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A Breath of New Life GLO 5264
A BREATH OF NEW LIFE Dutch Baroque music on original recorders from private collections Saskia Coolen - Patrick Ayrton - Rainer Zipperling GLO 5264 GLOBE RECORDS 1. Prelude in G minor (improvisation) [a] 1.37 WILLEM DE FESCH (1687-1760) Sonata No. 3 in C minor, Op. 8 [e] UNICO WILHELM 12. Ceciliana 2:00 VAN WASSENAER (1692-1766) 13. Allemanda 3:47 Sonata seconda in G minor [b] 14. Arietta. Larghetto e piano 2:16 2. Grave 2:36 15. Menuetto primo e secondo 3:08 3. Allegro 2:54 4. Adagio 1:34 PIETER BUSTIJN (1649-1729) 5. Giga presto 2:26 Suite No. 8 in A major 16. Preludio 1.43 CAROLUS HACQUART (1640-1701?) 17. Allemanda 3.33 Suite No. 10 in A minor from Chelys 18. Corrente 1.52 6. Preludium. 19. Sarabanda 2.20 Lento - Vivace - Grave 2:46 20. Giga 2.02 7. Allemande 2:26 8. Courante 1:29 From: Receuil de plusieurs pièces 9. Sarabande 2:48 de musique […] choisies par Michel 10. Gigue 1:48 de Bolhuis (1739) [f] 21. Marleburgse Marche 1.16 11. Prelude in C minor (improvisation) [d] 1.27 22. Tut, tut, tut 1.04 23. O jammer en elende 1.09 24. Savoijse kool met Ossevleis 1.28 25. Bouphon 1.18 2 JOHAN SCHENCK (1660-1712) Suite in D minor from Scherzi musicali 26. Preludium 1:36 27. Allemande 2:34 28. Courant 1:29 29. Sarabande 1:59 30. Gigue 1:45 Saskia Coolen 31. Tempo di Gavotta 1:25 recorder, viola da gamba Patrick Ayrton PHILIPPUS HACQUART (1645-1692) 1.40 harpsichord 32. -
MODELING HEROINES from GIACAMO PUCCINI's OPERAS by Shinobu Yoshida a Dissertation Submitted in Partial Fulfillment of the Requ
MODELING HEROINES FROM GIACAMO PUCCINI’S OPERAS by Shinobu Yoshida A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in The University of Michigan 2011 Doctoral Committee: Associate Professor Naomi A. André, Co-Chair Associate Professor Jason Duane Geary, Co-Chair Associate Professor Mark Allan Clague Assistant Professor Victor Román Mendoza © Shinobu Yoshida All rights reserved 2011 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................iii LIST OF APPENDECES................................................................................................... iv I. CHAPTER ONE........................................................................................................... 1 INTRODUCTION: PUCCINI, MUSICOLOGY, AND FEMINIST THEORY II. CHAPTER TWO....................................................................................................... 34 MIMÌ AS THE SENTIMENTAL HEROINE III. CHAPTER THREE ................................................................................................. 70 TURANDOT AS FEMME FATALE IV. CHAPTER FOUR ................................................................................................. 112 MINNIE AS NEW WOMAN V. CHAPTER FIVE..................................................................................................... 157 CONCLUSION APPENDICES………………………………………………………………………….162 BIBLIOGRAPHY.......................................................................................................... -
The Musicians of Ma'alwyck
Musicians of Ma’alwyck Presents Beethoven 250th Anniversary Celebration Concert Sunday, November 1, 2020 @ 3pm Schuyler Mansion State Historic Site Dear Friend, Thank you for joining us virtually today. We are sorry we cannot be enjoying this program together here in the music salon of the Schuyler Mansion, but we are pleased that we can still celebrate Beethoven’s landmark year together even if it is just on line. The program we have prepared for you features both the well-known and charming Serenade op 25, which we have transcribed to include guitar instead of viola, the early duo Woo 26 and then a wonderful Potpourri of Beethoven’s Favorite Melodies by Anton Diabelli. Each work displays a different side of Beethoven, whether a young still forming genius or the lighter occasional music side. The acoustic in the Schuyler Mansion allows for nuanced playing