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Senior Recital Rebecca Robles Chapman University
Chapman University Chapman University Digital Commons Printed Performance Programs (PDF Format) Music Performances 3-22-2009 Senior Recital Rebecca Robles Chapman University Cheryl Lin Fielding Chapman University Follow this and additional works at: http://digitalcommons.chapman.edu/music_programs Recommended Citation Robles, Rebecca and Fielding, Cheryl Lin, "Senior Recital" (2009). Printed Performance Programs (PDF Format). Paper 548. http://digitalcommons.chapman.edu/music_programs/548 This Senior Recital is brought to you for free and open access by the Music Performances at Chapman University Digital Commons. It has been accepted for inclusion in Printed Performance Programs (PDF Format) by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Chapman University Conservatory ofMusic presents a Senior Recital Rebecca Robles, soprano Dr. Cheryl Lin Fielding, pianist March 22, 2009 • 8:00 P.M. Salmon Recital Hall Program Cantata Georg Frideric Handel Aria: Crudel tiranno amor {1685-1759) Recitativo: Ma tu mandi al mio core Aria: 0 dolce mia speranza Recitativo: Senza te, dolce speme Aria: 0 cara speme Maria Myrick, Violin • Jarrett Threadgill, Viola Daphne Medina, Violin • Scott Kawai, Cello II Four Folk Songs Maurice Ravel Spanish (1875-1937) French Italian Hebrew III Steal Me Gian Carlo Menotti from The Old Maid and the Thief (1911-2007) Dan St.Marseille, Clarinet Intermission IV The Daisies Samuel Barber Nuvoletta {1910-1981) My Lizard v Standchen Richard Strauss Du meines Herzens Kronelein {1864-1949) Cacilie This recital is. in partial fulfillment of the requirement for a Bachelor of Music in Vocal Performance. Ms. Robles is a student of Dr. Peter Atherton. -
Mora Wade the RECEPTION of OPITZ's Ludith DURING the BAROQUE by Virtue of Its Status As the Second German Opera Libretto, Martin
Mora Wade THE RECEPTION OF OPITZ'S lUDITH DURING THE BAROQUE By virtue of its status as the second German opera libretto, Martin Opitz's ludith (1635), has received little critical attention in its own right. l ludith stands in the shadow of its predecessor, Da/ne (1627),2 also by Opitz, as weH as in that of a successor, Harsdörffer and Staden's See/ewig (1644), the first German-Ianguage opera to which the music is extant today.3 Both libretti by Opitz, Dafne and ludith, are the earliest examples of the reception of Italian opera into German-speaking lands.4 Da/ne was based on the opera ofthe 1. Martin Opitz: ludith. Breslau 1635. See also Kar! Goedeke: Grund risz zur Geschichte der deutschen Dichtung. Vol. III. Dresden 1886. p. 48. Aversion of this paper was given at the International Conference on the German Renaissance, Reformation, and Baroque held from 4-6 April 1986 at the University of Kansas, Lawrence. Support from the Newberry Library in Chicago and from the National Endowment for the Humani ties to use the Faber du Faur Collection at the Beinecke Library of Yale University enabled me to undertake and complete this project. A special thanks to Christa Sammons, curator of the German collection at the Beinecke, for providing me with a copy of ludith. 2. Martin Opitz: Dafne. Breslau 1627. 3. Georg Philipp Harsdörffer: Frauenzimmer Gesprächspiele. Vol. IV. Nürnberg 1644. Opitz's 'ludith' has only three acts and has no extant music. Löwenstern's music to Tscherning's expanded version of Opitz's 'ludith' was not published until 1646, a full two years after 'Seelewig'. -
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. -
George Frideric Handel Cc 9127 George Frideric Handel
GEORGE FRIDERIC HANDEL CC 9127 GEORGE FRIDERIC HANDEL male lead in The Bear for Hemsley, who played it under the composer on BBC Television in George Frideric Handel (1685-1759) 1970. His book Singing and Imagination is a lucid guide to his finely-honed art. = `çåÅÉêíç=áå=_JÑä~í=ets=OVQ=léK=Q=kçK=S=ENTPSF= NNKNN Geraint Jones (1917-98). The son of a Glamorgan minister, Jones studied at the Royal 1-3 I Andante allegro 3.53 2 II Larghetto 4.31 3 III Allegro moderato 2.53 Academy of Music before being rejected for World War II service on grounds of poor health. Osian Ellis, harp. The Boyd Neel Orchestra directed by Thurston Dart Determined to ‘do his bit’, he made his debut as a harpsichordist in 1940 at one of Myra Hess’s A BBC studio broadcast, 26 February 1957 National Gallery concerts, later touring widely with his wife, the violinist Winifred Roberts. After the war he became highly influential in the ‘authentic’ baroque movement, forming his own = ^éçääç=É=a~ÑåÉ=ets=NOO=ENTNMF= QPKMR orchestra for the acclaimed performances at London’s Mermaid Theatre in 1951 of Dido and Aeneas, with Kirsten Flagstad and Thomas Hemsley. Jones’s many recordings included Dido 4 Recitative and Aria Apollo ‘La terra è liberata … Pende il ben dell’universo’ 5.18 (The earth is set free … The good of the universe) with those singers (plus Elisabeth Schwarzkopf as Belinda and Arda Mandikian as the 5 Recitative and Aria Apollo 3.54 Sorceress) as well as music by Bach, Handel and Mozart. -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
BOOKLET CCS SA SEL 3705 21-11-2017 13:26 Pagina 1
BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 1 CHANNEL CLASSICS CCS SA SEL 6717 SUPER ARTISTS IN SUPER AUDIO 15 tracks 69 minutes 32 composers 11 channel classics artists BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 2 BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 3 CCS SA 33412 Allegro from Concerto No.1 - A. Vivaldi 1 Holland Baroque Rachel Podger, violin ‘La Cetra’ A. Vivaldi 12 Violin Concertos, opus 9 on historical instruments SA-CD.net 5 stars: ... a triumphant return to Vivaldi ... Classics Today 5 stars: ... a search for the best recording of a given set of Vivaldi violin concertos gets easier with every new release from Rachel Podger ... Podger is a dynamic and unfailingly accurate virtuoso with exceptional interpretive instincts ... WQXR: Album of the Week: ... it's well tuned, and supported by a richly varied continuo of archlute, theorbo, gui - tar, organ and harpsichord ... Stereophile 5 stars: ... Podger and her Dutch band seek out the peculiari - ties, the differences and surprises ... the fast movements are joyful, almost dancelike, and the slow move - ments are embellished in ways that can be practically bluesy … the recording is spectacular … these per - formances are beauties, every one ... 3 BOOKLET_sampler 9:BOOKLET_CCS SA SEL 3705 21-11-2017 13:26 Pagina 4 CCS SA 32713 Götterdämmerung - Siegfried's Funeral March - R.Wagner 2 Budapest Festival Orchestra Iván Fischer, conductor Petra Lang, soprano R. Wagner Götterdämmerung Die Meistersinger von Nürnberg Excerpts Siegfried – Idyll BBC Music Magazine 5 stars: ... Fischer’s Meistersinger is quite sprightly yet poised, with an attractively underlying warmth, and his Siegfried-Idyll has chamber-like translucency .. -
Histories of Heinrich Schu¨ Tz
Cambridge University Press 978-0-521-19765-6 - Histories of Heinrich Schütz Bettina Varwig Frontmatter More information HISTORIES OF HEINRICH SCHU¨ TZ Bettina Varwig places the music of the celebrated Dresden composer Heinrich Schu¨tz in a richly detailed tapestry of cultural, political, religious and intellectual contexts. Four key events in Schu¨tz’s career – the 1617 Reformation centenary, the performance of his Dafne in 1627, the 1636 funeral composition Musicalische Exequien, and the publication of his motet collection Geistliche Chor-Music (1648) – are used to explore his music’s resonances with broader historical themes, including the effects of the Thirty Years War, contemporary meanings of classical mythology, Lutheran attitudes to death and the afterlife, as well as shifting conceptions of time and history in light of early