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German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
RVW Final Feb 06 21/2/06 12:44 PM Page 1
RVW Final Feb 06 21/2/06 12:44 PM Page 1 Journal of the No.35 February 2006 In this issue... James Day on Englishness page 3 RVWSociety Tony Williams on Whitman page 7 Simona Pakenham writes for the Journal To all Members: page 11 Em Marshall on Holst Can you help? page 14 Six pages of CD and DVD reviews Our f irst r ecording v enture – the rar e songs of Vaughan Williams – has r eached a Page 22 critical point such that we no w need at least 100 members to each support us with a £100 subscription. Could you help us? and more . The project The rare songs will fill two CDs. We begin with Songs from the Operas and this includes ten songs from Hugh the Drover, arranged by the composer for voice and piano. These are world premiere recordings in this arrangement and are all quite lo vely. Our second CD covers the CHAIRMAN Early Years and includes man y songs ne ver previously recorded. These two CDs will be Stephen Connock MBE recorded in 2006-07 and issued separately thereafter. 65 Marathon House 200 Marylebone Road There is much wonderful music here, so rare and yet of such quality!The overall project will London NW1 5PL cost around £25,000 using the f inest singers and state of the art recording. We do not want Tel: 01728 454820 to compromise on quality – thus our need for members’support to drive the project forward. Fax: 01728 454873 [email protected] The Subscriptions’ benefits Both CDs will cost over £25,000. -
We Are TEN – in This Issue
RVW No.31 NEW 2004 Final 6/10/04 10:36 Page 1 Journal of the No.31 October 2004 EDITOR Stephen Connock RVW (see address below) Society We are TEN – In this issue... and still growing! G What RVW means to me Testimonials by sixteen The RVW Society celebrated its 10th anniversary this July – just as we signed up our 1000 th new members member to mark a decade of growth and achievement. When John Bishop (still much missed), Robin Barber and I (Stephen Connock) came together to form the Society our aim was to widen from page 4 appreciation of RVW’s music, particularly through recordings of neglected but high quality music. Looking back, we feel proud of what we have achieved. G 49th Parallel World premieres Through our involvement with Richard Hickox, and Chandos, we have stimulated many fine world by Richard Young premiere recordings, including The Poisoned Kiss, A Cotswold Romance, Norfolk Rhapsody No.2, page 14 The Death of Tintagiles and the original version of A London Symphony. Our work on The Poisoned Kiss represents a special contribution as we worked closely with Ursula Vaughan Williams on shaping the libretto for the recording. And what beautiful music there is! G Index to Journals 11-29 Medal of Honour The Trustees sought to mark our Tenth Anniversary in a special way and decided to award an International Medal of Honour to people who have made a remarkable contribution to RVW’s music. The first such Award was given to Richard Hickox during the concert in Gloucester and more . -
Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 12-2-2014 Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Logan, Cameron, "Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax" (2014). Doctoral Dissertations. 603. https://opencommons.uconn.edu/dissertations/603 i Nonatonic Harmonic Structures in Symphonies by Ralph Vaughan Williams and Arnold Bax Cameron Logan, Ph.D. University of Connecticut, 2014 This study explores the pitch structures of passages within certain works by Ralph Vaughan Williams and Arnold Bax. A methodology that employs the nonatonic collection (set class 9-12) facilitates new insights into the harmonic language of symphonies by these two composers. The nonatonic collection has received only limited attention in studies of neo-Riemannian operations and transformational theory. This study seeks to go further in exploring the nonatonic‟s potential in forming transformational networks, especially those involving familiar types of seventh chords. An analysis of the entirety of Vaughan Williams‟s Fourth Symphony serves as the exemplar for these theories, and reveals that the nonatonic collection acts as a connecting thread between seemingly disparate pitch elements throughout the work. Nonatonicism is also revealed to be a significant structuring element in passages from Vaughan Williams‟s Sixth Symphony and his Sinfonia Antartica. A review of the historical context of the symphony in Great Britain shows that the need to craft a work of intellectual depth, simultaneously original and traditional, weighed heavily on the minds of British symphonists in the early twentieth century. -
British Piano Concertos DDD the RNCM Symphony Orchestra Is One of Several Major Ensembles at the Royal Northern College of Music in Manchester