and recreates a setting for Beethoven’s that is historically quite accurate. We will continue throughout the duration of COVID restrictions to offer creative programming. Much of the virtual work we are doing is available on the Musicians of Ma’alwyck Youtube channel. I also write a weekly Musical Treasure Chest about pieces important to me that is available on our website, and the ensemble in various configurations performs every Sunday at 3pm on the First Reformed Church of Schenectady’s Youtube channel. Each month we are releasing a “short” video collaborating with historic sites and other artistic media. Our first “short” was filmed in October in the Crypt at Hyde Hall near Cooperstown, New York. -
Music Migration in the Early Modern Age
Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Advisory Board Barbara Przybyszewska-Jarmińska, Alina Żórawska-Witkowska Published within the Project HERA (Humanities in the European Research Area) – JRP (Joint Research Programme) Music Migrations in the Early Modern Age: The Meeting of the European East, West, and South (MusMig) Music Migration in the Early Modern Age Centres and Peripheries – People, Works, Styles, Paths of Dissemination and Influence Jolanta Guzy-Pasiak, Aneta Markuszewska, Eds. Warsaw 2016 Liber Pro Arte English Language Editor Shane McMahon Cover and Layout Design Wojciech Markiewicz Typesetting Katarzyna Płońska Studio Perfectsoft ISBN 978-83-65631-06-0 Copyright by Liber Pro Arte Editor Liber Pro Arte ul. Długa 26/28 00-950 Warsaw CONTENTS Jolanta Guzy-Pasiak, Aneta Markuszewska Preface 7 Reinhard Strohm The Wanderings of Music through Space and Time 17 Alina Żórawska-Witkowska Eighteenth-Century Warsaw: Periphery, Keystone, (and) Centre of European Musical Culture 33 Harry White ‘Attending His Majesty’s State in Ireland’: English, German and Italian Musicians in Dublin, 1700–1762 53 Berthold Over Düsseldorf – Zweibrücken – Munich. Musicians’ Migrations in the Wittelsbach Dynasty 65 Gesa zur Nieden Music and the Establishment of French Huguenots in Northern Germany during the Eighteenth Century 87 Szymon Paczkowski Christoph August von Wackerbarth (1662–1734) and His ‘Cammer-Musique’ 109 Vjera Katalinić Giovanni Giornovichi / Ivan Jarnović in Stockholm: A Centre or a Periphery? 127 Katarina Trček Marušič Seventeenth- and Eighteenth-Century Migration Flows in the Territory of Today’s Slovenia 139 Maja Milošević From the Periphery to the Centre and Back: The Case of Giuseppe Raffaelli (1767–1843) from Hvar 151 Barbara Przybyszewska-Jarmińska Music Repertory in the Seventeenth-Century Commonwealth of Poland and Lithuania. -
09 March 2020
09 March 2020 12:01 AM Carl Maria von Weber (1786-1826) Der Freischutz (Overture) Netherlands Radio Philharmonic Orchestra, Kenneth Montgomery (conductor) NLNOS 12:11 AM George Frideric Handel (1685-1759) Suite No 2 in F major HWV 427 Christian Ihle Hadland (piano) GBBBC 12:20 AM Johann Sebastian Bach (1685-1750) 4 Schemelli Chorales (BWV.478, 484, 492 and 502) Bernarda Fink (mezzo soprano), Marco Fink (bass baritone), Domen Marincic (gamba), Dalibor Miklavcic (organ) SIRTVS 12:30 AM Ture Rangstrom (1884-1947) Suite for violin and piano No 1 'In modo antico' Tale Olsson (violin), Mats Jansson (piano) SESR 12:39 AM Nicolaas Arie Bouwman (1854-1941) Thalia - overture for wind orchestra (1888) Dutch National Youth Wind Orchestra, Jan Cober (conductor) NLNOS 12:47 AM Domenico Scarlatti (1685-1757) Sonata in D minor Fugue (K.41); Presto (K. 18) Eduardo Lopez Banzo (harpsichord) PLPR 12:57 AM Johannes Brahms (1833-1897) Trio for viola, cello and piano (Op.114) in A minor Maxim Rysanov (viola), Ekaterina Apekisheva (piano), Kristina Blaumane (cello) GBBBC 01:23 AM Edvard Grieg (1843-1907) Lyric pieces - book 1 for piano Op 12 Zoltan Kocsis (piano) HUMR 01:35 AM Carl Philipp Emanuel Bach (1714-1788) Flute Concerto in G major (Wq 169) Tom Ottar Andreassen (flute), Norwegian Radio Orchestra, Roy Goodman (conductor) NONRK 02:01 AM Antonio Vivaldi (1678-1741) Concerto in D, RV 562 (Andante, Allegro) Les Concert des Nations, Jordi Savall (conductor) ESCAT 02:07 AM Antonio Vivaldi (1678-1741) Violin Concerto in D, RV 230 'L'estro armonico' (Larghetto) -
