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Departamento De Filosofía
DEPARTAMENTO DE FILOSOFÍA APROXIMACIÓN AL LENGUAJE DE OLIVIER MESSIAEN: ANÁLISIS DE LA OBRA PARA PIANO VINGT REGARS SUR L’ENFANT - JESÚS FRANCISCO JAVIER COSTA CISCAR UNIVERSITAT DE VALENCIA Servei de Publicacions 2004 Aquesta Tesi Doctoral va ser presentada a Valencia el día 12 de Febrer de 2004 davant un tribunal format per: - D. Francisco José León Tello - D. Salvador Seguí Pérez - D. Antonio Notario Ruiz - D. Francisco Carlos Bueno Camejo - Dª. Carmen Alfaro Gómez Va ser dirigida per: D. Román De La Calle D. Luis Blanes ©Copyright: Servei de Publicacions Francisco Javier Costa Ciscar Depòsit legal: I.S.B.N.:84-370-5899-6 Edita: Universitat de València Servei de Publicacions C/ Artes Gráficas, 13 bajo 46010 València Spain Telèfon: 963864115 UNIVERSIDAD DE VALENCIA FACULTAD DE FILOSOFIA Y CIENCIAS DE LA EDUCACION AREA DE ESTETICA Y TEORIA DEL ARTE APROXIMACION AL LENGUAJE DE OLIVIER MESSIAEN: ANALISIS DE LA OBRA PARA PIANO VINGT REGARDS SUR L´ ENFANT - JESUS TESIS DOCTORAL REALIZADA POR: FRANCISCO JAVIER COSTA CISCAR DIRIGIDA POR LOS DOCTORES: DR. D. LUIS BLANES ARQUES DR. D. ROMAN DE LA CALLE VALENCIA 2003 I N D I C E 1.- Introducción ........................................................................ 5 2.- Antecedentes e influencias estilísticas en el lenguaje de Olivier Messiaen ........................................... 10 3.- Elementos musicales del lenguaje de Messiaen y su aplicación en la obra para piano Vingt Regards sur l ´ Enfant - Jésus ........................................................ 15 4.- Vingt Regards sur l ´ Enfant - Jésus : Datos Generales. Características de su escritura pianística .................. 42 5.- Temática, simbología e iconografía en Vingt Regards sur l ´ Enfant - Jésus ........................................................ 45 6.- Análisis Formal de la obra .......................................... 67 7.- Evolución de los Temas de la obra: Estudio comparativo de su desarrollo y presentación ........ -
Kimmo Hakola's Diamond Street and Loco: a Performance Guide
UNLV Theses, Dissertations, Professional Papers, and Capstones May 2016 Kimmo Hakola's Diamond Street and Loco: A Performance Guide Erin Elizabeth Vander Wyst University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Fine Arts Commons, Music Commons, and the Theatre and Performance Studies Commons Repository Citation Vander Wyst, Erin Elizabeth, "Kimmo Hakola's Diamond Street and Loco: A Performance Guide" (2016). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2754. http://dx.doi.org/10.34917/9112202 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. KIMMO HAKOLA’S DIAMOND STREET AND LOCO: A PERFORMANCE GUIDE By Erin Elizabeth Vander Wyst Bachelor of Fine Arts University of Wisconsin-Milwaukee 2007 Master of Music in Performance University of Wisconsin-Milwaukee 2009 -
Klarinetistka Sabine Meyer
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra dechových nástrojů Hra na klarinet Klarinetistka Sabine Meyer Bakalářská práce Autor práce: Jiří Tolar DiS. Vedoucí práce: doc. MgA. Milan Polák Oponent práce: doc. MgA. Vít Spilka Brno 2015 Bibliografický záznam TOLAR, Jiří. Klarinetistka Sabine Meyer [Clarinetist Sabine Meyer]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra dechových nástrojů, 2015. 21 s. Vedoucí bakalářské práce doc. MgA. Milan Polák. Anotace Tato práce pojednává o klarinetistce Sabine Meyer. V práci je životopis Sabine Meyer, rozbor její interpretace a diskografie. Annotation This thesis deals with clarinetist Sabine Meyer. Thesis includes biography of Sabine Meyer, analysis of her interpretation and list of recordings. Klíčová slova Meyer, klarinet, nahrávka, interpretace, koncert, Stamic Keywords Meyer, clarinet, recording, interpretation, concert, Stamitz Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně dne 10. května 2015 Jiří Tolar Obsah Úvod ......................................................................................................................................... 1 1. Životopis ............................................................................................................................... 2 2. Trio di Clarone ...................................................................................................................... 7 3. Bläserensemble Sabine Meyer .......................................................................................... -
Martin Frost
