburg University, Germany. During the first half of his working period, dating from 1967 to the early 1990s, Braxton became a ‘superstar of the jazz avant-garde’ (Bob Ostertag), even though he acted as a non-conformist and was thus perceived as highly controversial. In this period he also became a member of the AACM, the band Circle, and recorded music for a variety of mostly European minors as well as for the international major Arista. Furthermore, he developed his concepts of ‘Language Music’ for solo-artist and ‘Co-ordinate Music’ for small ensembles, composed his first pieces for the piano and orchestra and published his philosophical Tri-Axium Writings (3 volumes) and Composition Notes (5 volumes). These documents remain to be thoroughly analyzed by the musicological community. -
Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair
Williams College Department of Music Cappella Pratensis Royal Exequies: Music for the Funeral of Philip the Fair Part 1: Backdrop Lecture-Demonstration by M. Jennifer Bloxam and the Singers of Cappella Pratensis ***Intermission*** Part 2: Royal Exequies Procession to the Church Responsorium: Subvenite sancti Dei Plainsong from the Office for the Dead The Requiem Mass Introitus: Requiem eternam Pierre de la Rue (c.1460-1518) Kyrie Pierre de la Rue Graduale: Si ambulem Plainsong from the Mass for the Dead Tractus: Sicut cervus Pierre de la Rue Offertorium: Domine Jesu Christe Pierre de la Rue Sanctus Pierre de la Rue Agnus Dei Pierre de la Rue Communio: Lux eterna Pierre de la Rue Requiescat in pace Plainsong from the Mass for the Dead Motet: Delicta Juventutis Pierre de la Rue Final Prayers for Absolution Antiphon: Aperite mihi Plainsong from the Burial Liturgy Motet: Absolve quesumus, Domine Josquin des Prez (c.1450/55-1521) Saturday, February 22, 2014 8:00 p.m. Thompson Memorial Chapel Williamstown, Massachusetts Please turn off cell phones. No photography or recording is permitted. Cappella Pratensis Artistic leader: Stratton Bull Superius: Stratton Bull, Andrew Hallock Altus: Christopher Kale, Lior Leibovici Tenor: Olivier Berten, Peter de Laurentiis Bassus: Lionel Meunier, Pieter Stas Project collaborator: M. Jennifer Bloxam, Professor of Music,Williams College Fellow in Sacred Music, Worship, and the Arts, Yale Institute of Sacred Music Cappella Pratensis The Dutch-based vocal ensemble Cappella Pratensis – literally ‘Cappella des prés’– champions the music of Josquin des Prez and the polyphonists of the 15th and 16th centuries. The group combines historically informed performance practice with inven- tive programmes and original interpretations based on scholarly research and artistic insight. -
Pierre De La Rue's Missa Pourquoy
Pierre de la Rue’s Missa Pourquoy non: A Case for Re-Evaluation William Kempster he last twenty-five years have yielded The naming of Masses according to the original significant insights into the life, times title of the pre-existing material on which and—most importantly—the music of they were based has long been the accepted the Habsburg-Burgundian master Pierre de la scholarly practice. Honey Meconi has thoroughly T 1 Rue. All the sacred works are now available in documented this for the Masses of la Rue, so no scholarly editions, and many fine recordings of further discussion on conventions relating to the his music have been committed to compact disc. practice is necessary here. What is interesting, La Rue has also attracted a good deal of scholarly however, is the rejection by modern scholars— attention, even controversy, and his place as a Meconi included—of a sixteenth-century major figure at the time of Josquin is now surely ascription indicating that the Mass in question secure. There is still much work to be done, is based on the Pourquoy non chanson, and however, and not only with the secular music that therefore justifying it being named accordingly. has yet to be compiled and edited in its entirety. Even the Masses, the core of la Rue’s output, are only superficially known. Of the thirty In the preface to his edition of this Mass, Mass settings that are securely attributed to la T. Herman Keahey identifies the work as 2 Rue, nearly a third have never been recorded, Missa Almana, and addresses the issue of the and recordings of half of the remaining Masses 1 are either no longer available or problematic for Honey Meconi, “Habsburg-Burgundian Manuscripts, Borrowed Material, and the Practice of Naming” in Early other reasons. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Music List 2018 Final
