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London's Symphony Orchestra
London Symphony Orchestra Living Music London’s Symphony Orchestra Celebrating LSO Members with 20+ years’ service. Visit lso.co.uk/1617photos for a full list. LSO Season 2016/17 Free concert programme London Symphony Orchestra LSO ST LUKE’S BBC RADIO 3 LUNCHTIME CONCERTS – AUTUMN 2016 MOZART & TCHAIKOVSKY LAWRENCE POWER & FRIENDS Ten musicians explore Tchaikovsky and his The violist is joined by some of his closest musical love of Mozart, through songs, piano trios, collaborators for a series that celebrates the string quartets and solo piano music. instrument as chamber music star, with works by with Pavel Kolesnikov, Sitkovetsky Piano Trio, Brahms, Schubert, Bach, Beethoven and others. Robin Tritschler, Iain Burnside & with Simon Crawford-Phillips, Paul Watkins, Ehnes String Quartet Vilde Frang, Nicolas Altstaedt & Vertavo Quartet For full listings visit lso.co.uk/lunchtimeconcerts London Symphony Orchestra Living Music Monday 19 September 2016 7.30pm Barbican Hall LSO ARTIST PORTRAIT Leif Ove Andsnes Beethoven Piano Sonata No 18 (‘The Hunt’) Sibelius Impromptus Op 5 Nos 5 and 6; Rondino Op 68 No 2; Elegiaco Op 76 No 10; Commodo from ‘Kyllikki‘ Op 41; Romance Op 24 No 9 INTERVAL Debussy Estampes Chopin Ballade No 2 in F major; Nocturne in F major; Ballade No 4 in F minor Leif Ove Andsnes piano Concert finishes at approximately 9.25pm 4 Welcome 19 September 2016 Welcome Kathryn McDowell Welcome to this evening’s concert at the Barbican Centre, where the LSO is delighted to welcome back Leif Ove Andsnes to perform a solo recital, and conclude the critically acclaimed LSO Artist Portrait series that he began with us last season. -
Proquest Dissertations
The use of the glissando in piano solo and concerto compositions from Domenico Scarlatti to George Crumb Item Type text; Dissertation-Reproduction (electronic) Authors Lin, Shuennchin Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 08:04:22 Link to Item http://hdl.handle.net/10150/288715 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI fihns the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fice, whfle others may be from any type of computer primer. The qaality^ of this rqirodnctioii is dependent upon the quality of the copy sabmitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and hnproper alignmem can adverse^ 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., nu^s, drawings, charts) are reproduced by sectioning the original, b^inning at the upper left-hand comer and continuing fi'om left to right m equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
Ferruccio Busoni Biography
Ferruccio Busoni His Life And Times Beginnings Youth in Italy The Prodigy is Heard Busoni as Composer Free at Last First Experiences Marriage Busoni as Editor Hitting his Stride Busoni as Conductor Masterpiece Unveiled America again Turandot /Die Brautwahl The Author Debuts Back on the Road Paris, D’Annunzio Opera’s Seduction Liceo Rossini War in Europe The Artist at 50 The Last Years Final Enthusiasms Last Days FERRUCCIO BUSONI - HIS LIFE AND TIMES The Busoni heritage begins in Spicchio, a little village on the north bank of the Arno, inhabited mainly by barge-men, one of whom bore the name. The family is thought originally to have come from Corsica. Though reasonably well-off in their day, the Busonis fell on hard times, and upon the father’s death, moved to Empoli. Additional misfortune followed when the second son of three, Giovanni Battista also died later of a long illness in 1860, his wife following shortly thereafter. From this group of three sons, it would be the eldest, Ferdinando who would produce the artist the world learned to know and cherish. In Empoli his siblings became prosperous makers of felt hats, but Ferdinando would have none of that. He hid himself in corners to read the classics and practice the clarinet. Nothing would alter his intention to be a musician of prominence; he was capricious, self-willed, hot-tempered and impatient. These qualities would, lifelong, result in a reputation as difficult, highly-strung, opinionated, quarrelsome and to some a jeffatore...the possessor of the “evil eye.” He was largely self-taught, attained a high degree of proficiency on his instrument, adopted a career as a travelling virtuoso. -
Piano Man: Life of John Ogdon Pdf, Epub, Ebook
PIANO MAN: LIFE OF JOHN OGDON PDF, EPUB, EBOOK Charles Beauclerk | 432 pages | 27 Mar 2014 | Simon & Schuster Ltd | 9780857200112 | English | London, United Kingdom Piano Man: Life of John Ogdon PDF Book Cypriot Elegies. Reading the book is a roller-coaster of inspiration, sadness, amusement, and astonishment. Your First Name. Compared with 21st-century virtuosi, he was indeed a giant. Together they formed New Music Manchester , a group dedicated to the performances of serial and other modern works. Get A Copy. Categories : English classical pianists Male classical pianists births deaths Musicians from Nottinghamshire People from Mansfield Woodhouse People educated at Manchester Grammar School People with bipolar disorder Pupils of Egon Petri Alumni of the Royal Northern College of Music Prize-winners of the International Tchaikovsky Competition 20th-century classical pianists 20th-century English musicians Deaths from pneumonia English male classical composers English classical composers 20th-century classical composers 20th- century British composers British male pianists. No doubt, like all biographies, there are elements of bias and inaccuracy and it will not be to everyone's taste but it is definitely a worthwhile read whether you are a pianist or just interested in people. Most popular. Get a FREE e-book by joining our mailing list today! He had another, even more valuable talent no one could teach — the ability to divine the soul of the music he played and communicate it to audiences both erudite and untutored. Above all, though, there was the transcendence of his playing when he was on form and his unpredictability when he wasn't. John Rachmaninoff Ogdon. -
56: November 1999
THE ALKAN SOCIETY President: RONALD SMITH Secretary: PETER J. GROVE 21 Heronswood, SALISBURY, Wiltshire SP28DH Tel/fax +44-[0]-1722-325771 BULLETIN NO.56: NOVEMBER 1999 I begin too often with an apology for the long delay of our Bulletin. There was a shortage of news at the beginning of the year, and since the summer there has been a shortage of time and efficiency. As my French counterpart has reminded me in no uncertain terms, our Bulletins are our only contact with most of our members. Please be assured that the Society is still running; our bank account is well in the black; and we can look forward to some exciting events in the year 2000. I must thank all the members who kept the faith by sending subscriptions or donations during this fallow year. Your contributions have all been recorded, and if you wish I will carry them over for 2000. If, in the usual rush to fill envelopes once the bulletin is printed and ready for dispatch, I enclose a form for subscriptions or donations which you feel is unnecessary, then please be assured that I will keep your name on the mailing list. As you will read later, we can certainly use some new funds, so any donations or subscriptions for 2000 will be welcomed and acknowledged. I intend to issue a receipt or membership card for the coming year, with each paid-up member allocated a reference number. This will enable you to obtain discounts on some products such as the new CDs of the chamber music and the CD from Symposium Records containing Nicholas King's organ recital. -
Gazette of the American Friends of Lafayette No
The Gazette of the American Friends of Lafayette No. 84 March 2016 AFL members standing in front of Quarters 1 building at Fort Monroe where both General Lafayette and President Lincoln stayed (on separate occasions of course) Newsletter 1 friendsoflafayette.org Save the Date American Friends of Lafayette ANNUAL MEETING 2016 Boston, Massachusetts Thursday June 9th to Sunday June 12th Questions? Comments? Article Ideas? Photos? This Gazette is for you, by you. Please feel free to send comments, complaints, article ideas, photos, etc. To [email protected] We look forward to hearing from you! Newsletter 2 friendsoflafayette.org Inside this issue... • President’s Letter- pg 4 • Annual Meeting Itinerary- pg 5 • Locations of Past Annual Meetings- pg 6 • Lafayette Trivia- pgs 7-8 • New Members! – pg 9 • Boston’s Revolutionary Vanguard- pgs 10-17 • Yorktown Victory Celebration 2015- pgs 18-21 • Sarah Vowell Event at Lafayette College- pgs 22-25 • Lafayette Escadrille Memorial- pg 26 • Lafayette Mural Rediscovered in Southwestern Pennsylvania- pgs 27-28 • Lafayette Returns to Fort Monroe 2015- pgs 29-30 • Bernard’s Gibraltar of the Chesapeake- pgs 31-32 • New Lafayette Anthology Published by University of Louisiana at Lafayette Press- pg 33 • Chateau de Chavaniac- pg 34 • Ode A Lafayette- pgs 35-36 • How Lafayette’s Ancestral Home Celebrates its Native Son- pgs 37-38 • AFL Annual Book Donation- pgs 39-41 • The Simpsons Pay Tribute to Paris (via Hamilton)- pg 42 • Lafayette Novel for Young Readers Coming Soon- pg 43 • William -
Jackson's Auction
Jackson's Auction Collector's Choice: Antiques & Collectibles Tuesday - September 18, 2012 Collector's Choice: Antiques & Collectibles 1: GALLE CAMEO GLASS AND LOETZ STYLE ART GLASS VASES USD 200 - 400 GALLE CAMEO GLASS AND LOETZ STYLE ART GLASS VASES, CIRCA 1900. The Galle with cut fern decoration (damaged), the Loetz style with amber oil spot finish over an opalescent body with crimped rim. Height 9.5 inches (24 cm) and 5 inches (12.5 cm). 2: A CONSOLIDATED LOVEBIRDS VASE USD 100 - 200 A CONSOLIDATED MOLDED AND FROSTED GLASS LOVEBIRDS VASE, EARLY 20TH CENTURY. With blue patina. Height 10.5 inches (26.5 cm). 3: IN THE MANNER OF LALIQUE, A LARGE CHARGER USD 100 - 200 IN THE MANNER OF LALIQUE, A LARGE MOLDED AND FROSTED GLASS CHARGER, 20TH CENTURY. Depicting dancing nudes on a blue stained ground, apparently unsigned. Diameter 17.75 inches (45 cm). 4: A FRENCH OPALESCENT MOLDED ART GLASS TRAY USD 150 - 250 A FRENCH OPALESCENT MOLDED ART GLASS TRAY, FIRST HALF OF 20TH CENTURY. In the manner of Sabino with large floral blossoms and a butterfly molded in deep relief with powder blue opalescent highlights under a satin finish, apparently unsigned. Diameter 13.25 inches (33.5 cm). 5: A VERLYS MOLDED AND FROSTED GLASS CHARGER USD 150 - 250 A VERLYS MOLDED AND FROSTED GLASS CHARGER, 20TH CENTURY. Depicting three birds in flight and goldfish. Inscribed Verlys. Diameter 13.75 inches (35 cm). 6: AN R. LALIQUE FOR D'ORSAY GLASS CREAM JAR USD 350 - 550 AN R. LALIQUE FOR D'ORSAY MOLDED AND FROSTED GLASS CREAM JAR. -
Producing Evidence for the Beatification of a Composer: Sorabji’S Deijication of Busoni’
Producing Evidence for the Beatification of a Composer: Sorabji’s DeiJication of Busoni’ BY MARC-ANDRÉ ROBERGE There has been in recent years an upsurge of interest in the music of a number of nineteenth and twentieth-century composer-pianists who have long been considered outsiders in European music history, such as Charles-Valentin Alkan (1813-88), Ferruccio Busoni (1866-1924), Leopold Godowsky (1870-1938) and Kaikhosru Shapurji Sorabji (1892-1988). Their status as outsiders resulted mainly from the length and complexity of several of their works and from the lack of clear boundaries between original composition and transcription, in which they had a marked interest. Their works, even though they still appear but rarely on concert programmes, are now performed with increasing frequency. First editions or reprints of their music are issued with some regularity, as are books and articles; furthermore, several enterprising pianists are now recording interesting works and masterpieces long kept in the shadow for lack of suitable performers. As I have shown elsewhere,* all these composers are part of an extensive “Busoni network”, i.e. a group of composers and performers who can be linked in one or more ways to Busoni and, to a lesser extent, to Sorabji: they had studied with Busoni or with one of his pupils; they had performed works by Busoni or Sorabji; they had written about either composer; they had transcribed or edited one or more of their works; finally, they incorporated quotations from their works into their own compositions or used them as models. To this core group of (mostly English- speaking) composers could be added numerous editors, musicologists and writers (also mostly English-speaking) as well as friends and disciples of the composers of the network. -
Profesionalizacija in Specializacija Glasbenega Dela ▪︎ The
doi: https://doi.org/10.26493/978-961-7055-86-3.87-104 In the Shadow of Parry, Stanford and Mackenzie: Musical Composition studies in the principal London Conservatories from 1918 to 1945 Niall O’Loughlin Univerza v Loughboroughu Loughborough University In the early 20th century, the main British music institutions, which at- tracted the attention of prospective composers, were the Royal Academy of Music and the Royal College of Music, both located in London. What is particularly notable is that the early principals of the Royal Academy were almost always prominent composers and the directors of the Royal College were very often composers, too. The history of the founding and the back- ground of these two conservatories gives some understanding of their po- sition and standing by the end of World War I. In the early 1820s patriotic amateurs promoted ideas for the founda- tion of a Royal Academy of Music, but this was initially opposed by the mu- sic profession, which felt that there were too many musicians anyway. The professionals then tried unsuccessfully to associate the proposed academy with the long-standing Philharmonic Society, which later commissioned Beethoven’s Ninth Symphony during the same period. In the end the am- ateurs, principally John Fane, eleventh Earl of Westmorland (also known as Lord Berghersh) with assistance of royalty, notably King George IV, suc- ceeded in establishing the Academy of Music in 1822 in London, the first of the British conservatories, receiving its royal charter in 1830 to become the Royal Academy of Music. To create a strong credibility for the institution the founders needed to appoint a distinguished principal, although the choice was perhaps not that difficult. -
The Poetic Ideal in the Piano Music of Franz Liszt: a Lecture Recital, Together with Three Recitals Of