557291 bk PitfieldUS 12/08/2005 04:32pm Page 8 8.557291 RNCM Symphony Orchestra British Piano Concertos DDD The RNCM Symphony Orchestra is one of several major ensembles at the Royal Northern College of Music in Manchester. All the ensembles perform regularly in public concerts in the College as well as externally around Britain and abroad. The Symphony Orchestra has worked with many guest conductors including Martyn Brabbins, Sir Edward Downes, Mark Elder, Cristian Mandeal, Vassily Sinaisky, Gerard Schwarz and Yan Pascal Tortelier. Thomas The orchestra also supports the College’s critically acclaimed opera productions, most recently Rossini’s La Cenerentola, Stravinsky’s The Rake’s Progress and Tchaikovsky’s Queen of Spades. Overseas tours have PITFIELD included concerts at the Al Bustan Festival in Beirut and a residency at the annual Cantiere Internazionale d’arte di Montepulciano, Italy between 1992 and 2003. The RNCM Symphony Orchestra’s commercial recordings include Piano Concertos Nos. 1 and 2 contributions to Classico’s The British Symphonic Collection Series. Anthony Goldstone, Piano • Peter Donohoe, Piano Royal Northern College of Music Orchestra Andrew Penny Andrew Penny Andrew Penny was born in Hull and entered the Royal Manchester College of Music in 1971 to study the clarinet with Sidney Fell. As a postgraduate he was the first holder of the Rothschild Scholarship in Conducting at the Royal Northern College of Music, studying with Sir Charles Groves and Timothy Reynish, subsequently receiving the Ricordi Prize. He gained invaluable experience with the Opera Unit during this time and was associated with many of the operas presented by the College in its early years both in Manchester and Sadlers Wells Theatre. -
Constant Lambert
SRCD.215 STEREO †DDD ADD Constant Lambert CONSTANT LAMBERT (1905-1951) Romeo and Juliet (30’00”) Pomona (20’36”) Pomona A Ballet in two Tableaux (1924-5) A Ballet in one Act (1926) First Tableau 14 1 Prelude (4’07”) Music for Orchestra 1 1 Rondino (2’06”) 15 2 Corante (2’59”) 2 2 Gavotte & Trio (2’08”) 16 3 Pastorale (2’41”) 3 3 Scherzino (1’42”) 17 4 Menuetto (2’24”) Romeo & Juliet 4 4 Siciliana (2’54”) 18 5 Passacaglia (1’53”) 5 5 Sonatina (2’33”) 19 6 Rigadoon (0’59”) King Pest Second Tableau 20 7 Siciliana (3’39”) ‘Rondo Burlesca’ 6 1 Entracte (1’39”) 21 8 Marcia (1’54”) 7 2 Sinfonia (2’54”) 8 3 Alla Marcia (1’51”) Music for Orchestra (1927) †* (13’19”) 9 4 Toccata (2’31”) 22 1st movement: Andante (5’31”) 10 5 Musette (2’51”) 23 - 2 nd movement: Risoluto – Vivace (7’48”) 11 6 Burlesca (1’29”) 12 7 Adagietto (1’59”) 24 King Pest: Rondo Burlesca †** (9’14”) 13 8 Finale (3’23” ) (Vivace ma misterioso) (73’14”) English Chamber Orchestra conducted by Norman Del Mar * London Philharmonic Orchestra conducted by Barry Wordsworth ** Royal Philharmonic Orchestra conducted by Simon Joly English Chamber Orchestra • Del Mar The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. ൿ 1979 * ** ൿ 2007 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England Royal Philharmonic This compilation and digital remastering ൿ 2007 Lyrita Recorded Edition, England © 2007 Lyrita Recorded Edition, England. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
Emmanuel Chabrier Et Moi 79 Daniel Jacobson 27 a Conversation with Nicolas Le Riche
Spring 2008 Ball et Revi ew From the Spring 2008 issue of Ballet Review David Vaughan on Emmanuel Chabrier Cover: Marie-Jeanne in Ballet Imperial , courtesy of Dwight Godwin. © Dance Research Foundation, Inc. 4 Amsterdam – Clement Crisp 5 Chicago – Joseph Houseal 6 Toronto – Gary Smith 7 Oakland – Leigh Witchel 8 St. Petersburg, Etc. – Kevin Ng 10 Hamilton – Gary Smith 11 London – Joseph Houseal 13 San Francisco – Leigh Witchel 15 Toronto – Gary Smith David Vaughan 17 Emmanuel Chabrier et Moi 79 Daniel Jacobson 27 A Conversation with Nicolas Le Riche Joseph Houseal 39 Lucinda Childs: Counting Out the Bomb Photographs by Costas 43 Robbins Onstage Edited by Francis Mason 43 Nina Alovert Ballet Review 36.1 50 A Conversation with Spring 2008 Vladimir Kekhman Associate Editor and Designer: Joseph Houseal Marvin Hoshino 53 Tragedy and Transcendence Associate Editor: Don Daniels Davie Lerner 59 Marie-Jeanne Assistant Editor: Joel Lobenthal Marilyn Hunt 39 Photographers: 74 ABT: Autumn in New York Tom Brazil Costas Sandra Genter Subscriptions: 79 Next Wave XXV Roberta Hellman Copy Editor: Elizabeth Kattner Barbara Palfy 88 Marche Funèbre , A Lost Work Associates: of Balanchine Peter Anastos Robert Gres kovic 94 Music on Disc – George Dorris George Jackson 27 100 Check It Out Elizabeth Kendall Paul Parish Nancy Reynolds James Sutton David Vaughan Edward Willinger Sarah C. Woodcock Cover: Marie-Jeanne in Ballet Imperial , courtesy of Dwight Godwin. Emmanuel Chabrier he is thought by many to be the link between eighteenth-century French compos ers such et Moi as Rameau and Couperin, and later ones like Debussy and Ravel, both of whom revered his music, as did Erik Satie, Reynaldo Hahn, and David Vaughan Francis Poulenc (who wrote a book about him). -
U.S. Sheet Music Collection
U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES B (VOCAL) Consists of vocal sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor. -
Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi.