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Langston Hughes, Jazz Poet Collection and Introduction by Mitch Losito
Langston Hughes, Jazz Poet collection and introduction by Mitch Losito Prototype 2 - May 3, 2017 “Young Jazz Musicians” by Tom Nachreiner LANGSTON HUGHES, JAZZ POET - MITCH LOSITO !1 Table of Contents Introduction……………………………………………………………………………………………1 “The Weary Blues” The Weary Blues……………………………………………………………………………………….5 Song for a Banjo Dance………………………………………………………………………………..6 Harlem Night Club…………………………………………………………………………………….7 Lenox Avenue: Midnight…………………………..…….……………………………………………8 Response to “The Weary Blues”…………………………………………………………………………9 “Ask Your Mama: 12 Moods For Jazz” Jazztet Muted………………………………………………………………………………………….11 Horn of Plenty [excerpt]……………………………………………………………………………..12 Response to “Ask Your Mama”……………….………………………………………………………..13 Original Poems When Midnight Hits……………….………………………………………………………….……..15 Works Consulted MLA Bibliography……………………………………………………………………………………16 LANGSTON HUGHES, JAZZ POET - MITCH LOSITO !2 Introduction Poetry is meant to be read. Langston Hughes’s poetry is meant to be read aloud. This is the first thing that we notice when reading Hughes’s work: the simplicity of the diction, the repetition of phrases, and the overall rhythm of the pieces feel ready to jump off the page to be spoken. There is a reason for this. Despite the overarching positioning of Hughes as the “poet laureate” of black culture, reading his later works without this lens provides an intriguing view on the way that his poetry is perceived (Rampersad 3). The problem with reading Hughes as merely a stand-in of Harlem Renaissance poetry is that it ignores a key influence on Hughes’s writing, namely jazz. Since he was writing in a period when jazz was at the forefront of society, it is reasonable that his poetry would be effected by its intricacies and forms. As a result, his poems are more than just effected by jazz’s intricacies and forms. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support. -
Boston Symphony Orchestra Concert Programs, Summer, 1961-1962
Music Shed — Tanglewood Lenox, Massachusetts Thursday, August 2, 1962, at 8:00 For the Benefit of the Berkshire Music Center THE BOSTON POPS ARTHUR FIEDLER, Conductor Soloist EARL WILD, Piano PROGRAM *The Stars and Stripes Forever Sousa *Suite from "Le Cid" Massenet Castiliane — Aragonaise — Aubade — Navarraise #Mein Lebenslauf ist Lieb' und Lust, Waltzes Josef Strauss Pines of Rome Respighi I. The Pines of the Villa Borghese II. The Pines near a Catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way Intermission *Concerto in F for Piano and Orchestra Gershwin I. Allegro II. Adagio; Andante con moto III. Allegro agitato Soloist: Earl Wild *Selection from "West Side Story" Bernstein I Feel Pretty — Maria — Something's Coming — Tonight — One Hand, One Heart — Cool — A-mer-i-ca Mr. Wild plays the Baldwin Piano Baldwin Piano *RCA Victor Recording Special Event at Tanglewood Thursday, August 23 A GALA EVENING of Performances by the Students For the Benefit of the Berkshire Music Center ORDER OF EVENTS 4 :00 Chamber Music in the Theatre 5 :00 Music by Tanglewood Composers in the Chamber Music Hall 6:00 Picnic Hour 7 :00 Tanglewood Choir on the Main House Porch 8 :00 The Berkshire Music Center Orchestra Concert in the Shed In Mahler's Third Symphony, with the Festival Chorus and Florence Kopleff, Contralto Conductor—Richard Burgin Admission tickets . (All seats unreserved except boxes) $2.50 — Box Seats $5.00 Grounds open for admission at 3 :00 p.m. REMAINING FESTIVAL CONCERTS (The final concerts of Charles Munch as Music Director of the Boston Symphony Orchestra) EVENINGS — 8 :00 P.M. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
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A KNIGHT’S PROGRESS A KNIGHT’S PROGRESS According to the rubric in the service book for the 1953 Coronation, the Queen, as soon as 1 I was glad Hubert Parry (1848-1918) [4.57] Born in the seaside town of Bournemouth, Sir she entered at the west door of the Church, 2 The Twelve William Walton (1902-1983) [11.49] Charles Hubert Hastings Parry went on to study was to be received with this anthem and, while Soloists: Oscar Simms treble at Eton and then at Oxford University where it was being sung, she was to pass through Benedict Davies treble Tom Williams alto he subsequently became Professor of Music. the body of the Church, into and through the Thomas Guthrie tenor From 1895 until his death he was also Director Choir, and up to her Chair of Estate beside Christopher Dixon bass of the Royal College of Music in London. He the Altar. On that occasion the Queen’s Our present charter * Nico Muhly (b.1981) wrote music of all kinds, including an opera, Scholars of Westminster School led the choir 3 I. First [4.02] symphonies, chamber and instrumental music, in singing the central section of this anthem – 4 II. Thy Kingdome Come, O God [4.21] oratorios and church music. However, he is ‘Vivat Regina Elizabetha!’ – a section that 5 III. The Beatitudes [4.22] perhaps best known nowadays for his famous nowadays is ususally omitted in concert 6 IV. Nullus Liber Homo Capiatur [4.45] setting of William Blake’s poem, Jerusalem. performances, as it is on this recording. -
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OUT OF DARKNESS q Litany to the Holy Spirit Peter Hurford (b. 1930) [2.36] Choristers Music from Lent to Trinity Bertie Baigent organ w If ye love me Thomas Tallis (1505-1585) [2.00] Chapel Choir 1 Cunctis diebus William Byrd (1540-1623) [6.31] College Choir e Listen sweet dove Grayston Ives (b. 1948) [2.40] Chapel Choir 2 Remember not, Lord, our offences. Z 50 Henry Purcell (1659-1695) [2.57] Bertie Baigent organ Combined Choirs r Breathe on me, breath of God Ned Rorem (b. 1923) [2.17] 3 The Lamentation Edward Bairstow (1874-1946) [9.03] College Choir College Choir Benjamin Morris organ t The Spirit of the Lord is upon me Edward Elgar (1857-1934) [7.21] from The Apostles, Op. 49 4 Tantum ergo Fernand Laloux (1901-1970) [2.01] Combined Choirs College Choir Benjamin Morris organ 5 O vos omnes Pablo Casals (1876-1973) [3.36] y Libera nos John Sheppard (c. 1515-1559) [3.21] College Choir College Choir 6 Ye Choirs of New Jerusalem Charles Villiers Stanford (1852-1924) [4.44] u I Saw the Lord John Stainer (1840-1901) [7.19] Combined Choirs Combined Choirs Bertie Baigent organ Benjamin Morris organ Harry Shapiro & Jamie Wilkinson trebles 7 Surrexit pastor bonus Jean L’Heritier (1480-1551) [3.31] Louisa Dawes soprano, Sophie Nairac contralto College Choir Jaliya Senanayake tenor, Peter Lidbetter bass 8 Festival Te Deum, Op. 32 Benjamin Britten (1913-1976) [6.11] Total timings: [75.45] College Choir Julia Sinclair soprano Benjamin Morris organ 9 Incantation pour un jour Saint Jean Langlais (1907-1991) [5.20] Benjamin Morris organ THE CHOIR OF JESUS COLLEGE CAMBRIDGE 0 Sedebit dominus rex James MacMillan (b. -
St Paul's Cathedral Melbourne
St Paul’s Cathedral Together transforming our City and Diocese MELBOURNE Services and Music List: 10 – 17 February 2019 Sunday 10 February Fifth Sunday after Epiphany Thur 14 February Cyril (d.869) and Methodius, bishop (d.885) missionaries to the Slavs 8am BCP Holy Communion. Hymn: Dear Lord and Father 12.15pm Eucharist 9am Sung Eucharist: Grad: The eternal gifts of Christ the King; Off: Dear Lord and Father; 5.10pm Choral Evensong: Lay Clerks Dis: God gives us a future Responses: Ferial 10.30am Choral Eucharist: Choir of Girls and Lay Clerks Psalm: 2 Chant: John Goss (1800-80) Hymns: Int: Be