Mclain, Margaret Starr Macpherson, Charles, 1865-1941

Total Page:16

File Type:pdf, Size:1020Kb

Mclain, Margaret Starr Macpherson, Charles, 1865-1941 McLain, Margaret Starr [Durochka] Overture "Durochka" : for orchestra. - [U.S.A.], 1924. - score (46p) ; 35cm. - Composer's manuscript full score, with additional performance markings. [k1387432] BEECHAM Q201; 200471201 [Prelude to a modern drama] Prelude to a modern drama : for orchestra. - [U.S.A.], [1920s]. - score (44p) ; 35cm. - Composer's manuscript full score. "An attempt is made to express the atmosphere and spirit of a play by H.R. Lenormand, Les Ratés..." - preface. [k1387449] BEECHAM Q202; 200471202 Macpherson, Charles, 1865-1941 [Cridhe an Ghaidhil] Overture "Cridhe an Ghaidhil" : (The heart of the Gael). 1893. - score (39p) ; 29x36cm. - For full orchestra. Composer's manuscript full score, dated 28.1.92-18.6.92, rewritten 15.6.93-18.6.93. With additional conducting markings. [k1387567] BEECHAM Q203; 200471203 Madetoja, Leevi, 1887-1947 [Symphonies, no.2, op.35, E flat major] Sinfonia N:o.2 : op.35. - Helsinki : Fazer, 1939. - score (157p) ; 34cm. - Pl.no.: F.M.2554. [k1387550] BEECHAM Q204; 200471204 Mahler, Gustav, 1860-1911 [Symphonies, no.1, D major] Erste Symphonie : in D dur. - Wien :Weinberger : Universal-Edition, [1906?]. - score (171p) ; 25cm. - (Universal-Edition ; no.946). - Publication date from CPM. Pl.no.: 6. [k0438819] BEECHAM 34; 200470034 [Symphonies, no.2, C minor] Zweite Symphonie : in C moll. - Wien : Universal, 1897. - score (209p) ; 25cm. - (Universal-Edition ; no.948). - Pl.no.: 1. [k0438883] BEECHAM 35; 200470035 [Symphonies, no.3, D minor] Dritte Symphonie : in D moll. - Wien : Universal, [ca.1906]. - score (231p) ; 25cm. - (Universal-Edition ; no.950). - Publication date from CPM. Pl.no.: 9. [k043889x] BEECHAM 36; 200470036 [Symphonies, no.3, D minor] Dritte Symphonie : D moll. - Wien : Universal, [ca.1906]. - score (231p) ; 33cm. - (Universal-Edition ; no.2939). - Publication date from CPM. Pl.no.: U.E. 2939. [k1387478] BEECHAM Q205; 200471205 [Symphonies, no.6, A minor] Sechste Symphonie : für grosses Orchester. - Leipzig : Kahnt, 1906. - score (263p); 26cm. - Pl.no.: 4526. [q443353x] BEECHAM 37; 200470037 [Symphonies, no.8, E flat major] Achte Symphonie. - Wien : Universal, 1911. - score (218p) ; 28cm. - (Universal- Edition ; no.3000). - Part I with Latin words - Part II with German words. Pl.no.: U.E. 2772 3000. [y7622012] BEECHAM 38; 200470038 [Symphonies, no.9, D major] Neunte Symphonie. - Wien : Universal-Edition, c1912. - score (182p) ; 24cm. - (Universal- Edition ; no.3398). - pl.no.: U.E. 3395 3398. [t4561669] BEECHAM 39; 200470039 Maldere, Pierre van, 1729-1768 [Symphonies, op.4, no.3, B flat major] Symphony in B flat : op.IV, no.3 ; Pierre van Maldere, arr. by Adam Carse. - London : Augener, c1938. - score (15p) ; 31cm. - (Early classical symphonies). - Caption title. Pl.no.: 17777. [t4624832] BEECHAM PAM431; 200472431 Malipiero, Gian Francesco, 1882-1973 [Danze e canzoni] Danze e canzoni ; G. Francesco Malipiero. - Leipzig : Rahter, 1931. - score (91p) ; 33cm. - For full orchestra. Pl.no.: 4455. [k1387544] BEECHAM PAM432; 200472432 Manfredini, Francesco, 1684-1762 [Concerti grossi, op.3, no.12, C major] Weihnachtskonzert : Concerto grosso per il santissimo natale ; nach dem Originaldruck von 1718... herausgegeben von A. Schering. - Leipzig : Kahnt, 1904. - score (15p) ; 34cm. - (Perlen alter Kammermusik deutscher und italienischer Meister ; Nr.10). - Pl.no.: 4291a. [x1150339] BEECHAM PAM433; 200472433. With pencilled performance markings by Sir Thomas Beecham BEECHAM PAM434; 200472434. With pencilled performance markings by Sir Thomas Beecham Martini, Giovanni Battista, 1706-1784 [Plaisir d'amour; arr.. Italian] Piacer d'amor ; Martini [arranged by Eugene Goossens, Jnr.]. [ca.1950]. - score (8p) ; 35cm. - Arranged for baritone, strings and harp. Italian words. Arranger's manuscript full score, dated June 2nd. [k1930907] BEECHAM PAM778; 200472778 Marx, Joseph, 1882-1964 [Idylle] Idylle : Concertino über die pastorale Quart (1925). - Wien : Universal-Edition, 1926. - score (54p) ; 38cm. - For orchestra. Pl.no.: U.E.8461. [k1387455] BEECHAM PAM435; 200472435 Massenet, Jules, 1842-1912 [Manon. Fabliau] Manon ; paroles de Philippe Gille, musique de J. Massenet. Fabliau. - Paris : Heugel, 1898. - score (9p) ; 35cm. - Photographic copy. Pl.no.: H.& Cie. 19447. [k1930913] BEECHAM PAM436; 200472436. With alternative cadenza pencilled in .
Recommended publications
  • Music for Mercer's: the Mercer's Hospital Music Collection and Charity Music in Eighteenth-Century Dublin
    Technological University Dublin ARROW@TU Dublin Dissertations Conservatory of Music and Drama 2012 Music for Mercer's: The Mercer's Hospital Music Collection and Charity Music in Eighteenth-Century Dublin. Tríona O'Hanlon Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/aaconmusdiss Part of the Audio Arts and Acoustics Commons, and the Music Performance Commons Recommended Citation O'Hanlon, T. "Music for Mercer's: The Mercer's hospital music collection and charity music in eighteenth- century Dublin." Thesis submitted for the degree of Ph.D.to the Technological University Dublin, February 2012. This Theses, Ph.D is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Dissertations by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License Music for Mercer’s: The Mercer’s Hospital Music Collection and Charity Music in Eighteenth-Century Dublin Tríona O’Hanlon Conservatory of Music and Drama, Dublin Institute of Technology, Rathmines, Dublin Volume 1 of 4 Ph.D. 2012 Music for Mercer’s: The Mercer’s Hospital Music Collection and Charity Music in Eighteenth-Century Dublin TRÍONA O’HANLON B.A., M.A., DipABRSM Thesis submitted for the degree of Ph.D. to the Dublin Institute of Technology Lead Supervisor Dr Kerry Houston Advisory Supervisor Prof. Barra Boydell Conservatory of Music and Drama, Dublin Institute of Technology, Rathmines, Dublin February 2012 ABSTRACT This thesis examines and analyses the contents of the Mercer’s Hospital Music Collection.
    [Show full text]
  • SONGES SPECTACLE CHOREGRAPHIQUE BEATRICE MASSIN Cie LES FÊTES GALANTES En Collaboration Avec Le Manège De Reims
    SONGES SPECTACLE CHOREGRAPHIQUE BEATRICE MASSIN Cie LES FÊTES GALANTES En collaboration avec le Manège de Reims Jeudi 17 mars-20h30 Vendredi 18 mars – 20h30 Scolaire vendredi 18 mars – 14h30 DOSSIER PEDAGOGIQUE Service Jeune Public 2010-2011 03 26 50 31 06 www.operadereims.com SONGES 2 SOMMAIRE Préparer votre venue ............................................................................................................................................. 4 Recommandations ......................................................................................................................................... 4 Témoignages .................................................................................................................................................. 4 Pour joindre le service jeune public ...................................................................................................................... 4 Note d’intention de Béatrice Massin ................................................................................................................... 5 Songes .................................................................................................................................................................... 6 un rêve baroque d’aujourd’hui .......................................................................................................................... 6 Questionner la verticale baroque .....................................................................................................................
    [Show full text]
  • Dux 1236 / 2016 Bach | Haydn | Beethoven *Carl Philipp Eman
    DUX 1236 / 2016 ____________________________________________________________________ BACH | HAYDN | BEETHOVEN *CARL PHILIPP EMANUEL BACH (1714-1788) : Symphony in F major, Wq.183/3 *JOSEPH HAYDN (1732-1809) : Symphony No. 39 in G minor, Hob. I : 3 9 *LUDWIG VAN BEETHOVEN (1770-1827) : Symphony No. 1 in C major, Op. 21 *** THE CHAMBER ORCHESTRA OF THE ACADEMY OF MUSIC IN GDANSK Guest performance: STUDENTS OF THE ESTONIAN ACADEMY OF MUSIC AND THEATER IN TALLINN AND HOCHSCHULE FÜR MUSIK UND THEATER IN ROSTOCK Andrzej KACPRZAK - concert-master, orchestra preparation Sigiswald KUIJKEN - conductor _______________________________________________________________________________________________ DUX Małgorzata Polańska & Lech Tołwiński ul. Morskie Oko 2, 02-511 Warszawa tel./fax (48 22) 849-11-31, (48 22) 849-18-59 e-mail: [email protected], www.dux.pl Aleksandra Kitka-Coutellier – International Relations kitka@dux Carl Philipp Emanuel Bach composed his symphonies under the most external circumstances, which occurred rather seldom. The fact that Bach wrote 18 symphonies in total is a result of the general practice of the epoch, i.e. – composing a few at a time. The earliest symphonies date from Bach’s time in Berlin, the latter from this group, G major, Wq 180, was composed around 1758. Bach was clearly influenced by Italian music, which can be seen both in the three- movement design of the symphonies and in the treatment of the strings (a pair of violins constitutes a single sound layer, whereas the violas and the cellos lead the bass line). Subsequently, the composer added oboes and horns, however, apart from the tone colour, they do not bring many new qualities. The situation is completely different in the case of the Hamburg Symphony in F major, Wq 183/3, that belongs to the group of four Orchestral Symphonies with Twelve Obbligato Parts composed for the commission of an unidentified patron between 1775-76.
    [Show full text]
  • Brussels: a Forest of Symbols the Largest Masonic Complex in the World?
    The Quartier Royal of Brussels: a forest of symbols The largest masonic complex in the world? This study is dedicated to Pascal Pirotte Strength for the undertaking, Wisdom for the execution and Beauty for the ornament. All it takes is for the crowd to enjoy in the vision of the show : to the initiated will not escape, at the same time, its high significance. Goethe about Mozart's The Magic Flute "What are the duties of a Freemason?" - Fleeing vice and practising virtue - How should he practice virtue? - By preferring justice and truth to everything else". Masonic catechism Real secrets are those that continue to be secrets even when they are revealed. I do this in memory of those who were and those who are no longer. Masonry of the Templars (18th century) The Brussels Park or the Perfect Plan? (english version to be continued – 2021.02.23) F ull F rench version Brief presentation In his Bruxelles, Mille ans de mystères, Paul de Saint-Hilaire seems to be the first contemporary author to have considered the layout of the Royal Park of Brussels from a Masonic point of view1. He saw in it a desire to inscribe the Lodge's main tools in the plan of the Park itself. The following tools would thus be discovered: the compass, the square, the chisel, the mallet, the hammer, the perpendicular (or plumb line), the level, the ruler or lever, and the trowel (illustration above). Thirty years later, in his work Bruxelles maçonnique: faux mystères et vrais symboles2, the masonologist Jean van Win categorically rejected this thesis as phantasmagorical.
