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College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark D
James Madison University JMU Scholarly Commons Dissertations The Graduate School Summer 2017 College orchestra director programming decisions regarding classical twentieth-century music Mark D. Taylor James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Arts and Humanities Commons Recommended Citation Taylor, Mark D., "College orchestra director programming decisions regarding classical twentieth-century music" (2017). Dissertations. 132. https://commons.lib.jmu.edu/diss201019/132 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. College Orchestra Director Programming Decisions Regarding Classical Twentieth-Century Music Mark David Taylor A Doctor of Musical Arts Document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements For the degree of Doctor of Musical Arts School of Music August 2017 FACULTY COMMITTEE Committee Chair: Dr. Eric Guinivan Committee Members/ Readers: Dr. Mary Jean Speare Mr. Foster Beyers Acknowledgments Dr. Robert McCashin, former Director of Orchestras and Professor of Orchestral Conducting at James Madison University (JMU) as well as a co-founder of College Orchestra Directors Association (CODA), served as an important sounding-board as the study emerged. Dr. McCashin was particularly helpful in pointing out the challenges of undertaking such a study. I would have been delighted to have Dr. McCashin serve as the chair of my doctoral committee, but he retired from JMU before my study was completed. -
Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Rinaldo and Armida on a Chariot Drawn by Dragons Pen and Brown Ink, Over Traces of an Underdrawing in Pencil, on Buff Paper, with Framing Lines in Brown Ink
Luigi SABATELLI (Florence 1772 - Milan 1850) Rinaldo and Armida on a Chariot Drawn by Dragons Pen and brown ink, over traces of an underdrawing in pencil, on buff paper, with framing lines in brown ink. Signed Luigi Sabatelli fece at the lower left. 424 x 699 mm. (16 1/4 x 27 1/2 in.) [image] 480 x 754 mm. (18 7/8 x 29 3/4 in.) [sheet] In his posthumously published autobiography, Luigi Sabatelli recalled of his youthful period in Rome in the 1790s that he became well known for his finished drawings in pen and ink. The sale of these scenes from Greek, Roman and Florentine history, as well as episodes from Homer, Dante, Shakespeare, Milton and the Old Testament, earned him some one hundred zecchini over four years. His highly finished pen drawings, and the engravings derived from them, were greatly admired by his contemporaries, and many of these independent drawings were sold to collectors. Sabatelli’s bold and inventive draughtsmanship reveals the influence of Michelangelo, as well as the Anglo-Swiss artist Johann Heinrich Fuseli. A talented printmaker in his own right, Sabatelli also provided finished drawings for other engravers. Among his engraved designs are the series of Pensieri diversi, published in Rome in 1795, and The Plague of Florence, inspired by Boccaccio’s Decameron and published in 1801. A superb example of the vigour of Luigi Sabatelli’s pen draughtsmanship, and what has been aptly described as the artist’s ‘virtuoso calligraphy’, this very large drawing may be dated to the artist’s years in Rome, between 1789 and 1794, and in particular towards the end of that period. -
The Italian Girl in Algiers
Opera Box Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .8 Reference/Tracking Guide . .9 Lesson Plans . .11 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Gioachino Rossini – a biography .............................45 Catalogue of Rossini’s Operas . .47 2 0 0 7 – 2 0 0 8 S E A S O N Background Notes . .50 World Events in 1813 ....................................55 History of Opera ........................................56 History of Minnesota Opera, Repertoire . .67 GIUSEPPE VERDI SEPTEMBER 22 – 30, 2007 The Standard Repertory ...................................71 Elements of Opera .......................................72 Glossary of Opera Terms ..................................76 GIOACHINO ROSSINI Glossary of Musical Terms .................................82 NOVEMBER 10 – 18, 2007 Bibliography, Discography, Videography . .85 Word Search, Crossword Puzzle . .88 Evaluation . .91 Acknowledgements . .92 CHARLES GOUNOD JANUARY 26 –FEBRUARY 2, 2008 REINHARD KEISER MARCH 1 – 9, 2008 mnopera.org ANTONÍN DVOˇRÁK APRIL 12 – 20, 2008 FOR SEASON TICKETS, CALL 612.333.6669 The Italian Girl in Algiers Opera Box Lesson Plan Title Page with Related Academic Standards lesson title minnesota academic national standards standards: arts k–12 for music education 1 – Rossini – “I was born for opera buffa.” Music 9.1.1.3.1 8, 9 Music 9.1.1.3.2 Theater 9.1.1.4.2 Music 9.4.1.3.1 Music 9.4.1.3.2 Theater 9.4.1.4.1 Theater 9.4.1.4.2 2 – Rossini Opera Terms Music -
Armida Abducts the Sleeping Rinaldo”
“Armida abducts the sleeping Rinaldo” Neutron autoradiography is capable of revealing different paint layers piled-up during the creation of the painting, whereas different pigments can be represented on separate films due to a contrast variation created by the differences in the half-life times of the isotopes. Thus, in many cases the individual brushstroke applied by the artist is made visible, as well as changes made during the painting process, so-called pentimentis. When investigating paintings that have been reliably authenticated, it is possible to identify the particular style of an artist. By an example - a painting from the French painter Nicolas Poussin (1594–1665), belonging to the Berlin Picture Gallery - the efficiency of neutron autoradiography is demonstrated as a non- destructive method. Fig. 1: Nicolas Poussin, Replica, “Armida abducts the sleeping Rinaldo”, (c. 1637), Picture Gallery Berlin, 120 x 150 cm2, Cat No. 486 The painting show scenes from the bible and from classical antiquity. In 1625 the legend of the sorceress Armida and the crusader Rinaldo had inspired Poussin to a painting named “Armida and Rinaldo”, now owned by the Dulwich Picture Gallery in London, that has been identified as an original. In contrast, the painting from the Berlin Picture Gallery “Armida abducts the sleeping Rinaldo” (Fig. 1) shows a different but similar scene, and was listed in the Berlin Gallery’s catalogue as a copy. To clarify the open question of the ascription a neutron radiography investigation was carried out. In Fig. 2, one of the autoradiographs is depicted. Fig. 2: Nicolas Poussin, “Armida abducts the sleeping Rinaldo”, 1st neutron autoradiography assembled from 12 image plate records: in order to investigate the whole picture, two separated irradiations were carried out and finally recomposed. -
Charles Koechlin's Silhouettes De Comã©Die for Bassoon and Orchestra: an in Depth Study
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Charles Koechlin's Silhouettes de Comédie for Bassoon and Orchestra: An in Depth Study Amelia Fannin Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC CHARLES KOECHLIN’S SILHOUETTES DE COMÉDIE FOR BASSOON AND ORCHESTRA: AN IN DEPTH STUDY By AMELIA FANNIN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2009 The members of the committee approve the treatise of Amelia Fannin defended on April 29, 2009. __________________________ Jeffrey Keesecker Professor Directing Treatise __________________________ Richard Clary Outside Committee Member __________________________ Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members. ii I would like to thank my husband, family, and teachers for their patience and support. iii TABLE OF CONTENTS Abstract ............................................................................................................ v 1. BIOGRAPHY ................................................................................................ 1 2. EARLY COMPOSITIONS FOR BASSOON ................................................ 15 3. THE SILHOUETTES DE COMÉDIE ............................................................ 19 4. ANALYSIS OF EACH MOVEMENT IN CULTURAL -
New on Naxos
