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Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F. -
Download Booklet
LCO LCO London Chamber Orchestra Beethoven Mendelssohn Live Conductor Soloist Director Christopher Warren-Green Melvyn Tan LCO Live Ludwig van Beethoven (1770-1827) But really the differences are much Egmont Overture Op.84 more striking than the similarities. Where Beethoven Mendelssohn Cherubini is all bustle, a domestic scale Ludwig van Beethoven Beethoven was asked in 1809 for music for a domestic tragedy, the huge, slashing to accompany a Viennese production of chords of Beethoven’s opening, the painful 1. Egmont Overture Op.84 [8.08] Goethe’s eponymous play. He complied, fired chromaticism of its introduction, groping Christopher Warren-Green conductor with enthusiasm for its themes of national for resolution, and the sledgehammer liberation and personal heroism, though chords that punctuate its harried Allegro Ludwig van Beethoven not so much so that he could meet the theme: these are universal in ambition. The Piano Concerto No.2 in B flat major Op.19 [28.33] deadline: the overture was only ready for the sledgehammers don’t even let up from the 2. Allegro con brio [14.06] play’s fourth night in June 1810. The story second theme in the woodwinds, shapely is set in 16th-century Flanders. Egmont, a but never without the sense of fate pressing 3. Adagio [8.14] Flemish nobleman, is in love with Clärchen. close on its heels. It is those chords that 4. Rondo: Molto allegro [6.13] His attempts to moderate tyrannical rule of finally overwhelm all lyrical impulse: the Melvyn Tan soloist/director the Duke of Alba meet only with arrest and execution is graphically achieved. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre -
The Cambridge Companion To: the ORCHESTRA
The Cambridge Companion to the Orchestra This guide to the orchestra and orchestral life is unique in the breadth of its coverage. It combines orchestral history and orchestral repertory with a practical bias offering critical thought about the past, present and future of the orchestra as a sociological and as an artistic phenomenon. This approach reflects many of the current global discussions about the orchestra’s continued role in a changing society. Other topics discussed include the art of orchestration, score-reading, conductors and conducting, international orchestras, and recording, as well as consideration of what it means to be an orchestral musician, an educator, or an informed listener. Written by experts in the field, the book will be of academic and practical interest to a wide-ranging readership of music historians and professional or amateur musicians as well as an invaluable resource for all those contemplating a career in the performing arts. Colin Lawson is a Pro Vice-Chancellor of Thames Valley University, having previously been Professor of Music at Goldsmiths College, University of London. He has an international profile as a solo clarinettist and plays with The Hanover Band, The English Concert and The King’s Consort. His publications for Cambridge University Press include The Cambridge Companion to the Clarinet (1995), Mozart: Clarinet Concerto (1996), Brahms: Clarinet Quintet (1998), The Historical Performance of Music (with Robin Stowell) (1999) and The Early Clarinet (2000). Cambridge Companions to Music Composers -
Basic Repertoire List
Basic Repertoire List for Building a Library of Classical Recordings How to Use this Guide The world of classical music spans nearly 10 centuries, and encompasses a multitude of styles, forms, and purposes. This section of the Guide was compiled in the hope that it will help and encourage many people in the exploration of the abundance of recorded classical music that is now available. With that in mind, this section focuses on those composers and compositions that provide a basic repertoire of music representing the various major styles and forms developed over the past millennium in Western Art Music. The Classical Net staff has assembled a list of compositions that we feel form a solid basis for a music collection that contains representative works from all periods and styles of the last millenium in Western art music. The compositions we have marked with an red star ( or asterisk *) are those we feel are fundamental and a good starting point for getting acquainted with more music by a particular composer or historic period. At the time this list was prepared every attempt was made to ensure that recordings of all the compositions listed are currently available. However, availability of recordings is at times a complex and fast-changing issue complicated by distributor and manufacturer offerings in various countries and even regions within countries, as well as changes in label ownership. This list has been designed to provide a roadmap to classical music in its many forms and styles, and to assist the user in acquiring a collection of recordings which bring this music into the home. -