Vol. 46 • No. 4 September 2019 MARTIN FROST Caroline Schleicher-Krähmer: Hook or Lefèvre: Who Wrote The First Female Clarinet Soloist the Concerto in E-flat? Tom Martin and André Previn Performer’s Guide to Air Travel with a Bass Clarinet Dialogue de l’ombre double Life Without Limits Our superb new series of Chedeville Clarinet mouthpieces are made in the USA to exacting standards from the finest material available. We are excited to now introduce the new ‘Chedeville Umbra’ and ‘Kaspar CB1’ Clarinet Barrels, the first products in our new line of high quality Clarinet Accessories. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] hope everyone enjoyed a great summer. It was EDITORIAL BOARD wonderful to see so many members in Knoxville Mitchell Estrin, Heike Fricke, Denise Gainey, at ClarinetFest®! We heard so many remarkable Jessica Harrie, Rachel Yoder performances by superb clarinet artists from around MUSIC REVIEWS EDITOR Ithe world. I must once again thank Artistic Director Victor Gregory Barrett Chavez and the artistic leadership team for producing such [email protected] a memorable festival. Congratulations to the three new AUDIO REVIEWS EDITOR ICA Honorary Members: Ron Odrich, Alan Stanek and Kip Franklin Eddy Vanoosthuyse. The ICA is also very grateful for the [email protected] generous support from all of the sponsors in Knoxville, Mitchell Estrin ASSOCIATE AUDIO REVIEWS EDITOR including Buffet Crampon, D’Addario, Rovner Products, RZ Jeffrey O’Flynn Woodwinds, Henri Selmer Paris, Vandoren and Yamaha. Stay [email protected] tuned to the December issue for complete coverage of ClarinetFest® 2019. -
Wolfgang Amadeus Mozart
WOLFGANG AMADEUS MOZART (1756 - 1791) REQUIEM & CLARINET CONCERTO Chœur de Chambre de Namur - New Century Baroque Leonardo García Alarcón Director Label Manager Editorial assistant Recorded in Recording Engineers Recording Producer, editing, mixing & mastering Cover photograph & design Director Booklet graphic design Label Manager Booklet photo credits Editorial assistant Printers Clarinet Concerto recording Requiem recording Recording Producer Cover photograph & design Booklet graphic design Booklet photo credits Printers WOLFGANG AMADEUS MOZART (1756 - 1791) 1 CLARINET CONCERTO IN A MAJOR K622 1 Allegro 12’36 2 Adagio 6’32 3 Rondo 8’52 REQUIEM IN D MINOR K626 4 Introitus: Requiem aeternam 4’43 5 Kyrie eleison 2’18 6 Dies irae 1’51 7 Tuba mirum 3’00 8 Rex tremendae majestatis 2’06 9 Recordare Jesu pie 5’03 10 Confutatis maledictis 2’08 2 11 Lacrimosa dies illa 2’46 12 Amen 1’36 13 Domine Jesu Christe 3’27 14 Versus: Hostias et preces 3’27 15 Communio: Lux aeterna cum sanctis tuis 5’14 TOTAL TIME 65’40 3 Julia Dagerfelt Flûtes Beatrice Scaldini Anne Freitag Leonardo García Alarcón direction Reynier Guerrero Marjorie Pfi ster Kinga Ujszaszi Cors de basset (Requiem) Violons II Benjamin Dieltjens Solistes Boris Begelman Francesco Spendolini Raphaëlle Pacault Andrea Vassalle Bassons Benjamin Dieltjens clarinette de basset Amie Weiss Zoë Matthews Carla Linné Anna Flumiani Lucy Hall soprano Angélique Noldus mezzo-soprano Altos Cors Hui Jin ténor Martine Schnorkh Alessandro Denabian Josef Wagner baryton-basse Joanne Miller Elisa Bognetti Marina -
5 September 2008 Page 1 of 38
Radio 3 Listings for 30 August – 5 September 2008 Page 1 of 38 SATURDAY 30 AUGUST 2008 Fauré, Gabriel (1845-1924) Nocturne No.6 in D flat major (Op.63) SAT 01:00 Through the Night (b00d3qy4) Jean-Yves Thibaudet (piano) With Jonathan Swain. Durante, Francesco (1684-1755) PLAYLIST: Concerto per quartetto no.6 in A major Leifs, Jón (1899-1968) Concerto Köln Galda Loftr, overture to "Loftr op. 10' Salzedo, Carlos (1885-1961) Elgar, Edward ((1857-1934) Variations sur un thème dans le style ancien (Op.30) Variations on an original theme ('Enigma') for orchestra (op. 36) Mojca Zlobko (harp) Rachmaninov, Sergey (1873-1943) Spohr, Louis (1784-1859) Piano Concerto no. 3 (Op. 30) in D minor Fantasie and variations on a theme of Danzi in B minor (Op.81) Vikingur Heidar Olafsson (piano), Iceland Symphony Orchestra, Joze Kotar (clarinet), Slovene Philharmonic String Quartet Rumon Gamba (conductor) Bach, Johann Christoph (1642-1703) Kaldalón, Sigvaldi (1881-1946) Motet : Fürchte dich nicht Ave Maria Cantus Cölln: Johanna Koslowsky (soprano), Graham Pushee Vikingur Heidar Olafsson (piano) (counter-tenor), Gerd Türk & Wilfred Jochens (tenors), Stephan Schreckenberger (bass), Christoph Anselm Noll (organ), Konrad Beethoven, Ludwig van (1770-1827) Junghänel (director) The Mount of Olives (Op.85) Olga Pasichny (soprano), Corby Welch (tenor), Marcus Matz, Rudolf (1901-1988) Niedermeyr (bass), Das Neue Orchester, Oslo Cathedral Choir, Ballade Christoph Spering (conductor) Zagreb Piano Trio Goldmark, Károly (1830-1915) Grundt, Albert (1840-1878) / Knoll, Johann -