thou my vision; Grad: The eternal gifts of Christ the King; Setting: Fourth Evening Service – Adrian Batten (1591-1637) Off: Dear Lord and Father of mankind; Dis: God gives us a future Anthem: Siderum rector – William Byrd (1543-1623) Setting: Missa Rorate Coeli desuper, Hob XXII:3 – Joseph Haydn (1732-1809) Ruler of the stars, gracious God, spare our sins, pardoning our offences: so that with a pure Psalm: 138 Chant: William Hayes (1708–77) heart we may sing unto thee a gracious song. Motet: Almighty God, who caused the light – Eric Austin Phillips (b.1947) Hymn: Ye servants of God Postlude: Cathédrales, Op.55 No.3 – Louis Vierne (1870-1937): Mrs Roslyn Carolane, Assistant Organist Friday 15 February 6pm Choral Evensong: Choir of Boys and Men [7.45am Girls’ Rehearsal at Lowther Hall] Hymns: Int: Be thou my vision; Coll: Dear Lord and Father of mankind; 12.15pm Eucharist Dis: God gives us a future 5.10pm Choral Evensong: Choir of Boys and Men Responses: William Smith (c.1557-1603) Responses: Ferial Psalm: 119:145-152 Chant: June Nixon Psalm: 130 Chant: after Henry Purcell (1659-95) Setting: Evening Service in A flat – Basil Harwood (1859-1949) Setting: Evening Service in F – Harold Friedell (1905-58) Anthem: O thou the central orb – Charles Wood (1866-1926) Anthem: Tantum ergo sacramentum – Herbert Sumsion (1899-1995) So great a sacrament let us venerate with bowed heads. -
Boston Symphony Orchestra Concert Programs, Season 77, 1957-1958, Subscription
*l'\ fr^j BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON 24 G> X will MIIHIi H tf SEVENTY-SEVENTH SEASON 1957-1958 BAYARD TUCEERMAN. JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT 8. TUCEERMAN J. DEANE SOMERVILLE It takes only seconds for accidents to occur that damage or destroy property. It takes only a few minutes to develop a complete insurance program that will give you proper coverages in adequate amounts. It might be well for you to spend a little time with us helping to see that in the event of a loss you will find yourself protected with insurance. WHAT TIME to ask for help? Any time! Now! CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. Insurance of Every Description 108 Water Street Boston 6, Mast. LA fayette 3-5700 SEVENTY-SEVENTH SEASON, 1957-1958 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, 1958, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Jacob J. Kaplan Vice-President Richard C. Paine Treasurer Talcott M. Banks Michael T. Kelleher Theodore P. Ferris Henry A. Laughlin Alvan T. Fuller John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Charles H. Stockton C. D. Jackson Raymond S. Wilkins E. Morton Jennings, Jr. Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. -
2017 Convention Schedule
WEDNESDAY, JANUARY 4 2:00PM – 5:00PM Board of Directors Meeting Anacapa 6:00PM - 9:00PM Pre-Conference Dinner & Wine Tasting Villa Wine Bar 618 Anacapa Street, Santa Barbara 7:00PM – 10:00PM Opera Scenes Competition Rehearsal Grand Ballroom THURSDAY, JANUARY 5 8:00AM – 5:00PM Registration Grand Foyer 9:00AM – 5:00PM EXHIBITS Grand Foyer 9:00AM – 9:30AM MORNING COFFEE Grand Foyer Sponsored by the University of Colorado at Boulder College of Music 9:30AM-10:45AM Sierra Madre The 21st Century Way: Redefining the Opera Workshop Justin John Moniz, Florida State University Training programs have begun to include repertoire across varying genres in order to better equip young artists for prosperous careers in today’s evolving operatic canon. This session will address specific acting and movement methods geared to better serve our current training modules, offering new ideas and fresh perspectives to help redefine singer training in the 21st century. Panelists include: Scott Skiba, Director of Opera, Baldwin Wallace Conservatory; Carleen Graham, Director of HGOco, Houston Grand Opera; James Marvel, Director of Opera, University of Tennessee-Knoxville; Copeland Woodruff, Director of Opera Studies, Lawrence University. 11:00AM-12:45PM Opening Ceremonies & Luncheon Plaza del Sol Keynote Speaker: Kostis Protopapas, Artistic Director, Opera Santa Barbara 1:00PM-2:15PM The Janus Face of Contemporary American Opera Sierra Madre Barbara Clark, Shepherd School of Music, Rice University The advent of the 21st century has proven fertile ground for the composition -