RPS Lecture 2001 Kenyon
RPS Lecture 2001: NNicholasicholas Kenyon The Barbican Centre, 24 February TTTraditionTradition Isn’t What it UUUsedUsed to BBBeBeee This is an edited text of a lecture which included extensive sound and video extract, which are inevitably omitted here. The lecture was linked to a performance at the Barbican Centre on 26 February 2001 of Purcell's Dido and Aeneas and Charpentier's Actéon by Les Arts Florissants, directed by William Christie. A list of the recordings used is at the end of the text. When Bernard Haitink came off the stage at the Royal Albert Hall after giving an electrifying performance of Beethoven's Seventh Symphony with the Berlin Philharmonic at last year's BBC Proms, he looked at me with a twinkle and said 'ah, just some old-fashioned Beethoven for you, Nick'. But it wasn't. It was an absolute model of what an up-to-date modern Beethoven performance could be, a performance that had absorbed some of the best insights of the period-instrument movement while remaining resolutely crafted out of the sound of the Berlin Philharmonic, achieving miracles of textural clarity: how often do you hear the single first flute ascending above the orchestra in the final bars? It made me think again about what is old-fashioned and what isn't, how tradition changes before our eyes and ears, how performance styles evolve and how performing traditions get established. If you listen to Herbert von Karajan's very first recording of Beethoven's Seventh, from 1941, you hear a performing tradition that did not get established, as the horns sweep in at the first Vivace. -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 2000 – July 2001 .................................................................................................................................. 24 September 2001 – July 2002 .................................................................................................................................. 46 September 2002 – July 2003 .................................................................................................................................. 74 September 2003 – July 2004 .................................................................................................................................. 98 September 2004 – July 2005 ................................................................................................................................ 128 September 2005 – July 2006 ................................................................................................................................ 155 September 2006 – July 2007 ............................................................................................................................... -
Carl Maria Von Weber's Overture to Oberon: a History of Recorded
Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance Stephen Planas Table of Contents Introduction 3 Past Research & Methodology 7 Timing & Duration 9 Portamento 17 Rhythmic Accuracy & Ensemble 20 Changes in Expressive Playing 24 Conclusions 40 Appendix A 43 Appendix B 44 Bibliography 54 2 Introduction Historians have always been fascinated by the question of how music of the past was performed. When dealing with the distant past, precise answers concerning performance practice have often been elusive, however. Eyewitness accounts and musical treatises allow scholars to draw some conclusions about a specific period’s performance practices, but written records have inherent limitations. We cannot say with any certainty how Bach, Mozart, or Beethoven performed their music. Written records fail to reveal details crucial to the analysis of a work’s performance history. Thanks to the development of audio recordings, performances from throughout the 20th century have been preserved, fundamentally changing the way historians can study performance practice. From the earliest recordings of Mengelberg and Walter to the modern discs of Levine and Barenboim, major conductors’ interpretations of the core symphonic repertoire are now available. Using these valuable resources, scholars can now examine the performance history of specific pieces or eras more thoroughly, and draw more secure conclusions about the nature of performance practices and traditions. Historians have commonly divided the history of classical music recording into two distinct periods, the first ending in the years following World War II and the second continuing to the present.1 Many differences can be found 1 Derived from Robert Philip, Performing Music in the Age of Recording (New Haven: Yale University Press, 2004), Robert Philip, Early Recordings and Musical Style (Cambridge: Cambridge University Press, 1992), and Bernard D. -
Historical Performance Comes of Age Ingrid E