TheNEW World’s LeadingON Classical NAXOS Music Label APRIL 2011 1 When you view this PDF on your computer you can click on the hyperlinks to visit the Album Pages, Biographies & Discographies and other web pages. The April 2011 new releases will be live on naxos.com closer to the release month. NAXOS BLU-RAY AUDIO NAXOS BLU-RAY AUDIO ORCHESTRAL NBD0009 | 730099000963 MAHLER Symphony No. 8 Soloists • Polish Radio Choir in Krakow • Cardinal Stefan Wyszynski University Choir • Warsaw Boys Choir Warsaw National Philharmonic Choir and Orchestra • Antoni Wit, conductor On this stunning Naxos Blu-ray Audio album Antoni Wit leads the immense forces required for Mahler’s Eighth Symphony in a performance, originally released on Naxos CD 8.550533-34, ‘at once deeply religious and extremely sensual. The playing is tremendous, the choral singing thrillingly beautiful ‘(The Guardian) which ‘combines the best of just about all of the competing versions and offers the most accurate sense of what the piece really does (or should) sound like live’ (10/10 Classics Today). The CD version’s ‘full-bodied sound production’ (Fanfare) is here further enhanced by state-of-the-art high-resolution and extra-wide dynamics, giving ‘one of the top Mahler Eighths’ (Classical CD Review) a new sonic dimension. CRITICALLY ACCLAIMED NAXOS RECORDING NOW ON BLU-RAY AUDIO FOR THE FIRST TIME! Warsaw Philharmonic Choir & Orchestra Antoni Wit The Warsaw Philharmonic Choir and Orchestra are renowned the world over, and perform on an extraordinary number of acclaimed Naxos recordings. Antoni Wit is one of today’s most highly regarded Polish conductors. -
Les Talens Lyriques the Ensemble Les Talens Lyriques, Which Takes Its
Les Talens Lyriques The ensemble Les Talens Lyriques, which takes its name from the subtitle of Jean-Philippe Rameau’s opera Les Fêtes d’Hébé (1739), was formed in 1991 by the harpsichordist and conductor Christophe Rousset. Championing a broad vocal and instrumental repertoire, ranging from early Baroque to the beginnings of Romanticism, the musicians of Les Talens Lyriques aim to throw light on the great masterpieces of musical history, while providing perspective by presenting rarer or little known works that are important as missing links in the European musical heritage. This musicological and editorial work, which contributes to its renown, is a priority for the ensemble. Les Talens Lyriques perform to date works by Monteverdi (L'Incoronazione di Poppea, Il Ritorno d’Ulisse in patria, L’Orfeo), Cavalli (La Didone, La Calisto), Landi (La Morte d'Orfeo), Handel (Scipione, Riccardo Primo, Rinaldo, Admeto, Giulio Cesare, Serse, Arianna in Creta, Tamerlano, Ariodante, Semele, Alcina), Lully (Persée, Roland, Bellérophon, Phaéton, Amadis, Armide, Alceste), Desmarest (Vénus et Adonis), Mondonville (Les Fêtes de Paphos), Cimarosa (Il Mercato di Malmantile, Il Matrimonio segreto), Traetta (Antigona, Ippolito ed Aricia), Jommelli (Armida abbandonata), Martin y Soler (La Capricciosa corretta, Il Tutore burlato), Mozart (Mitridate, Die Entführung aus dem Serail, Così fan tutte, Die Zauberflöte), Salieri (La Grotta di Trofonio, Les Danaïdes, Les Horaces, Tarare), Rameau (Zoroastre, Castor et Pollux, Les Indes galantes, Platée, Pygmalion), Gluck -
Quaderni D'italianistica : Revue Officielle De La Société Canadienne
Maiilyn Migiel Secrets of a Sorceress: Tasso's Armida Armida appears in Canto 4 of Torquato Tasso 's Gerusalemme liber- ata. Her mission? To disseminate confusion in the Christian camp. This she accomplishes with expert techniques. She is both sorceress and seductress, hke the characters of classical and Renaissance lit- erature on whom her character is modelled: Circe, Medea, Alcina, and so forth. But though Armida is introduced as a sorceress and has infernal and magical connections through her uncle Idraote, she does not rely on her magic in order to entice the Christian soldiers into accompanying her and therefore abandoning their cause. Magic is not what keeps Rinaldo, the Christian warrior with whom she falls in love, in her power; nor is Armida' s magic effective when Rinaldo abandons her in Canto 16. Thus it