The Transcriber's Art – #51 Josquin
The Transcriber’s Art – #51 Josquin des Prez by Richard Yates “Take Five. There's a certain piece that if we don’t play, we’re in trouble.” —Dave Brubek It was a familiar situation: deep in the stacks, surrounded by ancient scores, browsing for music that might find artful expression through the guitar. Perusing pages of choral music, I was suddenly struck by the realization that what I was doing was precisely what lutenists 400 years ago had done. While not exactly déjà vu, there was a strong sense of threading my way along paths first explored centuries ago. And if I was struggling with this source material, did they also? What solutions did they find and what tricks did they devise? What can we learn from them to help solve the puzzle of intabulating Renaissance vocal polyphony? The 16th century saw the gradual evolution of musical ideals that culminated in the works of Giovanni Pierluigi da Palestrina (1525–94). Polyphonic music was to be a smooth, effortless flow of independent voices. Predominant stepwise movement emphasized continuity of individual lines but without drawing undue attention to any particular one. Dissonance was largely confined to the weak beats and passing tones or softened through suspensions. With its unique capacity for continuous modulation of timbre, pitch and volume, the human voice was exquisitely suited to this style. The articulation of syllables, true legato and subtle, unobtrusive portamento that connects phonemes and that is inherent in singing all facilitated the tracking of voices through a closely woven texture. Renaissance choral music is inextricably bound up with, and dependent on, the qualities of human voice. -
Staged Treasures
Italian opera. Staged treasures. Gaetano Donizetti, Giuseppe Verdi, Giacomo Puccini and Gioacchino Rossini © HNH International Ltd CATALOGUE # COMPOSER TITLE FEATURED ARTISTS FORMAT UPC Naxos Itxaro Mentxaka, Sondra Radvanovsky, Silvia Vázquez, Soprano / 2.110270 Arturo Chacon-Cruz, Plácido Domingo, Tenor / Roberto Accurso, DVD ALFANO, Franco Carmelo Corrado Caruso, Rodney Gilfry, Baritone / Juan Jose 7 47313 52705 2 Cyrano de Bergerac (1875–1954) Navarro Bass-baritone / Javier Franco, Nahuel di Pierro, Miguel Sola, Bass / Valencia Regional Government Choir / NBD0005 Valencian Community Orchestra / Patrick Fournillier Blu-ray 7 30099 00056 7 Silvia Dalla Benetta, Soprano / Maxim Mironov, Gheorghe Vlad, Tenor / Luca Dall’Amico, Zong Shi, Bass / Vittorio Prato, Baritone / 8.660417-18 Bianca e Gernando 2 Discs Marina Viotti, Mar Campo, Mezzo-soprano / Poznan Camerata Bach 7 30099 04177 5 Choir / Virtuosi Brunensis / Antonino Fogliani 8.550605 Favourite Soprano Arias Luba Orgonášová, Soprano / Slovak RSO / Will Humburg Disc 0 730099 560528 Maria Callas, Rina Cavallari, Gina Cigna, Rosa Ponselle, Soprano / Irene Minghini-Cattaneo, Ebe Stignani, Mezzo-soprano / Marion Telva, Contralto / Giovanni Breviario, Paolo Caroli, Mario Filippeschi, Francesco Merli, Tenor / Tancredi Pasero, 8.110325-27 Norma [3 Discs] 3 Discs Ezio Pinza, Nicola Rossi-Lemeni, Bass / Italian Broadcasting Authority Chorus and Orchestra, Turin / Milan La Scala Chorus and 0 636943 132524 Orchestra / New York Metropolitan Opera Chorus and Orchestra / BELLINI, Vincenzo Vittorio