Signets Hors Série : Wanda Landowska
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Cohesion of Composer and Singer: the Female Singers of Poulenc
COHESION OF COMPOSER AND SINGER: THE FEMALE SINGERS OF POULENC DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Susan Joanne Musselman, B.M., M.M. ***** The Ohio State University 2007 Document Committee: J. Robin Rice, Adviser Approved by: Hilary Apfelstadt Wayne Redenbarger ________________________ Adviser Graduate Program in Music Copyright by Susan Joanne Musselman 2007 ABSTRACT Every artist’s works spring from an aspiring catalyst. One’s muses can range from a beloved city to a spectacular piece of music, or even a favorite time of year. Francis Poulenc’s inspiration for song-writing came from the high level of intimacy he had with his close friends. They provided the stimulation and encouragement needed for a lifetime of composition. There is a substantial amount of information about Francis Poulenc’s life and works available. We are fortunate to have access to his own writings, including a diary of his songs, an in-depth interview with a close friend, and a large collection of his correspondence with friends, fellow composers, and his singers. It is through these documents that we not only glean knowledge of this great composer, but also catch a glimpse of the musical accuracy Poulenc so desired in the performance of his songs. A certain amount of scandal surrounded Poulenc during his lifetime and even well after his passing. Many rumors existed involving his homosexuality and his relationships with other male musicians, as well as the possible fathering of a daughter. The primary goal of this document is not to unearth any hidden innuendos regarding his personal life, however, but to humanize the relationships that Poulenc had with so many of his singers. -
Historical Performance Practice of the Prélude
HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE Ariana Jane Odermatt Australian National University A thesis submitted for the partial fulfilment of the requirements of the degree of Master of Philosophy, School of Music, The Australian National University. © Copyright by Ariana Jane Odermatt 2018 All Rights Reserved 1 Unless otherwise acknowledged in the text, this thesis represents the original research of the author SIGNED: ........................................... DATE: ............................................... 2 HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE ABSTRACT ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’ (François Couperin: L'art de toucher Le Clavecin, 1716)1 The enigmatic prélude non mesuré was a short-lived genre characterised by rhythmically free croches blanches (‘flagged white notes’, rather than white quavers)2 and sweeping lines and slurs that were generally notated without specific reference to rhythm or metre. Some of the lines appear to bind the tones into harmonic groups and to articulate cadential and rhythmic units, but the inherent freedom encoded in the notation presents a broad, complex interpretive scope to present-day performers. Given composers' scant written and notational indications as to how they intended the works to be performed, this research seeks to address ways of interpreting the genre in an informed historical sense, whilst surveying current performing practices within Louis Couperin’s Prélude non mesuré in D minor to inform the author’s own performance. Extant préludes non mesurés are contained within two manuscript sources (Parville and Bauyn), while commentary addressing performance interpretation of the notation is limited to three source documents specifically referencing the prélude non mesuré: Nicolas Lebègue’s preface to his Pièces de clavessin (1677), correspondence between Lebègue and an Englishman called Mr. -
Blandine Verlet Claveciniste