    [Show full text]
  • Carolyn Kirk Phd Thesis Vol 1
    THE VIENNESE VOGUE FOR OPÉRA-COMIQUE 1790-1819 : VOL 1. Carolyn Kirk A Thesis Submitted for the Degree of PhD at the University of St Andrews 1985 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/7282 This item is protected by original copyright The Viennese vogue for opera—comique 1790-1819 submitted by Carolyn Kirk In fulfilment of the requirements for Ph.D. degree of the University of St. Andrews, November, 1983 ii ABSTRACT In the mid-eighteenth century, Vienna, like other European cities, began to manifest the influence of modern French culture; In 1752, a troupe of French players was appointed to the Austrian court to entertain the aristocracy. Four years later, links were forged • between the Parisian and Viennese stages via Favart who corresponded with Count Durazzo in Vienna and sent opera scores and suggestions about personnel. In 1765 problems with finance and leadership led to dismissal of Vienna's first French troupe but others performed there for shorter periods between .:1765 and 1780. Opera-comique was introduced to Vienna by French players. Occasional performances of opera-comique in German translation took place in Vienna during the 1770s. When, in 1778, the Nationalsingspiel was founded, French opera formed part of the repertoire because of a lack of good German works. A renewed interest in opèra-comique began in about 1790 when fear of revolutionary France and the reigns of Leopold and Franz led to a return of interest in Italian opera at the court theatres, and the virtual disappearance of opêra-comique from its repertoire.
    [Show full text]
  • Die Langsame Einleitung Ihre Herkunft Und Ihr Bau Bei Haydn Und Mozart
    MÜNCHNER VERÖFFENTLICHUNGEN ZUR MUSIKGESCHICHTE Herausgegeben von Thrasybulos G. Georgiades Band 25 Marianne Danckwardt Die langsame Einleitung Ihre Herkunft und ihr Bau bei Haydn und Mozart VERLEGT BEI HANS SCHNEIDER • TUTZING MARIANNE DANCKWARDT DIE LANGSAME EINLEITUNG IHRE HERKUNFT UND IHR BAU BEI HAYDN UND MOZART VERLEGT BEI HANS SCHNEIDER TUTZING MÜNCHENER UNIVERSITÄTS-SCHRIFTEN Philosophische Fakultät Gedruckt mit Unterstützung aus den Mitteln der Münchener Universitäts-Schriften ISBN 3 7952 0196 9 © 1977 by Hans Schneider, D 8132 Tutzing -Alle Reckte Vorbehalten, insbesondere die des Nachdrucks und der Übersetzung. Ohne schriftliche Genehmigung des Verlages ist es auch nicht gestattet, dieses urheberrechtlich geschützte Werk oder Teile daraus in einem photomechanischen oder sonstigen Reproduktionsverfahren zu vervielfältigen. Herstellung: Ernst Vögel GmbH, 8491 Stamsried INHALT V orw ort......................................................................................................... 9 A) E in fü h r u n g ..........................................................................................11 B) Die langsamen Einleitungen Haydns und Mozarts . 17 I. Die langsamen Einleitungen in Kopfsätzen von Orchester- musik und in O uvertüren..................................................................... 19 1. H aydns E i n l e i t u n g e n ..................................................................... 19 a) Die Einleitungen der Sinfonien Nr. 6 und 7 und ihre charakteristischen G r u n d z ü g e ...............................................19
    [Show full text]
  • Revue%Belge%De
