A Requiem for Classical Music?
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Time 1925 1930 1935 1940 1945 1950 1955 1960 1965 1970 1975 1980 1985 1990 1995 2000 2005 2010
Giulio Gatti Casazza 1926 Director, Metropolitan Opera Arturo Toscanini Leopold Stokowski 1926 1930 Conductor Conductor Pietro Mascagni Lucrezia Bori James Cæsar Petrillo 1926 1930 1948 Composer Singer Head, American Federation of Musicians Richard Strauss Alfred Hertz Sergei Koussevitsky Helen Traubel Charles Munch 1938 1927 1930 1946 1949 Composer and conductor Conductor Conductor Singer Conductor Ignace J Paderewski Geraldine Farrar Joseph Deems Taylor Marian Anderson Cole Porter 1939 1927 1931 1946 1949 Kirsten Flagstad Pianist, politician Singer Composer, critic Singer Composer 1935 Lauritz Melchior Giulio Gatti-Casazza Ignace Jan Paderewski Yehudi Menuhin Singer Artur Rodziński Gian Carlo Menotti Maria Callas 1940 1923 1928 1932 1947 1950 1956 Artur Rubinstein Edward Johnson Singer Director, Metropolitan Opera Pianist, politician Violinist; 16 years old Conductor Composer Singer 1966 1936 Leopold Stokowski Pianist Johann Sebastian Bach Nellie Melba Mary Garden Lawrence Tibbett Singer Arturo Toscanini Mario Lanza & Enrico Caruso Leonard Bernstein 1940 1968 1927 1930 1933 1948 1951 1957 Jean Sibelius Conductor Dmitri Shostakovich Composer (1685–1750) Singer Singer Singer Conductor Singers Composer, conductor 1937 1942 Beverly Sills Richard Strauss Rosa Ponselle Arturo Toscanini Composer Composer Benjamin Britten Patrice Munsel Renata Tebaldi Rudolf Bing Luciano Pavarotti 1971 1927 1931 1934 1948 1951 1958 1966 1979 Sergei Koussevitsky Sir Thomas Beecham Leontyne Price Singer Georg Solti Composer, conductor Singer Conductor Composer -
Enrico Caruso (1873-1921)
ENRICO CARUSO (1873-1921) Birth Name: Enrico Caruso Place of Birth: Naples, Italy Career Highlights: Enrico Caruso was widely considered the greatest international opera star of his day. He was not American – Caruso was born and died in Naples, Italy – but he spent many years living in New York as a leading star at the Metropolitan Opera, and was the United States’ first recording superstar, issuing almost 300 recordings with the Victor Talking Machine Company (later RCA). While much of his recording focused on operatic works, Caruso recorded many popular songs, including the Neapolitan (southern Italian) song “O Sole Mio,” in the language of his native Naples. (In 1960, Elvis Presley had a No. 1 hit with the song “It’s Now or Never,” sung to same tune as “O Sole Mio.”) In 1918, Caruso recorded the patriotic American World War I song “Over There.” Recording: “O Sole Mio” (traditional Italian song), 1916 Recording: “Over There” (patriotic World War I song), 1918 Questions to consider: What cities are the newspapers below from? What does the size and placement of the articles about Caruso’s death suggest about his popularity in the United States? What are some of the terms used to describe Caruso in the headlines to these articles? Why might American audiences have been interested in listening to recordings of popular Italian songs? What does Caruso’s recording of a song like “Over There” suggest about his attitude toward the United States? About Americans’ attitudes toward him? Why might it have been easier for an Italian to find success as an opera star in the United States during this period than in another field? How might Caruso’s success have helped paved the way for singers of Italian descent who came after him?. -
Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich. -
About the Exhibition Tenorissimo! Plácido Domingo in Vienna
Tenorissimo! Plácido Domingo in Vienna May 17th, 2017 - January 8th, 2018 Lobkowitzplatz 2, 1010 Wien [email protected] T +43 1 525 24 5315 About the exhibition An unmistakable dark timbre, highly dramatic expressiveness, an impressive, vast repertoire – all this enraptures the fans of the Spanish crowd-pleaser with waves of enthusiasm. The Theatermuseum celebrates Plácido Domingo on the anniversary of his stage debut: He has been singing at the Vienna State Opera for 50 years. When the Tenor, then still considered as insider tip, made his debut at the State Opera in the title role of Verdi‘s Don Carlo, not only he took stage and cast in storm, but also the hearts of the Viennese audience – a true love relationship, unbroken till today. This performance contributed to an unparalleled career, taking him to the world‘s leading opera houses. Vienna has always been a very special “home port“ for the opera star. Here he performed 30 different roles in 300 shows and was awarded the title Austrian Kammersänger. The exhibition at the Theatermuseum documents the most important appearances of the “Tenorissimo“ in Vienna with original costumes and props, photographs and memorabilia, video and audio samples. The presentation portrays him also as baritone, the role fach on which he concentrated almost exclusively in the past 10 years, and refers to his activities as conductor, taking him regularly to the orchestra pit of the Vienna State Opera since the end of the 1970s. Without hesitation Plácido Domingo can be described as one of the most versatile, curious and longest serving representative of his musical genre. -