70 Blandine Verlet Claveciniste Cette force, Blandine Verlet la (re)met aujourd’hui au service de la musique de François Couperin – l’un de ses domaines de prédilection – dont elle a enregistré 32 pièces pour clavecin en novembre dernier à l’Église Saint Rémi de Franc Warêt en Belgique, lors de séances supervisées par Nicolas Bartholomée, ingénieur du son cinq étoiles et fondateur d’Aparté. Un opus conçu sur un somptueux clavecin Henri Hemsch de 1751 avec lequel Verlet avait déjà gravé des Variations Goldberg de référence en 1993. « J’ai une force en moi qui fait parler des textes. » L'Offrande Musicale, édition Desclée de Brouwer, 2002 Artiste talentueuse ayant une conception hors normes de la musique, la claveciniste nait le 27 février 1942 à Paris. Elle suit d’abord les cours d’écriture, d’esthétique avec Marcel Beaufils, d’histoire de la musique avec Norbert Dufourcq et de clavecin avec Marcelle de Lacour au Conservatoire de Paris. En 1963, elle décroche un Premier Prix de clavecin à l’unanimité et le Prix spécial du Concours International de Munich. A la même période, elle se perfectionne auprès d'Huguette Dreyfus à l'Académie d'été de Saint‐Maximin‐la‐Sainte‐Baume et fréquente aussi les cours de Ruggero Gerlin à l'Académie Chigiana de Sienne. Elle travaille avec Ralph Kirkpatrick à l'Université Yale en 1968 et 1969. Depuis 1963, Blandine Verlet mène une carrière internationale de concertiste. Elle a été professeur de clavecin au Conservatoire Claude‐Debussy à Paris, de 1983 à 1985, au Conservatoire Gabriel Fauré d’Angoulême de 1985 à 1987 et au CNR de Bordeaux de 1987 à 1990. -
Musiciennes:Women Musicians in France During the Interwar Years
Musiciennes: Women Musicians in France during the Interwar Years, 1919-1939 Laura Ann Hamer Submitted for the Degree of Doctor of Philosophy Cardiff University, 2009 UMI Number: U584377 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584377 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The musical life of interwar France (1919-39) has fascinated many writers; however, the part played by women musicians has been much neglected. This thesis seeks to rectify this situation by presenting a study of the activities and reception of the musiciennes of interwar France. The thesis is divided into three parts: part one provides a contextual framework within which to situate the pursuits of women musicians by considering both their contemporary social position and the gender- specific conditions which affect the lives, careers, and reception of musiciennes. Part two focuses on conductors and composers. Jane Evrard and her Orchestre feminin de Paris are discussed within the context of the contemporaneous development of the all woman orchestra and rise of the first professional female conductors. -
The Harpsichord: a Research and Information Guide
THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. Among the many friends who provided support and encouragement are Clara, Carmen, Cibele and Marcelo, Hilda, Iker, James and Diana, Kydalla, Lynn, Maria-Carmen, Réjean, Vivian, and Yolo. -
Georg Friedrich Händel – HARPSICHORD SUITES, 1720 (Jory Vinikour, Harpsichord; Delos)
2 1 M A Y 2 0 0 9 CD REVIEW: Georg Friedrich Händel – HARPSICHORD SUITES, 1720 (Jory Vinikour, harpsichord; Delos) Georg Friedrich Händel (1685 – 1759) - ‘GREAT’ SUITES FOR HARPSICHORD, 1720 (HWV 426 – 433), & CHACONNE IN G MAJOR (HWV 435): Jory Vinikour, harpsichord [recorded at First Scots Presbyterian Church, Charleston (SC), in 2008; Delos DE 3394] Händel’s 1720 suites for harpsichord have been at the peripheries of the performance and recorded repertories of many of the most celebrated keyboardists of the twentieth century, players as diverse as Glenn Gould and Thurston Dart, who performed the suites on a large variety of instruments ranging from period harpsichords to modern concert grand pianos. In music for the harpsichord, questions of which approaches are and are not properly stylish are not quite so prominent as with Baroque operas: knowing that a composer intended his work for the harpsichord, the construction of the instrument and its quintessential method of tonal production dictate to a certain degree the manner of execution required of the player. Music composed for the harpsichord invariably demands great dexterity, not merely in rapid-paced display pieces but also in slowe r, more thoughtful pieces (which, in the custom of the Baroque, often adopt dance forms) in which articulation is an important device of interpretation. This is perhaps more true of Händel’s harpsichord music than that of his closest rivals (Johann Sebastian Bach excepted). Händel’s music always displays a ‘public face,’ as it were, but differs from the music of many other Baroque composers in that the fugal complexities and intricate ornaments are not solely sequins sewn onto the garment so that the wearer sparkles in the glare. -
The Conservatoire Américain a History