    REVUE%BELGE%DE%MUSICOLOGIE%/%BELGISCH%TIJDSCHRIFT%VOOR%MUZIEKWETENSCHAP% VOL.%%I%(1946)%–%LXX%(2016)% ! Les! rubriques! «!Revue! des! livres! –! Nieuwe! boeken!»,! «!Revue! des! revues! –! Overzicht! der! tijdschriften!»! et! «!Nouvelles! musicologiques! –! MuziekwetenschAppelijk! nieuws!»! ne! sont! pas! reprises.! De! rubrieken! “Nieuwe! boeken! –! Revue! des! livres”,! “Overzicht! der! tijdschriften! –! Revue! des! revues”!en!“!MuziekwetenschAppelijk!nieuws!!–!Nouvelles!musicologiques”!zijn!niet!opgenomen.! !! ! ! Éditorial)–)Ter)inleiding,!I!(1946M47),!p.!1M3! ! ALDEN,!Jane,!! ! The)Scribe’s)Role)in)the)Production)of)15th;Century)Chansonniers:)New)Perspectives,!LIX!(2005),! p.!43M64! ! ALLAIRE,!Gaston!G.,!! ! Some)Overlooked)Modulations)in)the)Works)of)Josquin)Des)Prés?,!XLVI!(1992),!p.!33M51! ! Performance)Practice)Idiosyncracies)of)the)Modes)of)the)Fa;Fa)and)Ut;Sol)Species)in)Pre;1600) Polyphony,)LI!(2007),!p.!63M80) ! The)Forgotten)Art)of)Modulation)in)Renaissance)Polyphony,!LVII!(2003),!p.!5M57! ! ALTAR,!CevAd!Memduh,! ! Wolfgang) Amadeus) Mozart) im) Lichte) Osmanisch;Österreichischer) Beziehungen,! X! (1956),! p.!138M148! ! ANGLES,!Higinio,! ! Une)nueva)versión)del)Credo)de)Tournai,!!VIII!(1954),!p.!97M99! ! ANTONICEK,!Theophil,! ) «)Vergangenheit)muß)unsre)Zukunft)bilden)»:)die)Patriotische)Musikbewegung)in)Wien)und)ihr) Vorkämpfer)Ignaz)von)Mosel,!XXVIMXXVII!(1972M73),!p.!38M49! ) APPEL,!Willi,! ! The)earliest)polyphonic)composition)and)his)theoretical)Background,!X!(1956),!p.!129M137! ! ARLIN,!MAry!I.,! ! Fétis)Contribution)to)Practical)and)Historical)Music)Theory,!XXVIMXXVII!(1972M73),!p.!106M115!
    [Show full text]
  • Eighteenth-Century Italian Instrumental Music Manuscript Collection ARCHIVES ITALIAN MANUSCRIPTS.1
    http://oac.cdlib.org/findaid/ark:/13030/c82f7vhb No online items Guide to the Eighteenth-Century Italian Instrumental Music Manuscript Collection ARCHIVES ITALIAN MANUSCRIPTS.1 Frank Ferko Hargrove Music Library 2020 University of California, Berkeley Berkeley, CA 94720-6000 [email protected] ARCHIVES ITALIAN MANUSCRIPTS.1 1 Language of Material: English Contributing Institution: Hargrove Music Library Title: Eighteenth-Century Italian Instrumental Music Manuscript Collection creator: Duckles , Vincent H. (Vincent Harris), 1913-1985 Identifier/Call Number: ARCHIVES ITALIAN MANUSCRIPTS.1 Physical Description: 31 boxes15 x 11 1/2 in. Physical Description: 1 boxes18 1/2 x 14 1/2 in. (oversize) Date (inclusive): 1700-1805 Abstract: The collection contains works by a range of Italian composers from Arcangelo Corelli (1653-1713) to Luigi Boccherini (1743-1805) and date primarily from the last quarter of the 18th century. Included are approximately 990 manuscripts of 1062 compositions by 82 composers. Furthermore, there are 75 additional manuscripts of anonymous works, embellished variants from slow movements of concertos and sonatas, dance music, and music for social occasions. The music is dominated by three instrumental forms commonly used throughout the 18th century: trio sonata, solo sonata, and concerto. The collection contains 401 examples of sonata for violin and bass, 253 examples of violin concertos, and 237 trio sonatas. There are also about 40 duos as well as 110 string quartets, designated as "sinfonia a 4." The collection also includes numerous unidentified scores and fragments of menuets and other short works. Language of Material: Titles and score markings are in Italian. Conditions Governing Access Collection is open for research.