Historic Organs of Belgium May 15-26, 2018 12 Days with J
historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from Mr. & Mrs. Wesley C. Dudley, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foun- dation, by the contributions of listeners to American Public Media stations nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, represent- ing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-6 A History of Organs in Belgium Page 7-12 Alphabetical List of Organ Builders Page 13-17 Organ Observations Page 18-21 Tour Itinerary Page 22-25 Playing the Organs Page 26 Organ Sites Page 27-124 Rooming List Page 125 Traveler Profiles Page 126-139 Hotel List Page 130-131 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Rachel Perfecto and Paul De Maeyer Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis. In addition to site specific websites, we gratefully acknowledge the following source for this booklet: http://www.orgbase.nl PAGE 22 HISTORICALORGANTOUR OBSERVATIONS DISCOGRAPHYBACKGROUNDWELCOME ITINERARYHOSTS Welcome Letter from Michael.. -
Guide to Early Music in Flanders
GUIDE TO EARLY MUSIC IN FLANDERS SECOND EDITION 2009 CONTENTS 6 PREFACE 7 INTRODUCTION: A Devil and a Pederast: On historical performance practice in Flanders and its international ramifications PART 1 ARTISTS 14 Ensembles 30 Orchestras 34 Conductors 41 Soloists Singers 42 Sopranos 45 Tenors / Countertenors 47 Baritones / Bass Instrumentalist 50 Players of Keyboard Instruments 56 Players of String Instruments 60 Players of Wind Instruments PART 2 ORGANISATIONS AND STRUCTURES 68 Concert Organisations 69 Arts Centres and Concert Halls 71 Festivals 73 Research Institutions, Documentation Centres and Libraries 79 Music Education 80 Conservatories 81 Postgraduate Education 81 Universities 82 Media 85 Booking Agencies 86 Publishers 87 Record Companies 88 Instrument Makers PART 3 ADDITIONAL INFORMATION 93 ‘Flemish’ Music from the Middle Ages until circa 1750 97 On Cultural Policy in Flanders 4 FLANDERS? GATEWAY TO EUROPE Belgium is a federal state in the heart of Europe. Flanders is the northern, Dutch-speaking part of Belgium. The Flemish Community counts more than 6 million inhabitants and is run by a government of its own with a number of specific competences, such as culture, education, media… Brussels, capital of Belgium and of Flanders as well, is home to the European Commission and many international cultural institutions. 5 PREFACE Smaller than a postage stamp! That’s how minute Flanders looks on a map of the world, if you can discover it at all. However, a felicitous turn of his- tory has made this region into an exciting crossroads of different cultures. This is why Flanders is so rich in creative talent and abundant with cultural activities. -
Zeven Eeuwen Nederlandse Muziek
Zeven eeuwen Nederlandse muziek W.H. Thijsse bron W.H. Thijsse, Zeven eeuwen Nederlandse muziek. Kramers, Rijswijk 1949. Zie voor verantwoording: http://www.dbnl.org/tekst/thij017zeve01_01/colofon.htm © 2007 dbnl / W.H. Thijsse 1 Aan de nagedachtenis van WILLEM VAN THIENEN, in leven organist der Oude Kerk te Delft. W.H. Thijsse, Zeven eeuwen Nederlandse muziek 2 Afb. I. J.P. Sweelinck W.H. Thijsse, Zeven eeuwen Nederlandse muziek 5 Ten geleide Dit boek ‘beperkt’ zich tot de geschiedenis der muziek in de Noordelijke Nederlanden, niet zozeer uit principiële dan wel uit propagandistischpaedagogische en technische overwegingen. Uit oogpunt van voorlichting: de Nederlander (in de huidige zin des woords) is zich nog steeds niet bewust van het feit dat zijn voorvaderen niet alleen schilderden, dichtten, bouwden, handelden en streden, maar dat zij ook musiceerden. In het gunstigste geval herinnert hij zich de zgn. ‘Nederlandse’ scholen en de naam