Performance Practice Review Volume 17 | Number 1 Article 5 By Word of Mouth: Historical Performance Comes of Age Ingrid E. Pearson Royal College of Music, London Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Pearson, Ingrid E. (2012) "By Word of Mouth: Historical Performance Comes of Age," Performance Practice Review: Vol. 17: No. 1, Article 5. DOI: 10.5642/perfpr.201217.01.05 Available at: http://scholarship.claremont.edu/ppr/vol17/iss1/5 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. By Word of Mouth: Historical Performance Comes of Age Ingrid E. Pearson Copyright © 2012 Claremont Graduate University Orality and literacy: the work of Walter Ong In 1982 Walter Ong published Orality and Literacy: The Technologizing of the Word, in which he explored the differences between oral and literate cultures.1 The work, having been reprinted some seventeen times, still provokes us into questioning the very notion of our existence, one which is irrevocably shaped by an overwhelmingly literate society. After entering the Jesuit order at the age of 23, Ong undertook studies in philosophy, theology, and English at Saint Louis University, in Missouri, USA. He received the MA in 1941 for research into poetic rhythm in the works of Gerard Manley Hopkins, as well as licentiate degrees in sacred theology and philosophy. -
6 MIR Parametry 33 6.1 Nízkoúrovňové Parametry
VYSOKÉ UČENÍ TECHNICKÉ V BRNĚ Fakulta elektrotechniky a komunikačních technologií DIPLOMOVÁ PRÁCE Brno, 2018 Bc. Vítězslav Král VYSOKÉ UČENÍ TECHNICKÉ V BRNĚ BRNO UNIVERSITY OF TECHNOLOGY FAKULTA ELEKTROTECHNIKY A KOMUNIKAČNÍCH TECHNOLOGIÍ FACULTY OF ELECTRICAL ENGINEERING AND COMMUNICATION ÚSTAV TELEKOMUNIKACÍ DEPARTMENT OF TELECOMMUNICATIONS URČOVÁNÍ OBDOBÍ VZNIKU INTERPRETACE ZA POMOCI METOD PARAMETRIZACE HUDEBNÍHO SIGNÁLU RECOGNIZING THE HISTORICAL PERIOD OF INTERPRETATION BASED ON THE MUSIC SIGNAL PARAMETERIZATION DIPLOMOVÁ PRÁCE MASTER'S THESIS AUTOR PRÁCE Bc. Vítězslav Král AUTHOR VEDOUCÍ PRÁCE Ing. Tomáš Kiska SUPERVISOR BRNO 2018 Diplomová práce magisterský navazující studijní obor Audio inženýrství Ústav telekomunikací Student: Bc. Vítězslav Král ID: 164599 Ročník: 2 Akademický rok: 2017/18 NÁZEV TÉMATU: Určování období vzniku interpretace za pomoci metod parametrizace hudebního signálu POKYNY PRO VYPRACOVÁNÍ: Shrňte dosavadní poznatky z oblasti srovnávání zvukových nahrávek v oblasti tzv. „Music information retrieval“. Dále analyzujte interpretace z hlediska tempa, dynamiky a barvy zvuku. Implementujte systém, který za pomoci metod strojového učení a korelační analýzy vybere takové hudební parametry, které mají největší schopnost diferencovat období vzniku jednotlivých interpretací. DOPORUČENÁ LITERATURA: [1] SCHEDL, M.; GOMÉZ, E; URBANO, J. Music Information Retrieval: Recent Developments and Applications. Foundations and Trends in Information Retrieval, 2014: s. 127-261, DOI: 978-1-60198-807-2. [2] MÜLLER, M. Fundamentals -
Beethoven Symphony No.5
UNWRAP THE MUSIC WITH RICHARD GILL BEETHOVEN SYMPHONY NO.5 Learning Resource by Peter Thomas and Eugenie Middleton UNWRAP THE MUSIC WITH RICHARD GILL BEETHOVEN SYMPHONY NO.5 INTRODUCTION This unit aims to provide teachers with a usable resource which supports the Film “Beethoven Symphony No.5 Unwrap the Music”. There are a range of activities which will see students gain understanding of the music of Beethoven, orchestral music and how music is composed. INDEX 1. Introduction, Index and Web links 3. Listening 5. Classical and Romantic 8. The Composer 9. Interacting with the Film Part 1 12. Interacting with the Film Part 2 14. Interacting with the Film Part 3 16. Musical Terms 18. Form - First Movement 20. NCEA Level One Score Reading Task 24. NCEA Level One Musical Knowledge Recall Assessment 27. NCEA Level Three Context Exam ANSWER PAGES 38. Listening - Answer 40. Classical and Romantic -Answer 45. Musical Terms - Answer 1 WEB LINKS APO Unwrap Beethoven Video https://www.apo.co.nz/watch-listen/apo-unwrap-beethoven-s-fifth-symphony/ Full Score on IMSLP https://imslp.org/wiki/Special:ImagefromIndex/28594/amnhx Suggested Youtube Performances Vienna Philharmonic - Conducted by Carlos Kleiber https://www.youtube.com/watch?v=RKcAAA1O2sc Vienna Philharmonic - Conducted by Leonard Bernstein https://www.youtube.com/watch?v=1lHOYvIhLxo&t=3s London Classical Players - Conducted by Roger Norrington (Movt.1 only) https://www.youtube.com/watch?v=OdNmAZqKX-A Wikipedia article https://en.wikipedia.org/wiki/Symphony_No._5_(Beethoven) Article in the The Guardian https://www.theguardian.com/music/tomserviceblog/2013/sep/16/symphony-guide-beethoven-fifth-tom-service Gerard Schwarz Talk https://www.khanacademy.org/humanities/music/music-masterpieces-old-new/ludwig-van-beethoven-music/v/ ludwig-van-beethoven-part-1 This learning resource has been made possible by the support of the Saint Kentigern Trust Board and the Douglas Goodfellow Charitable Trust 2 UNWRAP THE MUSIC WITH RICHARD GILL BEETHOVEN SYMPHONY NO.5 LISTENING 1.