    [Show full text]
  • The Journal of the Viola Da Gamba Society Text Has Been Scanned With
    The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 20 (1991) (Editor: Lynn Hulse) Robert Thompson ‘Francis Withie of Oxon’ and his commonplace book, Christ Church, Oxford, MS 337 Chelys, vol. 20 (1991), pp. 3-27 Pamela Willetts John Barnard’s collections of viol and vocal music Chelys, vol. 20 (1991), pp. 28-42 Annette Otterstedt The spoon to the soup: an approach to the lyra viol Chelys, vol. 20 (1991), pp. 43-51 Gordon Dodd A study in consort interpretation: William Lawes’s six-part consort set in G minor Chelys, vol. 20 (1991), pp. 52-61 Letters, pp. 62-3 Reviews, pp. 64-76 [3] `FRANCIS WITHIE OF OXON' AND HIS COMMONPLACE BOOK, CHRIST CHURCH, OXFORD, MS 337 ROBERT THOMPSON Three members of the Withey family of Worcester have long been recognised as provincial musicians of some importance.1 Humphrey Withey, a choirboy at Worcester Cathedral in 1611, remained there as a lay clerk until his death in 1661.2 John Withey, identified by Playford as a `famous master' of the lyra viol, was also the subject of a biographical note by Anthony Wood, who described him as `a Roman Catholic and sometime a teacher of music in the citie of Worcester - father of Francis Withie of Oxon' and `excellent for the lyra viol'.3 Francis himself copied a number of manuscripts now in Oxford libraries (see Appendix 1).
    [Show full text]
  • M Javelinotc M Javelinot C Muh-Seeö Zhah-Vuh-Lee-No C
    M javelinot C M Javelinot C muh-seeö zhah-vuh-lee-no C (character in the opera Dialogues des Carmélites [deeah-lawg day kar-may-leet] — Dialogues of the Carmelites [KAR-muh- l§tss]; music by Francis Poulenc [frah6-seess pôô-lah6k]; libretto by Poulenc after Georges Bernanos [zhawrzh behr-nah-nawss]) Ma C Ma, Yo-Yo C MAH, YO-yo C (the Chinese family name is Ma, but the musician is often known as Yo-Yo Ma in the United States) Ma belle mere requiem C A ma belle-mère (requiem) C ah mah bell-mehr (ray-küee-emm) C (song by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]) Ma belle rebelleC O ma belle rebelle C o mah bell ruh-bell C (Oh My Pitiless Beauty) C (song by Charles Gounod [sharl gôô-no]) Ma bergere ma lumiere C Ma bergère, ma lumière C mah behr-zhehr, mah lü-meeehr C (song by Jehan Planson [zhehah6 plah6-soh6]) Ma bravi ma benone C Ma bravi! Ma benone! C mah BRAH-vee! mah bay-NO-nay! C (excerpt from the opera Il barbiere di Siviglia [eel bar-beeAY-ray dee see-VEE-leeah] — The Barber of Seville [suh-VILL]; music by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]; libretto by Cesare Sterbini [chay-ZAH-ray stayr-BEE-nee] after Pierre-Augustin Caron de Beaumarchais [peeehr-o-güss-teh6 kah-raw6 duh bo-mar-sheh] and Giuseppe Petrosellini [joo- ZAYP-pay pay-tro-zayl-LEE-nee]) Ma dallorrido divulsa C Ma dall’orrido divulsa C mah dahl-lohr-REE-doh dee-VOOL-sah C (aria from the opera Un ballo in maschera [oon BAHL-lo een MAH-skay-rah] — A Masked Ball; music by Giuseppe Verdi [joo-ZAYP-pay VAYR-dee]; libretto by Antonio Somma [ahn- TAW-neeo SOHM-mah]
    [Show full text]
  • Gaetano Pugnani and the Eighteenth-Century Italian Symphony: a Study and Edition of the Overture in E-Flat (Zt 23)