modern scientific advances. These original seventeenth-century circumstances are treated in counter- point with Schu¨tz’s fascinating later reinvention in nineteenth- and twentieth-century German musical culture, providing a new kind of musicological writing that interweaves layers of historical inquiry from the seventeenth century to the present day. bettina varwig is a music historian with wide-ranging interests in early modern European culture. She has held fellowships at Magdalen College, Oxford, and the University of Cambridge, and is now a lecturer at King’s College London. She has published widely on the music of Heinrich Schu¨tz and J. S. Bach. This is her first book. © in this web service Cambridge -
CHAN 0723 Booklet.Qxd 13/12/07 18:40 Page 2
CHAN 0723 Front.qxd 13/12/07 18:36 Page 1 BUXTEHUDE SACRED CANTATAS Vol. 2 EMMA KIRKBY • MICHAEL CHANCE • CHARLES DANIELS • PETER HARVEY THE PURCELL QUARTET CHAN 0723 CHANDOS early music CHAN 0723 Booklet.qxd 13/12/07 18:40 Page 2 Dietrich Buxtehude (c. 1637–1707) Sacred Cantatas, Volume 2 1 Das neugebor’ne Kindelein, BuxWV 13 6:45 for soprano, alto, tenor, bass, three violins, violone and basso continuo AKG Images 2 Quemadmodum desiderat cervus, BuxWV 92 7:44 Chiaccona à 3 for tenor, two violins and basso continuo Nichts soll uns scheiden von der Liebe Gottes, BuxWV 77 10:22 for soprano, alto, bass, two violins, violone and basso continuo 3 Nichts soll uns scheiden von der Liebe Gottes 2:34 4 Wie sollte wohl heißen das zeitliche Leiden 1:54 5 Auch ist kein erschaffnes Vermögen zu nennen 2:00 6 Denn Gott hat die Liebe so hoch ja getrieben 3:52 Dixit Dominus Domino meo, BuxWV 17 10:03 for soprano, two violins, two violas, violone and basso continuo 7 Sonata 0:44 8 Dixit Dominus Domino meo 2:43 9 Juravit Dominus 0:52 Dietrich Buxtehude, with sheet of music, in an allegorical painting by Johann (Johannes) 10 Dominus a dextris tuis confregit in die irae suae reges 1:30 Voorhout (1647–1723) called Musizierende Gesellschaft, or Häusliche Musikszene (1674), 11 …conquassabit capita in terra multorum 1:22 also showing Johann Adam Rincken, at the keyboard 12 Gloria patri et filio et spiritui sancto 2:48 3 CHAN 0723 Booklet.qxd 13/12/07 18:40 Page 4 An filius non est Dei, BuxWV 6 12:09 29 Jesu dulcis memoria, BuxWV 57 7:20 for alto, tenor, bass, -
Handel's Messiah Freiburg Baroque Orchestra
Handel’s Messiah Freiburg Baroque Orchestra Wednesday 11 December 2019 7pm, Hall Handel Messiah Freiburg Baroque Orchestra Zürcher Sing-Akademie Trevor Pinnock director Katherine Watson soprano Claudia Huckle contralto James Way tenor Ashley Riches bass-baritone Matthias von der Tann Matthias von There will be one interval of 20 minutes between Part 1 and Part 2 Part of Barbican Presents 2019–20 Please do ... Turn off watch alarms and phones during the performance. Please don’t ... Take photos or make recordings during the performance. Use a hearing aid? Please use our induction loop – just switch your hearing aid to T setting on entering the hall. The City of London Corporation Programme produced by Harriet Smith; is the founder and advertising by Cabbell (tel 020 3603 7930) principal funder of the Barbican Centre Welcome This evening we’re delighted to welcome It was a revolutionary work in several the Freiburg Baroque Orchestra and respects: drawing exclusively on passages Zürcher Sing-Akademie together with four from the Bible, Handel made the most of outstanding vocal soloists under the his experience as an opera composer in direction of Trevor Pinnock. The concert creating a compelling drama, with the features a single masterpiece: Handel’s chorus taking an unusually central role. To Messiah. the mix, this most cosmopolitan of figures added the full gamut of national styles, It’s a work so central to the repertoire that from the French-style overture via the it’s easy to forget that it was written at a chorale tradition of his native Germany to time when Handel’s stock was not exactly the Italianate ‘Pastoral Symphony’. -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel. -