06-549_00_FM.qxd 10/30/06 6:29 AM Page i The Conservatoire Américain A History Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham, Maryland • Toronto • Plymouth, UK 2007 06-549_00_FM.qxd 10/30/06 6:29 AM Page ii SCARECROW PRESS, INC. Published in the United States of America by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.scarecrowpress.com Estover Road Plymouth PL6 7PY United Kingdom Copyright © 2007 by Kendra Preston Leonard All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. The Conservatoire américain : a history / Kendra Preston Leonard. p. cm. Includes bibliographical references (p. ) and index. ISBN-13: 978-0-8108-5732-2 (pbk. : alk. paper) ISBN-10: 0-8108-5732-4 (pbk. : alk. paper) 1. Conservatoire américain—History. I. Title. MT5.F66C66 2007 780.71'14437—dc22 2006026100 ϱ™ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Manufactured in the United States of America. 06-549_00_FM.qxd 10/30/06 6:29 AM Page iii To Karen and Winston Leonard, -
2Note De Programme
Colloque Wanda Landowska et la renaissance de la musique ancienne Mercredi 4 et jeudi 5 mars 2009 Musée de la musique AVANT-PROPOS Wanda Landowska (1879-1959) est une figure essentielle, unique, dans l’histoire de l’interprétation musicale et singulièrement dans celle du renouveau du clavecin au XXe siècle. Sa trajectoire la relie directement à l’héritage de Chopin, à travers les maîtres de son enfance en Pologne, pour aboutir au temps des débuts américains dans la facture de clavecin selon des principes historiques. Pianiste d’abord -et toujours-, sa réputation n’a cessé d’être celle d’une mozartienne d’élection. Son nom reste indissolublement lié au clavecin Pleyel dit de 16’, modèle conçu à partir de ses suggestions, inauguré en 1912, et auquel elle est demeurée fidèle pendant toute sa carrière. Tempérament artistique fortement trempé, Landowska a mené sa croisade pour le clavecin et la musique ancienne au gré d’un travail proprement titanesque : à la mesure de son pouvoir créateur, de son intelligence, de sa culture et de son énergie. Tout en menant de front une carrière internationale de soliste et de pédagogue, elle a su défendre et illustrer sa cause en usant ingénieusement de ses talents de chercheur, d’écrivain -voire de polémiste- et d’orateur. Cette carrière s’est construite à Paris dès l’année 1900, d’abord dans l’orbe de la Schola Cantorum. La première guerre mondiale lui a imposé un temps d’arrêt, retenant l’artiste prisonnière sur parole à Berlin où, dès 1913, la Hochschule für Musik lui avait ouvert une classe de clavecin ad personam. -
Instrumental & Supplement
INSTRUMENTAL & SUPPLEMENT INSTRUMENTAL & SUPPLEMENT Tracklists Orchestral 2 Orchestral Traditions 25 Chamber 39 Canons and Counterpoint 57 Instrumental Traditions 65 Music Books 81 Bach Interactive 101 Bach after Bach 127 Sung texts CD 203–204 Notenbüchlein für Anna Magdalena Bach (1725) 154 CD 205–206 Schemelli Gesangbuch 159 CD 211 The Bach Family 192 CD 212–214 Bach & Other Composers 194 CD 215 Bach Renewed – From Bach’s Sons to Mahler 202 CD 164 86:22 Brandenburg Concerto No. 1 in F major BWV 1046 1 1. [Allegro] 3:38 2 2. Adagio 3:10 3 3. Allegro 4:02 4 4. Menuet – 5. Trio – 6. Polonaise – 7. Trio 7:39 Brandenburg Concerto No. 2 in F major BWV 1047 5 1. [Allegro] 4:34 6 2. Andante 3:22 7 3. Allegro assai 2:44 Brandenburg Concerto No. 3 in G major BWV 1048 8 1. [Allegro] – 2. Adagio 5:07 9 3. Allegro 3:55 BWV 1049 ORCHESTRAL Brandenburg Concerto No. 4 in G major 10 1. Allegro 6:11 11 2. Andante 3:19 12 3. Presto 4:23 Brandenburg Concerto No. 5 in D major BWV 1050 13 1. Allegro 9:43 14 2. Affettuoso 5:47 BACH 333 BACH 15 3. Allegro 5:12 4 Brandenburg Concerto No. 6 in B flat major BWV 1051 16 1. [without tempo indication] 4:25 17 2. Adagio ma non tanto 4:11 18 3. Allegro 4:58 Musica Antiqua Köln Reinhard Goebel ORCHESTRAL Recordings: Köln, Deutschlandfunk Kammermusiksaal, 6/1986 [1–9], 2/1987 [10–18] 333 BACH Producer & Balance Engineer: Wolfgang Mitlehner ൿ 1987 Deutsche Grammophon GmbH, Berlin 5 CD 165 75:45 Brandenburg Concerto No. -
In Memoriam: Kenneth Gilbert (December 16Th, 1931 – April 15Th, 2020)