seems that Armida' s magical powers come to be viewed as a function of youth and sexual charm, which can fade. But even youth and sexuality, important as they are to Armida's temporary victory, do not fully explain the tenacity of her hold on her Christian opponents. Armida's power over the Chris- tian warriors is particularly strong precisely because neither magic nor sexuality is her primary tool, and because her victims remain unaware of the source of her power. As I propose to show here, Armida's initial triumphs over the Christians and the fascination she exercises as a character derive from the unthreatened superiority of her gaze and from her control of the linguistic medium, in particular from the irrefutability of the story she narrates about her origins. -
Competing Philosophies in Calderon's El Mayor Encanto, Amor
Bulletin of Spanish Studies, Volume LXXXVII, Number 2, 2010 The Figure of Circe and the Power of Knowledge: Competing Philosophies in Caldero´n’s El mayor encanto, amor JONATHAN ELLIS Oklahoma State University At first, Caldero´n’s mythological play follows the well-known story of Homer’s Odyssey. On their way home from the Trojan War, Ulises1 and his crew stop at the island of the witch Circe. Most of the Greeks search the island and arrive at the palace of Circe as their leader waits at the beach. Rather than be wary, they choose to indulge their desires and baser natures. As we know, Circe transforms all but one of them into beasts with a potion. However, from this point on Caldero´n begins to introduce significant changes into the story known from both Homer and Ovid. When Ulises confronts Circe, she gives him also a potion, but he does not drink, having learned of its danger and having learned how to render it useless.2 Defeated, Circe cries out, ‘¿Quie´n cielos airados, / quie´nma´s ha sabido que yo?’ (1515a).3 This early passage is key, indicating that she recognizes knowledge to be the basis of her power with which she attempts to control all of nature, the elements and men. However, 1 I have retained the Spanish spelling of the names throughout, in order to clearly distinguish between Caldero´n’s characters and those of Classical literature. 2 In Homer, Odysseus is aided by Hermes who provides the moly root as protection against the effects of Circe’s potion. -
Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No. -
Les Talens Lyriques Announces 20-21 Season with First Modern Performances of Salieri’S Armida
Les Talens Lyriques announces 20-21 season with first modern performances of Salieri’s Armida 31 December 2020, 28 February, 3 April 2021 London: Wigmore Hall concerts 16 January, 19 February 2021 Vienna: Festival Resonanzen & Theater an der Wien 10-13 May 2021 Paris: St. John Passion staged with Calixto Bieito 11-12 June 2021 Würzburg: Mozartfest Centenary with Idomeneo Also touring to: Dortmund, Heidelberg, Linz, Innsbruck, Ferrara, Bologna, Genoa, Bilbao, Brussels, Liège, Caen, Rouen, Qatar Christophe Rousset and Les Talens Lyriques announce their 2020-21 season championing heroines, with the first modern performances of Salieri’s breakthrough success Armida, 250 years after the work’s premiere. A recording of Armida to be made during the season is complemented by the release of Mozart’s Betulia liberata on Aparté this autumn. In June 2021, Les Talens Lyriques join the centennial Mozartfest Würzburg with performances of Idomeneo. Rousset and Les Talens Lyriques express their love of the French Baroque, pairing ballets by Lully and Pascal Collasse to tell of the birth and life of Venus. On tour in Europe, Les Talens Lyriques make multiple visits to Germany and Austria, and give three concerts at London’s Wigmore Hall in Spring 2021. At home in Paris, Les Talens Lyriques are joined by Calixto Bieito for a staged production of Bach’s St. John Passion at the Théâtre du Châtelet. Further recordings from the ensemble include a DVD of Stefano Landi’s La Morte d’Orfeo from the Dutch National Opera’s 2018 production, and a solo disc of Armand-Louis Couperin’s harpsichord works from Christophe Rousset.