SWR 2 Musikstunde Mit Christian Schruff Freitag, 28.10.2011 „Brüderlein Und Schwesterlein" Musikalische Geschwisterpaare (5): Die Meyers
2 SWR 2 Musikstunde mit Christian Schruff Freitag, 28.10.2011 „Brüderlein und Schwesterlein" Musikalische Geschwisterpaare (5): Die Meyers Heute, in der fünften und letzten Folge wird das Motto endlich eingelöst. Nach den vielen musikalischen Brüdern und Vettern dieser Woche, kommen heute wirklich Bruder und Schwester zum Zuge: Wolfgang und Sabine Meyer. Willkommen bei den Meyers! Musik 1: Track 15 2:22 Darius Milhaud: Scaramouche III. Brazileira Sabine & Wolfgang Meyer, Klarinette Pierre Charial, Drehorgel HARMONIA MUNDI, MAR 1891 2, LC 14158 Aus Darius Milhauds „Scaramouche“ ist dieser Satz „Brazileira“. Die Geschwister Sabine und Wolfgang Meyer spielten hier mit dem Drehorgelspieler Pierrre Charial. Mit einer Orgel haben die beiden Meyers schon als Kinder zusammen gespielt, machten mit dem Vater Musik in der Dorfkirche. Damals war die Besetzung allerdings noch etwas anders: Vater Meyer, ein Musiklehrer, spielte die Orgel, Wolfgang, der ältere Bruder, Klarinette und die 5 Jahre jüngere Schwester Sabine spielte Geige. Sie war gut als Geigerin, hat es sogar zum Bundeswettbewerb „Jugend musiziert“ gebracht – da war sie elf. Aber dass Sabine irgendwann doch Klarinette spielen würde, war nicht sonderlich überraschend, denn die Meyers sind seit Generationen Klarinettisten. Der Großvater spielte in der Postkapelle Crailsheim, der Vater spielte gerne Bigband-Jazz, die Kinder Wolfgang und Sabine Meyer sind prominente Klarinettisten geworden und Sabines Sohn Simon ist auch schon dabei. Kein Wunder, denn sein Vater, der Mann von Sabine Meyer 3 ist – natürlich – auch Klarinettist. Das Ehepaar Sabine Meyer / Reiner Wehle teilt sich in Lübeck eine Professur für dieses Instrument. Musik 2 Track 15 6:59 Wolfgang Amadeus Mozart : Adagio & Fuge d-Moll, KV 404a Nach J.S. -
Building a Library
BUILDING A LIBRARY All selections were made from recordings available in the UK at the time of the broadcast and are full price unless otherwise stated. CD Review cannot guarantee that they have not subsequently been deleted. KEY: CD = compact disc c/w = coupled with SIS = a recording which is only available through EMI’s Special Import Service IMS = a recording which is only available through Universal Classics' Import Music Service CONTENTS September 2000 – July 2001 .................................................................................................................................. 24 September 2001 – July 2002 .................................................................................................................................. 46 September 2002 – July 2003 .................................................................................................................................. 74 September 2003 – July 2004 .................................................................................................................................. 98 September 2004 – July 2005 ................................................................................................................................ 128 September 2005 – July 2006 ................................................................................................................................ 155 September 2006 – July 2007 ............................................................................................................................... -
Bringing Classical Music Into the Future
PRESS RELEASE IDAGIO: Bringing Classical Music into the Future Classical music startup IDAGIO launches at Salzburg Festival and announces investment SALZBURG, AUSTRIA - August 5 2015 - The classical music startup IDAGIO today launches its first iOS music streaming app, as part of a platform that directly connects classical musicians and audiences. Launch partners include the Vienna Philharmonic, the Philharmonia Orchestra, The Cleveland Orchestra and the Gustav Mahler Jugendorchester as well as baritone Thomas Hampson and violinist Ray Chen. Based on technology built for the special needs of classical music, users benefit from an improved user experience, including free access to an already extensive, and permanently growing, curated catalogue of recordings. As the first element of its platform, IDAGIO enables musicians to make current and future recordings available with one click. Today, many musicians and orchestras produce their recordings themselves or have recording archives that can now be made available in an uncomplicated way via a platform that takes the needs and requirements of classical music seriously. Besides an extensive hand-curated back catalogue with legendary recordings of artists such as Karajan, Bernstein, Solti, Szell, Furtwängler, Böhm, Giulini, Maria Callas, Arthur Rubinstein, and many others, IDAGIO’s launch partners contribute with own recordings under conductors such as Vladimir Ashkenazy, Sir Andrew Davis, Christoph von Dohnányi, Nikolaus Harnoncourt, Lorin Maazel, Sir Charles Mackerras, Georges Prêtre, Franz Welser-Möst as well as Thomas Hampson and Ray Chen. The founder and CEO of IDAGIO, Till Janczukowicz believes that the platform model offers an immense opportunity for classical music: “Platforms facilitate access, they connect people and services directly and thus create a powerful network that is beneficial to both musicians and audiences. -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date: 15-Jul-2010 I, Kimberly E Miller , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Clarinet It is entitled: Carl Baermann: His Influence on the Clarinet in the Nineteenth Century as Pedagogue, Composer, and Instrument Technician Student Signature: Kimberly E Miller This work and its defense approved by: Committee Chair: Jonathan Kregor, PhD Jonathan Kregor, PhD Ronald Auffman, BM Ronald Auffman, BM Richard Hawley, BM Richard Hawley, BM 8/6/2010 998 Carl Baermann: His Influence on the Clarinet in the Nineteenth Century as Pedagogue, Composer, and Instrument Technician A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music by Kimberly Miller M. A. University of Florida August 2010 Committee Chair: Jonathan Kregor. Ph.D. ABSTRACT Carl Baermann’s (1810—1885) legacy continues to influence modern clarinetists. He was the son of Heinrich Baermann (1784—1847), the clarinetist for whom Carl Maria von Weber (1786—1826) composed his clarinet works. Lesser known as a performer than his father, the younger Baermann influenced clarinet history through his pedagogical writings, editorial contributions, compositions, and mechanical design of the clarinet. During the years 1864— 1875, he wrote a clarinet manual which discussed his concept of tone production, technique, and clarinet equipment. He worked with publisher Robert Lienau to produce his versions of Weber’s clarinet works. He primarily employed his father’s performance notes of these works to produce the Baermann editions of the two Weber Concertos and Concertino. -
Information to Users
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 comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A SELECTED STUDY OF SYMPHONIES CONCERTANTES FOR MULTIPLE CLARINET SOLOISTS, 1770-1850, INCLUDING WORKS BY STAMITZ, DEVIENNE, KROMMER, TAUSCH, MULLER, SCHINDELMEISSER AND BAERMANN DMA 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 Gail S. Lehto, M.M. The Ohio State University 2002 DMA Document Committee: Approved by Professor James Pyne, Advisor Professor Christopher Weait Professor Marshall Haddock School of Music Graduate Program Reproduced with permission of the copyright owner. -
RICE UNIVERSITY the Aesthetic of Difficulty
RICE UNIVERSITY The Aesthetic of Difficulty by Alexis L. Witt A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Master of Music APPROVED, THESIS COMMITTEE: C hair, AssociateWalter Bailey, Chair,Chair, AssociateWalter Associate Professor of Musicology Marcia J. Citron,Martha and Henry Malcolm Lovett Distinguished Service Professor of Musicology David Ferris, Associate Professor of Musicology HOUSTON, TEXAS MAY 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1455298 INFORMATION TO USERS 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 bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send 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. ® UMI UMI Microform 1455298 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The Aesthetic of Difficulty by Alexis L. Witt The purpose of this project is to present and elaborate upon the relatively unexplored concept of an aesthetic of “difficulty”. The aesthetic of difficulty begins as compositional intent, is expressed through the experience of the performer, and ultimately is perceived by the listener. Difficulty itself, not to be confused with virtuosity, refers to segments or pieces of music that are uncomfortably challenging for the sake of intentionally sounding “hard” or labored.