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CUMULATIVE INDEX: SECTION (A): ARTICLES
CUMULATIVE INDEX to Czech Music and Other Society Journals: 1974-1994 Abstracted by Richard Beith Issue 2 July 1995 INTRODUCTION The Dvořák Society has always published a journal since the Society was founded in 1974. In the early years, the format and title changed frequently, but the name Czech Music has been used since 1978 and the familiar A5 format has been in use since 1980. Journal size has varied from the first issue, a single sheet of foolscap, printed on both sides, to the latest issue with 192 A5 size pages. Up until the Autumn 1987 issue, Czech Music also contained the “current information” listing concert dates, latest record news and forthcoming Society events. Since 1988 the entirely separate Newsletter has been published to cover such “current information”. Ephemeral items such as crosswords, concert announcements and new record issue news are omitted from the index, particularly such information appearing in the Journals prior to 1988, i.e. before the introduction of the separate Newsletter. The titles of articles, as printed, have occasionally been expanded by additional explanations in parenthesis. For example, “Music to Dismember” referring to cuts in live performances of Dvořák’s works now has the added comment: (Performance Cuts). Titles of musical works have generally been left in the language of the original articles, Czech, English or Slovak as appropriate. As the journals have not been given continuous pagination within one volume, i.e., as every separate issue starts with a page 1, a very full reference is given, egg: “March 74 1:1:1” = March 1974 issue, Volume 1, No 1, article starting on page 1; Summer 1993 18:1:87 = Summer 1993 issue, Volume 18, No 1, article starting on page 87. -
“The Librettist Wears Skirts”: Female Librettists in 19Th-Century Bohemia
UNIVERSITY OF CALIFORNIA Santa Barbara “The Librettist Wears Skirts”: Female Librettists in 19th-Century Bohemia A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Emma Taylor Parker Committee in charge: Professor Derek Katz, Chair Professor David Paul Professor Stefanie Tcharos June 2016 The dissertation of Emma Taylor Parker is approved. ___________________________________________________________ David Paul ___________________________________________________________ Stefanie Tcharos ___________________________________________________________ Derek Katz, Committee Chair June 2016 “The Librettist Wears Skirts”: Female Librettists in 19th-Century Bohemia Copyright © 2016 By Emma Taylor Parker iii Acknowledgements Writing a dissertation is not for the faint of heart and I certainly would not have finished this dissertation without a veritable village of supporters. I would like to thank the Fulbright Commission in the Czech Republic who sponsored my research year in Prague, especially Dr. Hanka Ripková, director of the commission, who was a truly hospitable host, and Andrea Semancová who patiently answered innumerable questions along every step of the journey. I am so grateful to them and the rest of the wonderful staff for their support, both financial and emotional. I am also grateful to Dr. Jarmila Gabrielová who sponsored my Fulbright application and was, along with her students, gracious in welcoming me to her graduate seminar at Charles University and extremely helpful in pointing me in the right direction during my time there. Haig Utidijian and the Charles University Chorus afforded me incomparable performing opportunities, a much-needed musical outlet during my time in Prague, and most of all, their warm friendship. And of course, without my fellow Fulbrighters (especially Laura Brade and John Korba) I would have been on a plane home more times that I can count. -
85 ANTONÍN DVOŘÁK Musician and Craftsman John
Naturally his son would follow in the traditional family business. Accordingly, having spent six years at school, Antonín left shortly before his twelfth birthday and became 8 apprenticed to his father in the butchers’ trade. In order to improve the lad’s chances ANTONÍN DVOŘÁK of success he was sent a year later to become a butcher’s apprentice at Zlonice, Musician and Craftsman where he stayed with his mother’s younger brother, Antonín Zdeněk (b. 1823). His John Clapham uncle, who was steward to Count Kinsky, treated him like a son, for he had no chil- I dren of his own. This attractive Czech town, lying some twenty or more miles away Biographical Sketch by road to the west of Nelahozeves, offered chances of picking up a little German, Antonín Dvořák came of sturdy peasant stock. His great-grandfather Jan Dvořák which was an important point for one who was destined to become a publican, but (1724-1777) lived just beyond the north-eastern fringe of Prague at Třeboradice, the musical opportunities were very much greater. Josef Toman, schoolmaster, and where he combined farming with innkeeping. Eventually he died in the house in organist and choirmaster of the church, was a baritone singer, and played the violin, which he had been born. Six out of his family of ten survived infancy, the third of trumpet and double bass in addition to the organ. Antonín Liehmann (1808-1879), a these being the composer’s grandfather, Jan Nepomuk Dvořák (1764-1842). The teacher of German and music and a typical Czech Musikant, was an excellent organist latter became both publican and butcher, first at Vodolka (now known as Odolena with a talent for improvisation, a good violinist and clarinettist who also played the Voda), and from 1818 at Nelahozeves, where the composer himself was to be born. -
17-0211 Program
New England Conservatory Opera Studies Department presents Cendrillon Opera in four acts by JULES MASSENET Libretto by HENRI CAÏN Conductor Hugh Wolff Stage Director Joshua Major Set Design by Cameron Anderson Costume Design by Gail Astrid Buckley Lighting Design by Chris Hudacs Chorus Master Daniel Wyneken Musical Preparation Michael Strauss Daniel Wyneken This organization is supported in part by the Massachusetts Cultural Council, a state agency, Production Stage Manager Amanda Otten and by a grant from the Boston Cultural Council, Production Manager Rich Frost a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events. Please switch off cellular phones, pagers, and watch alarms. Connect with NEC and our music on Facebook, Twitter, and beyond, Performed at the and sign up for e-mail news bulletins. Emerson Cutler Majestic, Boston, MA February 11-14, 2017 There will be a 15-minute Intermission between Act II and Act III. necmusic.edu/concerts CAST OF CHARACTERS February 11 & 13, 2017 February 12 & 14, 2017 Erica Petrocelli CENDRILLON Sooyeon Kang Margaret Bridge LE PRINCE CHARMANT Niru Liu Josh Quinn PANDOLFE Chauncey Blade Brindley McWhorter MADAME DE LA HALTIÈRE Whitney Robinson Morgan Middleton DOROTHÉE Rhiannon Vaughn Chang Liu NOÉMI Jeongmin Kim Helen Zhibing Huang LA FÉE Gyuyeon Shim February 11-14, 2017 Chi Xue LE ROI Thomas E. Hamilton LE SURINTENDANT DES PLAISIRS Judson Virden LE DOYEN DE LA FACULTÉ Allyn McCourt LE PREMIER MINISTRE Special thanks to: ENSEMBLE Jim deVeer and Advanced Lighting and Production Services David Rivera Bozon, Grant Braider, Rush Dorsett, Julia Dwyer, Chelsea DeSouza Liz Perlman Corey Gaudreau, Michael González, Jordan Harrington, Kaitlin Loeb, Jordan Reynolds Costume Works, Inc. -
Antonin Dvorak, Biblical Songs, Op. 99: a Transcription for Wind Orchestra with Historical Context and Transcription Method
UNLV Theses, Dissertations, Professional Papers, and Capstones 5-2010 Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method Raymond T. Brown University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Music Commons Repository Citation Brown, Raymond T., "Antonin Dvorak, Biblical Songs, Op. 99: A transcription for wind orchestra with historical context and transcription method" (2010). UNLV Theses, Dissertations, Professional Papers, and Capstones. 887. http://dx.doi.org/10.34917/2238502 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]. ANTONIN DVORAK, BIBLICAL SONGS, Op.99: A TRANSCRIPTION FOR WIND ORCHESTRA WITH HISTORICAL CONTEXT AND TRANSCRIPTION METHOD by Raymond Thomas Brown Bachelor of Music Education Brigham -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany. -
W&M Scholarworks Dvořák and James: Pragmatism and the Music
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 2013 Dvořák and James: Pragmatism and the Music of America's Fin de Siècle Matthew F. Reese College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Music Commons Recommended Citation Reese, Matthew F., "Dvořák and James: Pragmatism and the Music of America's Fin de Siècle" (2013). Undergraduate Honors Theses. Paper 618. https://scholarworks.wm.edu/honorstheses/618 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Dvořák and James: Pragmatism and the Music of America’s Fin de Siècle A thesis submitted in partial fulfillment of the requirements for the degree of Bachelors of Arts in Music by Matthew Frerking Reese Accepted for ___________________________ (Honors, High Honors, Highest Honors) ___________________________ James I. Armstrong, Director (Music) ___________________________ Tuska Benes (History) ___________________________ Chandos Brown (History) ___________________________ Katherine Preston (Music) The College of William and Mary Williamsburg, Virginia Friday, 12 April 2013 Table of Contents Introduction ..................................................................................................................... 3 An Historical -