Sweelinck. Verder meent men dat onze muziekgeschiedenis tussen Sweelinck en Diepenbrock gekenmerkt wordt door een geprononceerde steriliteit. Hoewel naar onze mening Noord en Zuid niet te scheiden (wel te onderscheiden) zijn, kwam het ons voor dat de onjuistheid en onhoudbaarheid van deze mening met meer kans op succes te bestrijden zouden zijn door beperking tot het Noorden. Het muzikaal minderwaardigheidsgevoel van de Noord-Nederlander eist doelbewuste bestrijding! De aandacht moet gevestigd blijven op de muziek der Noordelijke gewesten, hoe belangrijk die van het Zuiden ook was en is. Het hemd is nader dan de rok! * * * Principieel zijn begrippen en feiten uit de algemene muziekgeschiedenis, die algemeen bekend verondersteld mogen worden, alsmede de resultaten van recente publicaties, meer vluchtig behandeld. -
EBG008 Booklet-Inslag 190522.Indd
95907 UNICO WILHELM VAN WASSENAER and the Recorder in the Low Countries ERIK BOSGRAAF FRANCESCO CORTI Unico Wilhelm van Wassenaer (1692–1766) Joseph Hector Fiocco (1703–1741) Sonata terza in G minor Four pieces from Pièces de clavecin, premier suite 1Recording Grave dates: 26-29 November 2018 2’53 18 Adagio 3’00 2Recording Allegro location: Kruiskerk, Burgum, The Netherlands2’26 19 Allegro 3’22 3 Sarabanda. Grave 2’23 20 Andante 1’57 4Engineering Giga presto and editing: Dirk Fischer 0’54 21 Vivace 4’13 Church warden: Alfred van der Land Jean-BaptistePhotography: Sjaak Loeillet Verboom de Gant (1688–c.1720) Unico Wilhelm van Wassenaer UNICO WILHELM VAN WASSENAER From: Sonata in G major Op.1 No.3 Sonata seconda in G minor 5Pitch: Largo a’ = 392 Hz, modifi ed 1/6 comma mean tone3’29 22 Grave 1’39 Recorders: 23 Allegro 1’14 Andreas Parcham (1643–1712) 24 Adagio 1’24 and the - Sopranino in g” by Christoph Trescher after early baroque models (TRACKS 36-38) Recorder in the Low Countries Sonata- Soprano in G in major d” by Ernst Meyer after Denner (6-9) 25 Giga presto 2’06 6 Poco allegro 0’56 und die Blockflöte in den Niederlanden - Alto in f’ by Ernst Meyer after Bressan (32-35) 7- Alto [Allegro] in f’ by Sebastian Meyer after Bressan (1-4,0’41 5, 22-25)Johann Christian Schickhardt (1682–1762) 8- Alto Adagio in e’ by– Allegro Ernst Meyer – Adagio after – Presto Bressan – (26-31) Sonata in E major Op.30 No.7 Adagio – Spicato – Largo – Allegro 2’06 26 Allegro 2’01 - Tenor (voice fl ute) in d’ by Ernst Meyer after Bressan (14-17) 9 Aria 1’31 27 Siciliano 3’00 - Bass in G by Küng / Ernst Meyer (10-13) 28 Allegro 2’22 Jean-Baptiste Loeillet de Gant 29 Allegro 2’10 SonataHarpsichord in A minor made Op.1 by SebastianoNo.1 Calì after Antoine Vater30 (1732),Giga kindly provided by Roland Schulze 1’45 10Harpsichord Adagio tuning and maintenance: Mikina Yamashita3’15 31 Allegro 1’31 11 Allegro 1’33 12 Adagio 1’49 Unico Wilhelm van Wassenaer 13Liner Giga. -
Cal Perf February Insert 3.Indd
Sunday, February 23, 2020, 3pm Hertz Hall Akademie für Alte Musik Berlin Xenia Löffler, oboe Georg Kallweit, solo violin and concertmaster Secrets of the Baroque Francesco Maria Veracini (1690–1768) Ouverture No. 6 in G minor for two oboes, strings, and basso continuo Allegro Largo Menuetto Allegro Cal Performances’ 2019–20 season is sponsored by Wells Fargo. 25 Unico Wilhelm van Wassenaer (1692–1766) Concerto Armonico No. 5 in F minor for strings and basso continuo Adagio – Largo Da cappella A tempo comodo (con sordini) A tempo giusto Carl Philipp Emanuel Bach (1714–1788) Oboe Concerto in B-flat major, Wq. 164 Allegretto Largo e mesto (con sordini) Allegro moderato Xenia Löffler, oboe INTERMISSION Georg Philipp Telemann (1681–1767) Sinfonia Melodica, TWV 50:2 for two oboes, strings, and basso continuo Vivace assai Sarabande Bourrée Menuet en Rondeau Loure a l’unison Chaconnette Gigue en Canarie Alessandro Scarlatti (1660–1725) Concerto Grosso No. 5 in D minor Allegro Grave Gigue: Allegro Minuet Antonio Vivaldi (1678–1741) Violin Concerto in D minor, Op. 4, No. 8 (from La Stravaganza), RV 249 Allegro – Adagio – Presto – Adagio Allegro Georg Kallweit, violin George Frideric Handel (1685–1759) Concerto Grosso in D minor, Op. 3, No. 5, HWV 316 for two oboes, strings, and basso continuo [without indication] Allegro Adagio Allegro ma non troppo Allegro 26 PLAYBILL PROGRAM NOTES Francesco Maria Veracini works. Veracini passed his last years in his na- Ouverture No. 6 in G minor tive Florence, directing the musical activities of for two oboes, strings, and basso continuo the churches of San Pancrazio and San Michele “Veracini was regarded as one of greatest mas- agl’Antinori and occasionally concertizing. -
'Die Zauberflöte, Eine Operette in Zwey Aufzügen': on the 18Th
‘Die Zauberfl öte, eine Operett e in zwey Aufzügen’: On the 18th-century Prehistory of a Genre Designation* Péter Bozó (Budapest/Budimpešta) UDC/UDK: 792.54:782.8Mozart, W. A. Original Scholarly Paper / Izvorni znanstveni članak Since the nineteenth century, it has been claimed several times that the term ‘operett a’ was coined by Mozart. In what follows here, I will argue that this claim is surely false, and that it probably originates with the nineteenth-century lexicogra- pher, Henri de Castil-Blaze. However, it is a fact that the term Operett e was in use during the eighteenth century, even if not in the same sense as it has been used since the European dissemination of Jacques Off enbach’s works. I will also indicate the kind of pieces for which the term was used in Mozart’s lett ers, in the catalogue of his juvenile works compiled by his father, as well as in contemporary printed librett os and music scores. Last but not least, I will give an overview of the eighteenth- century defi nitions of the term Operett e, published in music lexicons from Johann Gott fried Walther (1732) to Johann Christoph Koch (1802), and I will explain in this way what Operett e meant during these decades, even before Mozart’s birth. * * * In Act 2, scene 23 of the The Magic Flute, the following dialogue takes place between Papageno and the Speaker: SPEAKER: Man, you deserve to wander forever in the dark recesses of the earth, but the merciful gods exempt you from this punishment. -
De Gouden Eeuw. Amsterdam En Middelburg Werden Na De Val Van Antwerpen in 1585 De Belangrijkste Nieuwe Wereldhavens
Subdomein 3: Burgerlijke cultuur van Nederland in de 17e eeuw. Hoofdstuk 1: Inleiding 1.1: De Nederlanden in de 17e eeuw. Misschien heb je wel eens gehoord over de Nederlandse volksaard dat daarin tolerantie en calvinisme nadrukkelijk aanwezig zijn. Of dat nu nog steeds op gaat voor onze hedendaagse volksaard is de vraag, maar dat deze eigenschappen ooit wel degelijk tot de Nederlandse volksaard behoorden is een feit. Het blijkt uit de geschiedschrijving over de Nederlanden in de 17e eeuw. Het Calvinisme was voor een kleine maar belangrijke groep Nederlanders het geloof. Zij vormden een belangrijke groep in de strijd tegen de katholieke Spanjaarden die de Nederlanden op dat moment overheersten. De overgrote meerderheid van de Nederlanden was nog katholiek. De calvinisten vormden echter een zeer vastberaden groep, en ze toonden steeds opnieuw dat ze in de meest moeilijke omstandigheden, op de moeilijkste posten toch in staat waren om stand te houden, vanwege hun duidelijke wil en vasthoudendheid. Met name in de strijd tegen de Spanjaarden, waren het de calvinisten die zich het felst verzetten, en die de rooms-katholieken ervan wisten te overtuigen dat ook zij zich tegen de Spaanse overheersing zouden moeten verzetten. Dat was geen gering iets, want daarmee zouden de katholieken tegen de katholieke Spanjaarden en voor de calvinisten moeten kiezen. Onder invloed van het Humanisme (denk aan Erasmus) was gewetensvrijheid, tolerantie ten aanzien van andersdenkenden een belangrijke verworvenheid geworden, en dat gaf de katholieken de mogelijkheid om toch mee te doen in de strijd tegen de katholieke Spanjaarden. Ze wisten dat ze niet vervolgd zouden worden vanwege hun geloof of andere opvattingen.