ISSUE No. 15 Published by ‘The British Harpsichord Society’ DECEMBER 2020 ________________________________________________________________________________________________ In Memoriam: Kenneth Gilbert (December 16th, 1931 – April 15th, 2020) INTRODUCTION A portrait of Kenneth Gilbert - p2 A word from our Guest Editor – Pamela Nash - p3 CONTRIBUTORS Hank Knox p 4 Paul Simmonds p 35 Giveon Cornfield p 7 Timothy Roberts p 36 Alexander Silbiger p 9 Marcelo Fagerlande p 36 Élisabeth Gallat-Morin p 11 Martha Brickman p 39 Hubert Laforge p 12 Nathaniel Mander p 39 Jill Severs p 15 Vivienne Spiteri p 40 Maggie Cole p 17 David Chung p 40 Carole Cerasi p 17 David Francis p 41 James Johnstone p 19 Michael Johnson p 42 Andrew Appel p 20 Edward Parmentier p 43 Christopher Stembridge p 23 Charlotte Mattax Moersch p 43 Jory Vinikour p 25 David Ponsford p 44 Olivier Baumont p 26 Julian Perkins p 45 Luc Beauséjour p 28 Elisabetta Guglielmin p 46 Emer Buckley p 30 Glen Wilson p 47 Stéphane Béchy p 30 Terence Charlston p 49 Robert Woolley p 31 Poala Erdas p 50 Katharine May p 32 Valerie Weeks p 52 Jacques Ogg p 34 Jane Clark p 34 Photo Gallery p 53 Penelope Cave p 35 List of Links p 55 Please note that all material remains the copyright of the individual authors and may not be reproduced without their express permission. Please send comments and contributions to [email protected] INTRODUCTION ••• Welcome to Sounding Board No.15 ••• During the final stages of editing Sounding Board 14 we heard of the death of Kenneth Gilbert. -
Fonds Pierre Schaeffer Inventaire
Fonds Pierre Schaeffer Inventaire Novembre 2019 Fonds Pierre Schaeffer Inventaire Tome 1 Novembre 2019 Table des matières Présentation du fonds Page 1 Liste des abréviations Page 2 Inventaire général (boîtes 1 à 186, dossiers 1 à 1792) Page 3 Manuscrit de Faber et Sapiens , 1985 Page 3 « La Leçon de musique », 1977-1980 Page 3 Sélection de textes pour MAC III . 1955 ; 1963-1967 Page 4 Éléments MAC I et II, inédits, Ranelagh, 1970 Page 6 MAC I « Chronique du SR », 1961-1965 Page 6 Éléments MAC I et II inédits, 1949-1974 Page 7 MAC II et III projet 69, texte Pierre Schaeffer, éléments 1965-1974 Page 9 Machines à communiquer nouveau, 1975 ; 1980-1985 Page 10 MAC III , éléments documentaires. 1969-1971 ; 1976 Page 11 Textes pré-existants MAC III , 1965-1974 Page 12 Machines à communiquer Page 13 « Problématique de la communication », originaux 1973 Page 13 Cours Pierre Schaeffer au CNSM, 1968-1971 ; Textes sur la musique, 1949-1950 Page 13 Tamar ; Les Néocrates Page 15 « Problématique communication » ; Les Néocrates, copies Page 15 Les Nécrocrates , originaux adaptations radio et film, 1967-1987 Page 15 Documents Musique ; GRM, 1970-1981 Page 16 Correspondance Edgar Varèse Page 18 Correspondance auteurs, 1966-1981 Page 18 M. Gurdjieff, 1948-1979 ; 1985 Page 22 La Bouteille à la mer , de Marc Beigbeder, 1982-1990 Page 23 Les Antennes de Jéricho , 1976-1978 Page 25 Genèse de Prélude choral et fugue , 1980 ; 1939-1940 Page 25 Faber et Sapiens : documentation. 1983-1985 Page 25 Faber et Sapiens : manuscrit, version originale, 1984-1985 Page 26 Faber et Sapiens , version I Page 26 Faber et Sapiens , rébuts, septembre 1984 Page 27 Manuscrits Faber et Sapiens Page 28 Manuscrits Faber et Sapiens , août 1985 Page 28 Faber et Sapiens , feuilleton radio, émission du 11 avril au 15 mai 1987. -
Louise Talma Papers [Finding Aid]. Library of Congress. [PDF Rendered Mon Oct 23 11:36:11 EDT 2017] [XSLT Processor: SAXON 9.1.0
Louise Talma Papers Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 2013 Revised 2016 August Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu011004 LC Online Catalog record: http://lccn.loc.gov/2006560740 Processed by the Music Division of the Library of Congress Collection Summary Title: Louise Talma Papers Span Dates: 1861-1998 Bulk Dates: 1906-1994 Call No.: ML31.T34 Creator: Talma, Louise, 1906-1996 Extent: approximately 38,000 items ; 160 containers ; 81.5 linear feet Language: Material chiefly in English and French. Location: Music Division, Library of Congress, Washington, D.C. Summary: Louise Talma was an American composer, pianist, and teacher. She was a student of Nadia Boulanger and a long-time resident of Fontainebleau and the MacDowell Colony in Peterborough, New Hampshire. The collection consists of music manuscripts, harmony and teaching materials, correspondence, photographs, business papers, clippings, programs, publicity materials, writings, awards and other materials related to her career and her family's history. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bernstein, Leonard, 1918-1990--Correspondence. Boulanger, Nadia--Correspondence. Boulanger, Nadia--Photographs. Brodeur, Marie--Correspondence. Carter, Elliott, 1908-2012--Correspondence. Chanler, Theodore, 1902-1961--Correspondence. Cohn, Arthur, 1910-1998--Correspondence. Conrad, Doda--Correspondence. Copland, Aaron, 1900-1990--Correspondence.