Chapter 7: Humanism and the Birth of Opera I. Introduction A. the Chief
Chapter 7: Humanism and the Birth of Opera I. Introduction A. The chief musical style of the Renaissance, the Ars perfecta, did not blend well with the idea of “rebirth”—the meaning of the word “Renaissance.” The ideals of humanism pushed for a different aesthetic, one that found its meaning in the relationship between text and music. B. Italian music dominated European style ca. 1600. C. Absolutism was the main political influence of the period. D. The word “Baroque” is problematical for numerous reasons. II. The Pressure of Humanism A. During the sixteenth century, academies formed in Italy, modeled loosely on the academies of ancient Greece. B. The most important academy was in Florence. 1. This group considered the performance of Greek drama and poetry as a musical event. 2. These ideas were adopted by a group of humanists known as the Camerata. III. The Representational Style A. Galilei thought that music should represent meaning or emotion. 1. He arrived at this concept through Plato. 2. This is known as stile rappresentativo, which Galilei felt could be best expressed by a single voice (monody). IV. Intermedii A. Intermedii were allegorical pageants performed between acts of spoken comedy. B. The intermedii performed at a wedding in 1589 experimented with the ideals discussed by Galilei. 1. They included pieces by Guilio Caccini (1551–1618), a singer and member of the Camerata. V. The Monodic Revolution A. Cavalieri’s Rappresentatione di Anima, et di Corpo (1600) included solo music that we would recognize as recitative. It included figured bass. B. In 1601, both Caccini and Peri set Rinuccini’s drama Euridice. -
Matthäus-Passion. Charles Daniels (Evangelist Und Tenor), Peter Harvey
Johann Sebastian Bach: Matthäus-Passion. Charles Daniels (Evangelist und Tenor), Peter Harvey (Jesusworte), Joanne Lunn (Sopran), Margot Oitzinger (Alt), Wolf Matthias Friedrich (Bass), Chor und Orchester der J.S. Bach-Stiftung, Leitung: Rudolf Lutz. JSB 3 CDs 7640151160111. Seit 2007 führt die schweizerische „J.S. Bach-Stiftung“ – so ihre eigene Schreibweise – monatlich ein Vokalwerk des Thomaskantors auf, und zwar mit großem Aufwand: Zunächst gibt es eine musikalisch-theologische Werkeinführung, die zwar Workshop genannt wird, aber eher ein Vortrag ist. Dann erklingt das jeweilige Stück zum ersten Mal an diesem Abend, worauf eine Betrachtung des barocken Kantatentextes aus heutiger Sicht durch eine Persönlichkeit aus Kultur, Wirtschaft oder Politik folgt. Abschließend wird das Stück ein zweites Mal gesungen und gespielt, damit man es nach der Reflexion anders wahrnehmen kann als zuvor. Dokumentiert wird das Ganze in mehrfacher Form: Einmal auf DVD mit allem Drum und Dran, aber nur einem Werk pro Veröffentlichung; oder auf CD mit mehreren Stücken, aber ohne Einführung und Reflexion. Die Reflexionen kann man wiederum als Buch oder als Download kaufen. Hierüber wie über weitere Details informiert die Website www.bachstiftung.ch. Die Produkte sind entweder direkt bei der Bach-Stiftung oder über den deutschen Versandhandel zu beziehen. Ein ebenso ehrgeiziges wie engagiertes Projekt, das sich über 25 Jahre erstrecken soll und mit der sprichwörtlichen schweizerischen Genauigkeit gestaltet wird. Die Sorgfalt im Detail ist schon beeindruckend, in spiel- und aufnahmetechnischer Hinsicht gibt es nicht das Geringste auszusetzen, die Redaktion der DVDs, CDs und Bücher ist hervorragend, nur die alberne Entscheidung der Werbeagentur, an prominenten Stellen (z. B. Überschriften oder Werktiteln) bewusst gegen die Regeln der Rechtschreibung zu verstoßen, um sich „grafisch vom traditionellen Bach-Markt abzuheben“ (wie es heißt), wirkt reichlich deplatziert.