6 7 THE POETIC IDEAL IN THE PIANO MUSIC OF FRANZ LISZT: A LECTURE RECITAL, TOGETHER WITH THREE RECITALS OF MUSIC BY MOZART, BEETHOVEN, SCHUBERT, CHOPIN, BRAHMS, AND CONTEMPORARY EUROPEAN AND NORTH AMERICAN COMPOSERS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Gladys Lawhon, M. A. Denton, Texas December, 1972 Lawhon, Gladys, The Poetic Ideal in the Piano Music of Franz Liszt: A Lecture Recital, Together with Two Solo Recitals and a Chamber Music Recital. Doctor of Musical Arts (Piano Performance), December, 1972, 23 pp., 8 illustrations, bib- liography, 56 titles. The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The chamber music program included a trio with the violin and cello performing with the piano. The repertoire of all of the programs was intended to demonstrate a variety of types and styles of piano music from several different historical periods. The lecture recital, "The Poetic Ideal in the Piano Music of Franz Liszt," was an attempt to enter a seldom- explored area of Liszt's musical inspiration. So much has been written about the brilliant and virtuosic compositions which Liszt created to demonstrate his own technical prowess that it is easy to lose sight of the other side of his cre- ative genius. Both as a composer and as an author, Liszt re- iterated his belief in the fundamental kinship of music and the other arts. The visual arts of painting and sculpture were included, but he considered the closest relationship to be with literature, and especially with poetry. -
Bösendorfer - Wikipedia, the Free Encyclopedia 1/5/14, 3:08 PM Bösendorfer from Wikipedia, the Free Encyclopedia
Bösendorfer - Wikipedia, the free encyclopedia 1/5/14, 3:08 PM Bösendorfer From Wikipedia, the free encyclopedia Bösendorfer (L. Bösendorfer Klavierfabrik GmbH) is an L. Bösendorfer Klavierfabrik GmbH Austrian piano manufacturer, and a wholly owned subsidiary of Yamaha.[citation needed] Bösendorfer is unusual in that it produces 97- and 92-key models in addition to instruments with standard 88-key keyboards. Type private Contents Industry Musical instruments Founded 1828 1 Characteristics Founder(s) Ignaz Bösendorfer 2 History Headquarters Vienna, Austria 3 Models 3.1 Standard Black Models[7] Products Pianos 3.2 Conservatory Series Parent Yamaha Corporation 3.3 Special and Limited editions 3.3.1 SE reproducing piano Website www.boesendorfer.com 3.4 Designer Models (http://www.boesendorfer.com/) 4 Noteworthy events 5 Bösendorfer Artists 5.1 Recordings 5.1.1 Classical 5.1.2 Popular 6 References 7 Bibliography 8 External links Characteristics Bösendorfer pioneered the extension of the typical 88-key keyboard, creating the Imperial Grand (Model 290), which has 97 keys (eight octaves). This innovation was originally ordered as a custom built piano for Ferruccio Busoni, who wanted to transcribe an organ piece that went to the C below the standard keyboard. This innovation worked so well, that this piano was added to regular product offerings and quickly became one of the world's most sought-after concert grands. Because of the 290's success, the extra strings were added to Bösendorfer's other line of instruments such as the 225 model, which -
Liner Notes From
u Quartet Alexander Goehr (6. 7932) The majority of composers, it seems, have yet to get over the impact of the Modern Movement of sixty years ago. Reactionaries continue to regard the innovations of Schoenberg and Stravinsky as tending to undermine the good old tradition while the avant-garde views the same advances as an obligation to perpetual revolution. How- ever, a third group of composers, as yet regretably small, sees the most hopeful way forward out of the resulting confusion as that of the modest progressive. Alexander Goehr, for instance, holds that, properly understood, the new resources of twentieth century composition offer means not of supplanting but of enriching the grammar and syntax of musical understanding as it has evolved beneath the surface of the varying musical styles of the last few centuries. Thus the harmonic distinction of all his works since the Two Choruses op. 14 arises from a syn- thesis of Schoenberg's serial principle with the modality of Messiaen to create a 'transformational grammar' for pitch relationships in some ways analagous with tonality in the days of its potency. That Goehr has absorbed many of the most radical developments of this century will be clear from this disc. Yet at the same time, and without a hint of neo-classicism, these works attain an intimacy and depth reminiscent of some of the great chamber works of the eighteenth and nineteenth centuries. The Second String Quartet was commissioned by Lord Dynevor and first performed complete by the Allegri String Quartet in October 1967. The first movement is an extended set of double variations.