    GAETANO PUGNANI AND THE EIGHTEENTH-CENTURY ITALIAN SYMPHONY: A STUDY AND EDITION OF THE OVERTURE IN E-FLAT (ZT 23) By CLAUDIO RE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2011 1 © 2011 Claudio Re 2 To mom and dad 3 ACKNOWLEDGMENTS I thank the Interlibrary Loan staff at the University of Florida for their help in locating and obtaining sources as well as the Music Librarians (Robena Cornwell, Michele Wilbanks, and Mary Wood) for their genuine concern with my research. I thank the librarians who in several locations in Europe were willing to correspond with me and were helpful in supplying information and reproductions of scores: Vera Paulus (Engelberg, Switzerland); Margarida Cerqueira and Sónia Pascoal (Biblioteca de Ajuda, Lisbon, Portugal); Prof. Licia Sirch (Conservatorio Giuseppe Verdi, Milan, Italy); Prof. Chiara Pancino (Conservatorio Benedetto Marcello, Venice, Italy); Budagova Ekaterina (National Library of Russia, St. Petersburg, Russia); Ilse Woloszko (Royal Academy of Music, London, England); Roland Schmidt-Hensel (Staatsbibliothek zu Berlin Musikbteilung mit Mendelssohn-Archiv, Berlin, Germany); Prof. Linda Govi (Conservatorio Statale di Music Giuseppe Verdi, Turin, Italy); Laura Antoniotti and Luca Mortarotti (Associazione De Sono, Turin, Italy). A number of world renowned scholars were very helpful in the preliminary stage of my research: Prof. Alberto Basso (and his assistant Enrico Chiorra), Prof. Annarita Colturato, Dr. Bathia Churgin, Dr. Paul Corneilson, Dr. Cliff Eisen, Dr. Marita McClymonds, Dr. Mary Sue Morrow, Dr. Sterling Murray. A special thank goes also to Dr.
    [Show full text]
  • The Trials of Tenducci 65:57 MENU a Castrato in Ireland PETER WHELAN Artistic Director TARA ERRAUGHT Mezzo-Soprano IRISH BAROQUE ORCHESTRA
    MENU The Trials of Tenducci A Castrato in Ireland PETER WHELAN TARA ERRAUGHT IRISH BAROQUE ORCHESTRA 1 Credits Tracklist Programme note Sung texts Biographies The Trials of Tenducci A Castrato in Ireland PETER WHELAN TARA ERRAUGHT IRISH BAROQUE ORCHESTRA MENU Recorded in St Peter’s Church, Drogheda, Post-production Cover Image Ireland, Julia Thomas Charlemont-House, Dublin (1793) by James on 8–10 February 2020 Malton (1761–1803), The Stapleton Collection, Recording Producer & Engineer Design Bridgeman Images Philip Hobbs stoempstudio.com 3 The Trials of Tenducci 65:57 MENU A Castrato in Ireland PETER WHELAN artistic director TARA ERRAUGHT mezzo-soprano IRISH BAROQUE ORCHESTRA Pierre van Maldere (1729–1768) Symphony in G major, VR28 ▫ 1 — Allegro assai 3:31 2 — Andantino 3:38 3 — Presto 1:54 Thomas Arne (1710–1778) 4 — Amid a thousand racking woes (Act 1 Scene 2 of Artaxerxes) 4:46 5 — Water parted from the sea (Act 3 Scene 1 of Artaxerxes) 3:09 Tommaso Giordani (c. 1730–1806) The Celebrated Overture and Irish Medley to The Island of Saints ▫ 6 — Allegro spiritoso 2:32 7 — Shepherds I have lost my love 2:05 8 — The Irish Medley 3:46 9 — Caro mio ben 3:07 10 — Queen Mary’s Lamentation 4:10 4 MENU Johann Christian Fischer (1733–1800) Oboe Concerto No. 7 in F major 11 — Andante: Gramachree Molly with Variations 4:43 Andreas Helm oboe Johann Christian Bach (1735–1782) 12 — Ebben si vada – Io ti lascio 6:14 Anonymous, arr. Johann Christian Bach ▫ 13 — The Braes of Ballenden 8:25 Wolfgang Amadeus Mozart (1756–1791) Exsultate, jubilate, K.
    [Show full text]