2021 Autumn Concert Performances Symphony Hall And
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PRESS RELEASE 12 May 2016
PRESS RELEASE 12 May 2016 City of Birmingham Symphony Orchestra announces its 2016-17 Birmingham concert Season Inaugural season with Mirga Gražinytė-Tyla as CBSO Music Director Mirga Gražinytė-Tyla conducts 6 programmes throughout the season Pianist Steven Osborne is CBSO’s Artist in Residence The Spirit of England series explores the many facets of English identity, with artists including Tasmin Little, Nicholas Collon and comedian Adil Ray The CBSO Chorus performs Mozart’s Idomeneo under Mirga Gražinytė-Tyla Guest artists include Alison Balsom, Nicola Benedetti, Benjamin Grosvenor, Roderick Williams, Sarah Connolly, Jean-Guihen Queyras, Barbara Hannigan and Stephen Hough Guest conductors include Andris Nelsons, Richard Egarr, Karina Canellakis, Edward Gardner, Alpesh Chauhan, Ben Gernon and John Wilson Friday Night Classics and Christmas concerts include programmes presented by Jessica Hynes, Mark Kermode, John Suchet, Adil Ray and Anne-Marie Minhall The City of Birmingham Symphony Orchestra (CBSO) is delighted to announce its 2016-17 Birmingham Concert Season at Symphony Hall, Birmingham, the first with Mirga Gražinytė-Tyla as Music Director. The season includes an exploration of different perspectives of Englishness; British pianist Steven Osborne performs a number of concerts as Artist in Residence; and the Orchestra welcomes an array of top international artists in a season with something for everyone. Osborn Music Director Mirga Gražinytė-Tyla Following her phenomenally successful debut with the CBSO last season and subsequent appointment as Osborn Music Director, Mirga Gražinytė-Tyla directs six programmes in her inaugural season. The CBSO is known for performing the widest range of orchestral and choral music, and Gražinytė-Tyla continues this tradition in her new role. -
September 1914) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 9-1-1914 Volume 32, Number 09 (September 1914) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 32, Number 09 (September 1914)." , (1914). https://digitalcommons.gardner-webb.edu/etude/606 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. THE ETUDE 625 Combs Broad Street Conservatory Greatest Educational Work of the Age Standard and Modern Mathews Standard Instruction Books Graded Course of for the Pianoforte THE SELECTION OF THE RIGHT MUSIC ■r^lna; Studies™ Pianoforte SCHOOL IS THE ALL IMPORTANT STEP Compiled by W. S. B. MATHEWS Individual attention, high ideals, breadth of culture, personal care and moderate cost of education at the COMBS BROAD ST. CONSERVATORY OF MUSIC should interest you !§pnmmmmMs. Three Decades of Success Teachers of World Wide Fame Can Accommodate 2500 Day and Dormitory GILBERT RAYNOLDS COMBS, Piano. Students. HENRY SCHRAD1ECK, Violin. iEssSItsI' Chartered by State of Pennsylvania with HUGH A. CLARKE, Mus. Doc., Theory and seventy artist teachers—graduates of the power to confer degrees. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
STRAIGHT from the HEART Symphony Hall, Birmingham
STRAIGHT FROM THE HEART Symphony Hall, Birmingham Wednesday 30 June 2021, 2.00pm & 6.30pm Kazuki Yamada – Conductor Alban Gerhardt – Cello Anderson Litanies (CBSO Centenary Commission – UK Premiere) 20’ Dvořák Symphony No.7 40’ Love Dvořák’s New World symphony? Then why not try something a OUR CAMPAIGN FOR MUSICAL little stronger? Dvořák’s Seventh begins with a rumble of thunder, and LIFE IN THE WEST MIDLANDS ends in a shout of defiance; in between come summer storms, lilting dance tunes, and some of the sweetest, most heartfelt music in any These socially-distanced concerts have been made possible by funding from Arts great symphony. The CBSO’s Principal Guest Conductor Kazuki Yamada Council England’s Culture Recovery Fund, never stints on emotion; and it’s a perfectly-chosen complement to the plus generous support from thousands of UK premiere of the CBSO’s latest Centenary Commission – Litanies, individuals, charitable trusts and companies a major new cello concerto from our former Composer in Association through The Sound of the Future fundraising Julian Anderson. It’s Julian’s very personal tribute to a friend who died too campaign. young, and with the phenomenal Alban Gerhardt as soloist, we think it’s set to be an instant classic. By supporting our campaign, you will play your part in helping the orchestra to recover from the pandemic as well as renewing the way we work in our second century. Plus, all new memberships are currently being matched pound for pound by a generous You are welcome to view the online programme on your mobile device, but please ensure that your member of the CBSO’s campaign board. -
City of Birmingham Symphony Orchestra's Debussy Festival Curated by Mirga Gražinytė-Tyla 16
20 February 2018 City of Birmingham Symphony Orchestra’s Debussy Festival Curated by Mirga Gražinytė-Tyla 16 – 25 March 2018 In March 2018, the City of Birmingham Symphony Orchestra (CBSO) presents the Debussy Festival, a major celebration of the composer’s work across two weekends, to mark the centenary of his death. The festival is the largest-scale artistic collaboration to-date between the CBSO, Town Hall Symphony Hall, Birmingham Contemporary Music Group (BCMG), Royal Birmingham Conservatoire, University of Birmingham, Ikon Gallery and The Electric Cinema. The Debussy Festival has been conceived by CBSO Music Director Mirga Gražinytė-Tyla, inspired by the composer’s search for beauty, his vision and influences, and the music he inspired. The festival includes all of Debussy’s major works, with complementary pieces by composers with a strong connection to Debussy’s music and world premieres by contemporary composers who have been inspired by his work. The festival – the largest event of its kind in the country - is centred around eight concerts at Symphony Hall, Birmingham. There will also be a series of chamber music concerts at CBSO Centre from CBSO musicians and Royal Birmingham Conservatoire musicians, who will also perform Debussy piano music and songs in the Conservatoire’s new recital hall. Concerts are themed to the different facets of Debussy’s work, highlighting his versatility as a composer In addition to concerts, the festival also encompasses film, free talks and a Debussy ‘Pianoathon’ for the general public to take part in over two days at Birmingham New Street Station. Tickets are available for individual concerts, or festival passes are available. -
Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2019 Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide Jennifer Bruton University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Bruton, Jennifer, "Johann Strauss II's Die Fledermaus: Historical Background and Conductor's Guide" (2019). Dissertations. 1727. https://aquila.usm.edu/dissertations/1727 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. JOHANN STRAUSS II’S DIE FLEDERMAUS: HISTORICAL BACKGROUND AND CONDUCTOR’S GUIDE by Jennifer Jill Bruton A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Jay Dean, Committee Chair Dr. Joseph Brumbeloe Dr. Gregory Fuller Dr. Christopher Goertzen Dr. Michael A. Miles ____________________ ____________________ ____________________ Dr. Jay Dean Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2019 COPYRIGHT BY Jennifer Jill Bruton 2019 Published by the Graduate School ABSTRACT Students pursuing graduate degrees in conducting often have aspirations of being high school or college choir or band directors. Others want to lead orchestra programs in educational or professional settings. Sadly, many colleges and universities do not have systems in place that provide avenues for those choosing this career path. -
Birmingham Conservatoire 03
v.11.15 02 Contents Welcome to Birmingham Conservatoire 03 Welcome to Birmingham Conservatoire 03 Conducting 25 The moment you arrive in Birmingham you will be at the centre Why choose Birmingham Conservatoire? 04 Composition 26 of the United Kingdom in a major international city which is home to not just one but TWO of the world’s finest concert halls (Town The benefits of Birmingham Alumni profile: Laura Mvula 06 27 Hall and Symphony Hall). Birmingham is also home to a world Birmingham City University 07 Music Technology 28 class orchestra (City of Birmingham Symphony Orchestra) and a Student life and accommodation 08 constant stream of visiting international soloists – many of whom come to give masterclasses at the Conservatoire. The possibilities Our International Community 10 for you to develop a career in music will be endless – especially if Professional development and partnerships 12 Performance opportunities 29 you take advantage of the unique collaborations the Conservatoire Partners in orchestral development: the CBSO 13 Guest performers 29 has to offer as part of a major University. Academic study 30 You will soon discover that the Conservatoire’s practice rooms, Pedagogy, Learning and Participation 31 studios and performance spaces are hives of activity, buzzing with the creativity and hard work of students committed to becoming Student profile: Laura Feeney 14 Tutors 33 professional musicians. You will also benefit from specialist Strings 15 Research 33 conservatoire training and be treated with the individual care and Woodwind 16 The courses we offer 34 attention you need as we aim to inspire you to become the very best musician you can possibly be. -
Season 2013-2014
27 Season 2013-2014 Tuesday, December 31, at 7:30 The Philadelphia Orchestra Bramwell Tovey Conductor Tracy Dahl Soprano Travis and Jaimee Tuft Dancers Joanna Meller and Slawek Roszak Dancers Malachi Osai and Annabella Waszkiewicz Dancers J. Strauss, Jr. Overture to Die Fledermaus J. Strauss, Jr. “Mein Herr Marquis,” from Die Fledermaus Waldteufel “The Skaters’ Waltz,” Op. 183 J. Strauss, Jr. “”Egyptian” March, Op. 335 J. Strauss, Jr. “Voices of Spring” Waltz, Op. 410 J. Strauss, Jr. “Thunder and Lightning” Waltz, Op. 324 Intermission Lehár “Gold and Silver” Waltz J. Strauss, Jr. Perpetuum mobile, Op. 257 J. Strauss, Jr., & Josef Strauss “Pizzicato” Polka J. Strauss, Jr. “Champagne” Polka, Op. 211 Lehár “Meine Lippen, sie küssen so heiss,” from Giuditta J. Strauss, Jr. “On the Beautiful Blue Danube” Waltz, Op. 314 This program runs approximately 1 hour, 45 minutes. The dancers on tonight’s program appear under the auspices of Dance Affiliates, Randy Swarz, artistic director. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. PO Book 16.indd 1 12/19/13 4:05 PM 228 Story Title The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Annual Account 31.03.20 Margins Blue V2
2019-20 REPORT AND ACCOUNTS © Andrew Fox Supported by cbso.co.uk CITY OF BIRMINGHAM SYMPHONY ORCHESTRA CONTENTS Page Chair’s Report 3 Chief Executive’s Report 4 Report of the Trustees 5 Report of the Auditors 22 Statement of Financial Activities 25 Balance Sheet 26 Statement of Cash Flows 27 Accounting Policies 28 Notes to the Financial Statements 32 2 CHAIR’S REPORT “our generous donors have shown their great love of the CBSO by keeping their memberships and stepping up to help as much as they are able” I am delighted to present the CBSO’s annual new school in Sandwell, the CBSO’s activities report for 2019-20, my second full year as represent an ever more diverse approach; Chair of Trustees. and this diversity – in our programme and our collaborations, as well as our people and our This was a superbly productive year for the audiences – will be an important theme of the Orchestra and indeed the rest of the CBSO coming seasons. family, with the beginning of our Centenary celebrations as well as a diverse and ambitious On a personal level I have taken great pleasure range of concerts and tours. That all came to a in the many concerts that I have been able to sudden halt in the last month of the year as the attend at home and further afield. Particular effects of the OVIDC -19 pandemic swept across highlights included the BBC Prom with Mirga the world and put an extended halt to all artistic and Sheku Kanneh-Mason last summer, a activity as well as almost everything else. -
HOUGH PLAYS SAINT-SAËNS Symphony Hall, Birmingham
HOUGH PLAYS SAINT-SAËNS Symphony Hall, Birmingham Wednesday 19 May 2021, 2.00pm & 6.30pm Edward Gardner – Conductor Stephen Hough – Piano Saint-Saëns Piano Concerto No.4 25’ Mazzoli Violent, Violent Sea 9’ Debussy La Mer 23’ OUR CAMPAIGN FOR MUSICAL LIFE IN THE WEST MIDLANDS OK, so we’ve got a summer of staycations ahead – but today we’re off Your support of the CBSO’s The Sound of the to the Mediterranean without even leaving Symphony Hall! Former Future campaign will raise £12.5m over five CBSO Principal Guest Conductor Edward Gardner is always a welcome years to: visitor here in Birmingham, and he’s our tour guide on a voyage that Accelerate our recovery from the takes us to the sun-kissed seascapes of Claude Debussy’s La Mer Covid-19 crisis so that we can get back to (you’d never guess that he composed it in Eastbourne). As for Stephen enriching people’s lives through music as Hough – well, the man whom critics have called “our greatest living quickly as possible pianist” is another old friend of the CBSO. Today he brings energy, Renew the way we work for our second elegance and genius-level insight to Saint-Saëns’ passionate Fourth century, opening up the power of Piano Concerto – you’ll wonder why we don’t hear it more often. music to an even broader cross-section of society whilst securing our tradition of artistic excellence. Support your CBSO at cbso.co.uk/donate You are welcome to view the online programme on your mobile device, but please ensure that your sound is turned off and that you are mindful of other members of the audience. -
Index to Magazines
Index to Society Magazine Tritsch -Tratsch from 1964, and Vienna Music from 2000 This general index covers issues 1-79 of Tritsch-Tratsch and 80-106 of Vienna Music . Back issues of Vienna Music can be viewed by logging on to the members section / publications References are to volume number- page, eg. 8-12. ‘BC’ is ‘back cover’, ‘Supp’ is ‘supplement’, ‘Edl’ is ‘Editorial’, ‘All’ is entire issue. A Anniversaries 2-1, 10-1, 13-All, 11-12, 17-18, 18-11, 24-2, 28-All, 32-All, 36-All, 37-All, 38-All, 40-All, 47-1, 48-1, 49-Edl, 50-All, 63-22, 65-Edl, 68-All, 77-All + Supp, 78-All, 81-All, 81-33, 83-35, 87-All, 87-35, 88-26, 89-35, 91-35, 93-35, 95-31 ALEXANDER, Peter 86-26 ARDITI Luigi 97-6 ARONSON, Rudolf 33-2, 50-22 Aschenbrödel Ballet See STRAUSS, Johann II Austrian Embassy London 102-12 B BARABAS Sari 90-24 BACH, Johann Sebastian 79-6 Bad Ischl 52-15, 80-9, 82-12, 84-11, 86-8, 88-9 Ballet Music 102-28, 103-5 BALFE, Michael 14-3 Balls & Ballrooms of Vienna See Vienna, 105-8 Bandmasters 31-6, 35-22 Barbican New Year Concerts 105-4, 106-9 BAYER, Josef 50-22 BBC 94-21 Belgium 81-22, 84-35 Berlin 80-11 BIANCHI, Bianca (Bertha Schwarz) 27-3, 45-15 BIBL Rudolf 103-26 BILSE, Benjamin 84-13, 102-27 BLON Franz von 101-11 Blue Danube Waltz 3-3, 4-3, 5-2, 21-10, 28-5, 29-12, 64-7, 77-19, 81-36, 88-17 BÖHM, Karl 42-17, 50-29 Book Reviews 3-9, 3-10, 17-20, 24-6, 33-9, 46-11, 46-13, 47-5, 48-4, 49-15, 50-11, 66-15, 66-16, 70-21, 73-20, 74-6, 80-7, 81-7 BOSKOVSKY, Willi 5-3, 7-12, 9-10, 10-1, 11-6, 11-9, 13-4, 19-2, 21-2, 24-2, 24-10/12, 29-9, 32-13, 62-2, 83-9 BOSKOVSKY, Elizabeth 93-8 Bosworth Publishers 103-28 BRAHMS, Johannes 17-12, 21-8, 82-31 Bregenz Festival 3-5, 14-13 C CARNER, Mosco 11-9 CHISLETT, W.A. -
ABSTRACT Developments in Viennese Operetta in Johann
ABSTRACT Developments in Viennese Operetta in Johann Strauss, Franz Lehár, and Robert Stolz Joanie Brittingham. M.M. Thesis Chairperson: Laurel E. Zeiss, Ph.D. The first immensely popular composer of Viennese operetta was Johann Strauss. Later composers, including Franz Lehár and Robert Stolz, became famous and wealthy for continuing the traditions of the genre as codified by Strauss. The most notable works of these composers either became part of the standard repertory or are considered historically important for the development of light opera and musical theatre in some way. Therefore, I studied the most important elements of the genre, namely the waltz, exoticism, and local color, and compared how each composer used these common building blocks in their most successful operettas. Developments in Viennese Operetta in Johann Strauss, Franz Lehár, and Robert Stolz by Joanie Brittingham, B.M. A Thesis Approved by the Department of Music ___________________________________ William V. May, Jr., Ph.D, Dean ___________________________________ David W. Music, D.M.A., Graduate Program Director Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Music Approved by the Thesis Committee ___________________________________ Laurel E. Zeiss, Ph.D., Chairperson ___________________________________ Jean Ann Boyd, Ph.D. ___________________________________ Deborah K. Williamson, D.M.A ___________________________________ Daniel E. Scott, D.M.A. ___________________________________ Wallace