Hemsing Associates, Inc
Hemsing Associates, Inc. 401 East 80th Street, Suite 14H New York, NY 10075-0650 Tel.: 212/772-1132 Fax: 212/628-4255 HEMSING ASSOCIATES Public Relations for the Arts Josephine Hemsing Managing Director Dan Cameron Managing Director Vanessa Meiling Haynes Publicity Associate Ellen Churui Li Publicity Associate Joanna Malinowska Graphics Designer www.hemsingpr.com FOR IMMEDIATE RELEASE MUSICIANS FOUNDATION TO RECEIVE $25,000 GRANT FROM THE NATIONAL ENDOWMENT FOR THE ARTS Funds To Be Used To Organize NYC Conference Slated For Fall 2021 To Focus On Performing Artists’ Needs in Time of Crisis June 29, 2020, New York City—The Musicians Foundation is honored to announce that it has been granted a generous Art Works award of $25,000 from the National Endowment for the Arts. Funds are to be used to organize a national conference of organizations that assist professional performing artists in times of need and crisis. The conference, which gains urgency and a new significance in the COVID-19 pandemic, is currently slated to take place in New York City in the fall of 2021 and will address the situation in which performing artists have suffered extreme loss of income as current and future engagements have been cancelled. (Depending on COVID-19 government guidelines, the conference might be postponed till spring 2022.) The conference will be organized by the Musicians Foundation in tandem with a Steering Committee of national and regional organizations, including the Actors Fund, MusiCares, Jazz Foundation, and Episcopal Actors Guild. Founded in 1914 by the Bohemians, a group of musicians and music lovers, the Musicans Foundation was first led by such important figures as Frank Damrosch, Franz Kneisel, Rubin Goldmark (teacher to Aaron Copland and George Gershwin,) and Rudolf Schirmer. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Hybridity and Identity in the Pan-American Jazz Piano Tradition
Hybridity and Identity in the Pan-American Jazz Piano Tradition by William D. Scott Bachelor of Arts, Central Michigan University, 2011 Master of Music, University of Michigan, 2013 Master of Arts, University of Michigan, 2015 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2019 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by William D. Scott It was defended on March 28, 2019 and approved by Mark A. Clague, PhD, Department of Music James P. Cassaro, MA, Department of Music Aaron J. Johnson, PhD, Department of Music Dissertation Advisor: Michael C. Heller, PhD, Department of Music ii Copyright © by William D. Scott 2019 iii Michael C. Heller, PhD Hybridity and Identity in the Pan-American Jazz Piano Tradition William D. Scott, PhD University of Pittsburgh, 2019 The term Latin jazz has often been employed by record labels, critics, and musicians alike to denote idioms ranging from Afro-Cuban music, to Brazilian samba and bossa nova, and more broadly to Latin American fusions with jazz. While many of these genres have coexisted under the Latin jazz heading in one manifestation or another, Panamanian pianist Danilo Pérez uses the expression “Pan-American jazz” to account for both the Afro-Cuban jazz tradition and non-Cuban Latin American fusions with jazz. Throughout this dissertation, I unpack the notion of Pan-American jazz from a variety of theoretical perspectives including Latinx identity discourse, transcription and musical analysis, and hybridity theory. -
Carnegie Hall a Rn Eg Ie an D H Is W Ife Lo 12 Then and Now Uise, 19
A n d r e w C Carnegie Hall a rn eg ie an d h is w ife Lo 12 Then and Now uise, 19 Introduction The story of Carnegie Hall begins in the middle of the Atlantic. itself with the history of our country.” Indeed, some of the most In the spring of 1887, on board a ship traveling from New York prominent political figures, authors, and intellectuals have to London, newlyweds Andrew Carnegie (the ridiculously rich appeared at Carnegie Hall, from Woodrow Wilson and Theodore industrialist) and Louise Whitfield (daughter of a well-to-do New Roosevelt to Mark Twain and Booker T. Washington. In addition to York merchant) were on their way to the groom’s native Scotland standing as the pinnacle of musical achievement, Carnegie Hall has for their honeymoon. Also on board was the 25-year-old Walter been an integral player in the development of American history. Damrosch, who had just finished his second season as conductor and musical director of the Symphony Society of New York and ••• the Oratorio Society of New York, and was traveling to Europe for a summer of study with Hans von Bülow. Over the course of After he returned to the US from his honeymoon, Carnegie set in the voyage, the couple developed a friendship with Damrosch, motion his plan, which he started formulating during his time with inviting him to visit them in Scotland. It was there, at an estate Damrosch in Scotland, for a new concert hall. He established The called Kilgraston, that Damrosch discussed his vision for a new Music Hall Company of New York, Ltd., acquired parcels of land concert hall in New York City. -
Závěrečné Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Studijní program zpěv Fenomén Tři tenoři Diplomová práce Autor práce: BcA. Jiří Ullrich Vedoucí práce: doc. MgA. Mgr. Monika Holá, Ph.D. Oponent práce: PhDr. MgA. Alena Borková Brno 2018 Bibliografický záznam ULLRICH, Jiří. Fenomén Tři tenoři [The Three Tenors phenomenon]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2018 54 s. Vedoucí diplomové práce, doc. MgA. Mgr. Monika Holá, Ph.D. Anotace Diplomová práce „Fenomén Tři tenoři“ pojednává o historii a vývoji tenorového hlasu, o životech a kariérách tenorů José Carrerase, Plácida Dominga a Luciana Pavarottiho, triu, které vytvořili a jeho vlivu na další hudební vývoj a vznik podobných uskupení. Annotation Diploma thesis „The Three Tenors phenomenon” deals with history and development of the tenor voice, lives and careers of the tenors José Carreras, Plácido Domingo and Luciano Pavarotti, the trio they created and it´s influence on further musical development and the creation of the similar groups. Klíčová slova Tři tenoři, José Cerreras, Plácido Domingo, Luciano Pavarotti, fenomén, tenor. Keywords The Three Tenors, José Carreras, Plácido Domingo, Luciano Pavarotti, phenomenon, tenor. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 12. května 2018 Jiří Ullrich Poděkování Na tomto místě bych rád poděkoval paní doc. MgA. Mgr. Monice Holé, Ph.D. za trpělivé vedení diplomové práce. Obsah ÚVOD ......................................................................................................................... -
1. Early Years: Maria Before La Callas 2. Metamorphosis
! 1. EARLY YEARS: MARIA BEFORE LA CALLAS Maria Callas was born in New York on 2nd December 1923, the daughter of Greek parents. Her name at birth was Maria Kalogeropoulou. When she was 13 years old, her parents separated. Her mother, who was ambitious for her daughter’s musical talent, took Maria and her elder sister to live in Athens. There Maria made her operatic debut at the age of just 15 and studied with Elvira de Hidalgo, a Spanish soprano who had sung with Enrico Caruso. Maria, an intensely dedicated student, began to develop her extraordinary potential. During the War years in Athens the young soprano sang such demanding operatic roles as Tosca and Leonore in Beethoven’s Fidelio. In 1945, Maria returned to the USA. She was chosen to sing Turandot for the inauguration of a prestigious new opera company in Chicago, but it went bankrupt before the opening night. Yet fate turned out to be on Maria’s side: she had been spotted by the veteran Italian tenor, Giovanni Zenatello, a talent scout for the opera festival at the Verona Arena. Callas made her Italian debut there in 1947, starring in La Gioconda by Ponchielli. Her conductor, Tullio Serafin, was to become a decisive force in her career. 2. METAMORPHOSIS After Callas’ debut at the Verona Arena, she settled in Italy and married a wealthy businessman, Giovanni Battista Meneghini. Her influential conductor from Verona, Tullio Serafin, became her musical mentor. She began to make her name in grand roles such as Turandot, Aida, Norma – and even Wagner’s Isolde and Brünnhilde – but new doors opened for her in 1949 when, at La Fenice opera house in Venice, she replaced a famous soprano in the delicate, florid role of Elvira in Bellini’s I puritani. -
A Listening Guide for the Indispensable Composers by Anthony Tommasini
A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.