CATALOGUE > SU 0033-2 Vilém Blodek in the Well Šounová, Márová, Kocián, Berman, Kühn Mixed Chorus Prague National Theatre Orchestra, Jan Štych
s czech pera OCATALOGUE > SU 0033-2 Vilém Blodek In the Well Šounová, Márová, Kocián, Berman, Kühn Mixed Chorus Prague National Theatre Orchestra, Jan Štych > SU 0019-2 Antonín Dvořák The Cunning Peasant Veselá, Soběhartová, Berman, Průša, Vodička, Děpoltová, Zítek etc. Prague Radio Chorus and Symphony Orchestra František Vajnar > 11 1800-2 Antonín Dvořák Kate and the Devil Barová, Ježil, Novák, Šulcová etc. SU 0033-2 11 1800-2 11 2190-2 Brno Janáček Opera Chorus and Orchestra, Jiří Pinkas > SU 3943-2 Antonín Dvořák Kate and the Devil Komancová, Havlák, Kočí, Steinerová Prague National Theatre Chorus and Orchestra Zdeněk Chalabala > SU 11 2190-2 Antonín Dvořák The Jacobin Zítek, Machotková, Blachut, Přibyl, Šounová, Průša, Berman, Tuček Kühn Mixed Chorus, Kantiléna Children’s Chorus Brno State Philharmonic Orchestra, Jiří Pinkas > SU 3793 Antonín Dvořák Dimitrij Vodička, Drobková, Hajóssyová, Ághová, Kusnjer etc. Prague Radio Chorus, Prague Philharmonic Choir SU 0019-2 SU 3943-2 SU 3793-2 Czech Philharmonic Orchestra, Gerd Albrecht | 2 | | > SU 0013-2 Antonín Dvořák Rusalka Šubrtová, Žídek, Haken, Ovčačíková, Míková etc. Prague National Theatre Chorus and Orchestra Zdeněk Chalabala > SU 3811-2 Antonín Dvořák Rusalka Červinková, Blachut, Haken, Krásová, Podvalová etc. Prague National Theatre Chorus and Orchestra Jaroslav Krombholc > SU 3718-2 Antonín Dvořák Rusalka Beňačková, Ochman, Drobková, Novák etc. SU 0013-2 SU 3718-2 11 1492-2 Prague Philharmonic Choir Czech Philharmonic Orchestra Václav Neumann > SU 3765-2 Antonín Dvořák The Stubborn Lovers Kloubová, Březina, Janál, Sýkorová, Beláček Prague Philharmonic Choir Prague Philharmonia Jiří Bělohlávek > 11 1492-2 Zdeněk Fibich The Bride of Messina Beňačková, Márová, Zítek, Žídek Prague National Theatre Chorus and Orchestra František Jílek diapason d’or SU 3811-2 SU 3765-2 | 4 | | > 10 2941-2 Leoš Janáček From the House of the Dead Novák, Přibyl, Horáček, Blachut, Žídek etc. -
Mamma Mia! Summer Night Erwin Schrott, Bass-Baritone Ljubljana
PROGRAM 64. LF Friday, 17. 6. – Saturday, 18. 6., at 9.00 pm Friday, 15. 7., at 8.00 pm Sunday, 21., and Monday, 22. 8., at 8.30 pm Mamma mia! Pier Paolo Pasolini: Pylade Mamma mia! Musical Special Guest Artist: Marko Mandić Musical Director: Ivica Buljan Production: La MaMa Experimental Theatre Club Tuesday, 21. 6., at 9.00 pm Tuesday, 23. 8., at 8.00 pm Summer night Lithuanian chamber orchestra 25 Years of Festival Hits Tuesday, 19. 7., at 8.00 pm Conductor and Soloist: Sergej Krilov, violin RTV Slovenia Symphony Orchestra and Big Band with guests Simon Trpčeski, piano Vivaldi: The Four Seasons Conductor: Luis Gorelik de Falla: Spanish popular suite Slovenian Philharmonic Orchestra de Sarasate: Romanza Andalusa, Spanish dance Op. 22 No. 1 Monday, 27. 6., at 9.00 pm Beethoven: Symphony No. 5 in C minor, Op. 67 de Sarasate: Introduction and Tarantella, Op. 43 Erwin Schrott, bass-baritone Beethoven: Piano Concerto No. 5 in E flat major “Emperor”, Op.73 de Sarasate: Carmen Fantasy, Op. 25 Jaquelina Livieri, soprano Concert of opera arias Thursday, 21. 7., at 8.00 pm Sreda, 24. 8., at 8.00 pm Conductor: Francesco Ivan Ciampa Slovenian Philharmonic Orchestra, Zagreb Philharmonic Orchestra Goldberg Variations London Symphony Orchestra Rossini: Ouverture from Guillame Tell Slovene Philharmonic String Chamber Orchestra Conductor: Gianandrea Noseda Mozart: »Madamina il catalogo questo«, Leporello’s aria from Don Soloists: Dimitrij Sitkovecki, Janez Podlesek, violin Soloist: Lana Trotovšek, violin Giovanni Bach: Violin concerto in A minor, BWV 1041 Wagner: Overture Die Meistersinger von Nürnberg, WWV 96 Mozart: »Non mi dir, bell’idol mio«, Donna Anna’s aria from Don Bach: Concerto for two violins in D minor, BWV 1043 Prokofjev: Violin concerto No. -
Season 20 Season 2011-2012