NORVIS XLVIII Music List 28th July to 4th August 2018 The daily programme is as follows, except on Wednesday, when the afternoon is free: 1st morning session – technique class on your chosen instrument or voice 2nd morning session – ensemble work, or a further lute technique class. Lunchtime ‘Promenade concert’ – an informal performance opportunity 1st afternoon session – choir or NORVIS Baroque orchestra or free time 2nd afternoon session – ‘Choice of Delights’ – a wide range of activities, different each day, with choices made during the week Evening – a concert, lecture-recital or Ceilidh, usually followed by an Epilogue (no Epilogue Wednesday or Friday). The music for each technique class and some second session classes is given below, in alphabetical order of instrument. This gives course participants the chance to obtain in advance the music to be studied, so that they can be familiar with it. It is also an indication of the standard of each class. If you have any difficulty choosing your class, the tutors will be pleased to advise. Participants normally stay in the same class or group for the whole week. 1st and 2nd session choices can be for different instruments. Choir - director: Andrew Fowler Monteverdi's Northumbrian Vespers Vespers for the Feast of Oswald, King and Martyr to include • Vesper Psalms by Monteverdi, from Selva Morale e Sprirituale (1641/2) • a polychoral Magnificat by Gabrieli • music by William Smith of Durham • some Northumbrian music The choir will be at A=440, and there will be opportunities for players of baroque strings, recorders, plucked strings and brass to play with them. -
Venerdì 22 Novembre, Ore 21 Teatro Dei Rinnovati
VENERDÌ 22 NOVEMBRE, ORE 21 TEATRO DEI RINNOVATI Vivaldi Renaissance Nell’80° anniversario della prima Settimana Musicale Senese (1939-2019) ANNA CATERINA ANTONACCI mezzosoprano GENNARO CARDAROPOLI violino MARIA DIATCHENKO violino CESARE MANCINI organo e clavicembalo ORCHESTRA “VINCENZO GALILEI” DELLA SCUOLA DI MUSICA DI FIESOLE CORO DELLA CATTEDRALE DI SIENA “GUIDO CHIGI SARACINI” LORENZO DONATI direttore In collaborazione con l’Università degli Studi di Siena Era il 1939 quando l’Accademia Chigiana, di recente istituzione, decise di far riscoprire al pubblico senese del Primo Festival le mu- siche vivaldiane. Si trattò di una vera e pro- pria rinascita, auspicata dal conte Chigi già nel 1928, e quindi messa a punto con l’ausilio della violinista e studiosa Olga Rudge, segre- taria dell’Accademia. Non è da escludere, inoltre, un interessamento proveniente dal- la frequentazione della Rudge con il poeta Pound e dall’organizzazione dei concerti di Rapallo, in gran parte dedicati alla rivaluta- zione dell’antico patrimonio musicale italiano e allo stesso Vivaldi. Il Concerto “alla Rustica” è di durata assai breve e si presenta come una piccola sinfo- nia in tre tempi (Presto, Adagio, Allegro). Il ti- tolo può forse derivare dalla natura danzante e precipitosa dei tempi esterni, mentre l’ada- gio centrale non è che una squisita saraban- da in mi minore. Lo Stabat Mater di Vivaldi (1712) precede di circa ventitré anni il corrispettivo pergolesia- no. Le scelte sono del tutto particolari e di- verse. Vivaldi mantiene costante il fa minore in tutti e nove i brani in cui è suddivisa la se- quenza di Jacopone. L’agogica è trattenuta, con molti tempi lenti e gravi dal sapore au- stero e composto. -
TABLE of CONTENTS Instructions: This Is an Interactive Table of Contents
���������������������������� ���������������� � Vol. VI TABLE OF CONTENTS Instructions: This is an interactive Table of Contents. Click on the title of a work to view all of the parts for that work. Click on the composer’s name below or the bookmarks on the left side of the screen to navigate to the sections of this Table of Contents for each composer. Once a work is selected, the bookmarks will help you navigate to the individual part (e.g., Violin I, Violin II). For each composer, symphonies are listed fi rst, then concerti, then overtures, then other works (in alphabetical order). If there is no part in the orchestration for your instrument, clicking on the title will open a TACET page. Important: This product is licensed for one computer. By opening any of the fi les on this CD-ROM, you agree to the terms of the license. Click on the bookmark to the left to view the complete license. While the works on this CD-ROM are in the Public Domain, the PDF fi les are copyrighted and may be printed by the licensee for his/her personal use, but not otherwise copied or reproduced. MOZART HAYDN © Copyright 2005 by The Orchestra Musician’s CD-ROM Library All Rights Reserved. International Copyright Secured. Warning: Unauthorized reproduction of this publication is prohibited. ���������������������������� ��������������� �� Table of Contents — 2 Vol. WOLFGANG AMADEUS MOZART VI Symphony No. 25 in G Minor, K. 183 Symphony No. 26 in Eb Major, K. 184 Symphony No. 27 in G Major, K. 199 Symphony No. 28 in C Major, K. 200 Symphony No.