Season 2020111111----2020202011112222 The Philadelphia Orchestra Thursday, March 22, at 8:00 Friday, March 232323,23 , at 222:002:00:00:00 Saturday, March 242424,24 , at 8:00 James Conlon Conductor Mozart Overtures to Don Giovanni, K. 527, Idomeneo, K. 366, and The Marriage of Figaro, K. 492 Mozart Symphony No. 38 in D major, K. 504 (“Prague”) I. Adagio—Allegro II. Andante III. Presto Intermission DvoDvořákřákřákřák Symphony No. 7 in D minor, Op. 70 I. Allegro maestoso II. Poco adagio III. Scherzo: Vivace IV. Finale: Allegro This program runs approximately 1 hour, 60 minutes. The March 22 concert is sponsored by the Louis N. Cassett Foundation. James Conlon is currently music director of Los Angeles Opera, the Ravinia Festival (summer home of the Chicago Symphony), and the Cincinnati May Festival, America’s oldest choral festival. He has served as principal conductor of the Paris National Opera (1995 to 2004); general music director of the City of Cologne, Germany (1989 to 2002), where he was music director of both the Gürzenich Orchestra-Cologne Philharmonic and the Cologne Opera; and music director of the Rotterdam Philharmonic (1983 to 1991). Since his first appearance as a guest conductor at the Metropolitan Opera in 1976, Mr. Conlon has led more than 250 performances there and has appeared at the Teatro alla Scala in Milan, the Royal Opera Covent Garden, Lyric Opera of Chicago, the Teatro di Roma, and the Maggio Musicale Fiorentino in Florence. This coming summer he continues a five-year series of six Mozart operas with the Chicago Symphony at Ravinia; this follows a complete cycle of the Mozart piano concertos. -
Ein Tristan Von Nobelstem Stahl...«: the Influence of a Czech Wagner
Els ő megjelenés: „»Ein Tristan von nobelstem Stahl...«: The Influence of a Czech Wagner-tenor on Hungarian Musical Life in the First Half of the Twentieth Century.” In: Barbara Judkowiak – Katarzyna Lisiecka (szerk.): Operowy Kontrapunkt. Libretto w Europie Środkowej i Wschodniej . Pozna ń: Wydawnictwo Pozna ńskiego Towarzystwa Przyjaciół Nauk, 2014. 255–274. FERENC JÁNOS SZABÓ Hungarian Academy of Sciences, Institute for Musicology, Research Centre for the Humanities “Ein Tristan von nobelstem stahl...”: The Influence of a czech wagner Tenor on Hungarian Musical Life in the First Half of the Twentieth century 1 1. Karel Burian in Hungary Karel Burian was one of the best Wagner tenors of the early twentieth century. 2 Despite his many faults – he was a moody man who often broke his contracts and cancelled his musical engagements on a whim – he was a great singer and, according to Gustav Mahler and Karl Böhm, the best Tristan of their time. The authors of his biographies always mention his Wagner roles and his long presence in New York, and primarily the world première of Salome by Richard Strauss, when he played the role of Herod to much acclaim. His reputation and popularity might be measured against that of Enrico Caruso. Burian performed in Budapest almost annually from 1900 until the year of his death. He was a member of the Royal Hungarian Opera from 1901 to 1902 as a “lyric and heroic tenor, but mainly for Wagner roles,” as is written in his contract. 3 Besides his Wagner roles – Tannhäuser, Lohengrin, Siegmund and Walther von Stolzing -
Opera King Arthur 7-21.Indd
OPERA SUMMERSCAPE 2021 King Arthur (LE ROI ARTHUS) BY ERNEST CHAUSSON SOSNOFF THEATER JULY 25 – AUGUST 1, 2021 Fisher Center The Fisher Center develops, produces, and presents performing arts across disciplines through new productions and context-rich programs that challenge and inspire. As a premier professional performing arts center and a hub for research and education, the Fisher Center supports artists, students, and audiences in the development and examination of artistic ideas, offering perspec- tives from the past and present, as well as visions of the future. The Fisher Center demonstrates Bard’s commitment to the performing arts as a cultural and educational necessity. Home is the Fisher Center for the Performing Arts, designed by Frank Gehry and located on the campus of Bard College in New York’s Hudson Valley. The Fisher Center offers outstanding programs to many com- munities, including the students and faculty of Bard College, and audiences in the Hudson Valley, New York City, across the country, and around the world. The Center presents more than 200 world-class events and welcomes 50,000 visitors each year. The Fisher Center supports artists at all stages of their careers and employs more than 300 profes- sional artists annually. The Fisher Center is a powerful catalyst of art-making regionally, nationally, and worldwide. Every year it produces eight to 10 major new works in various disciplines. Over the past five years, its commissioned productions have been seen in more than 100 communities around the world. During the 2018–19 season, six Fisher Center productions toured nationally and internationally.