DOCSLIB.ORG

M a R C H 2 0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
M a R C H 2 0 march 2003 Published by the American Recorder Society, Vol. XLIV, No. 2 Vol. American Recorder Society, by the Published 2 Fabulous Workshop/ Performance Sessions in Southwest France June 1-13 June 15-27 For details visit Eclectic Early Music Roundup - Exploring 13-15th Century our website at: Workshop/Performance: Provencal Madrigals & Chansons ww w. re s t o ra t i o n t rave l . c o m Featuring Belladonna Baro q u e Featuring Artek, Early Music Quartet, Malcolm Dalglish and Ensemble Wo r k s h o p / p e rf o rm a n c e Moira Smylie. Blending voice and of ancient music in an ancient Or, call us toll free instrument to make beautiful music setting. Voice (SATB), Record e r, (in U.S.) 866.376.8737 in a truly extraordinary place. Strings and Harpsichord. outside U.S.612.825.8983 Voice (SATB), Record e r, Cello, Harpsichord, and Violin. EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number2 March 2003 Getting away from it all assumes an even FEATURES more important function in times of polit- Johanna Kulbach . 6 ical uncertainty, when people seem to be From darkness, she emerged to guide others more on edge. It has become almost im- by Johanna Kulbach with Lisle Kulbach possible to find a place where there are no Touching Bass with cell phones, no persistent news coverage, 2003 Summer Recorder Workshops . 13 where e-mail doesn’t pursue you—where, 5 The annual summary of summer workshops, where you can after a certain number of days of an activi- improve your playing—not only on bass, but all recorders ty, you emerge, as if from a cocoon, to find A Merry Go ‘Round . 19 that time and life have been marching on. The ninth in a series of articles by composers and arrangers One of the positive attributes of music discussing how they write and arrange music for recorder, is in helping us all to find a place within by Richard Geisler ourselves where there is peace, even if on- ly fleeting. DEPARTMENTS From a more practical standpoint, part 6 Advertiser Index . 48 of this issue is devoted to helping you find Book Reviews . 24 a place to spend some of your well-earned summer vacation in the company of others Chapters & Consorts . 43 who love the recorder. At least for me, and Classified . 48 I suspect for many of you, a plan to get away from it all isn’t complete if it doesn’t Compact Disc Reviews . 45 include the pleasure of musical activities. Music Reviews. 30 If you are mostly inclined to spend your 18 On the Cutting Edge. 28 time playing under the expert guidance of others, head off to a workshop (page 13). If Opening Measures . 41 being an appreciative audience member President’s Message . 3 suits your fancy, choose from the many ON THE COVER: Response . 23 performances being offered during the Illustration Boston Early Music Festival (page 4), and by Tidings . 4 Jeff Jurich be sure to read the more complete sched- © 2003 Musica Pacifica’s Telemann CD wins award, Flanders Quartet ule that will be available in the May AR. celebrates 15 years, Newbery Medal book uses recorder in plot With fear of war looming, it’s both iron- ic and inspiring to read how music carried one individual through World War II and beyond (page 6). One always hopes for a GAIL NICKLESS, Editor happy ending in such stories, and this ac- Contributing Editors count does end happily—not only for Jo- FRANCES BLAKER, Beginners; JOHN BURKHALTER, Book Reviews hanna Kulbach, but for many others who CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews have music in their lives because of her. EUGENE REICHENTHAL, Education; THOMAS CIRTIN, Compact Disc Reviews A simple tune kept speaking to Richard TIMOTHY BROEGE, 20th-Century Performance; LISA SCHMIDT, Design Consultant Geisler, giving him the perfect way for his Advisory Board group to share music with young members Martha Bixler • Valerie Horst • David Lasocki of a French recorder orchestra (page 19). Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy If bringing harmony to your ensemble Kenneth Wollitz in its everyday workings would help bring Copyright © 2003 American Recorder Society, Inc. more peace to your life, Frances Blaker has AR On-Line suggestions to help you “play well with Visit at <www.recorderonline.org> American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a others” on several levels (page 41). subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles may be typed or submitted on PC discs (Word I’ve always felt fortunate that music was for Windows, or RTF preferred) or as an attachment to or text in an e-mail message. They should be for the exclusive consideration of AR, unless otherwise noted. Photographs may be sent as color or black-and-white prints, or 300-dpi TIFF images. Advertisements may be sent in the PDF format, with fonts able to take me to a place of personal embedded. Editorial office: Gail Nickless, Editor, American Recorder, 7770 South High St., Centennial, CO 80122; 303-794-0114 (phone & fax); peace. I hope the same is true for you. <[email protected]>. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Editorial office. Music for review: Constance M. Primus, Box 608, Georgetown, CO 80444. Recordings for review: Thomas Cirtin, 8128 N. Armstrong Chapel Road, Otterbein IN 47970. Cutting Edge: Editorial office. Chapter newsletters and other reports: Editorial Gail Nickless office. Advertising: Steve DiLauro, LaRich & Associates, Inc., 15300 Pearl Road, Suite 112, Strongsville, OH 44136-5036; 440-238-5577; 440-572-2976 (fax); <[email protected]>. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160-0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. ARS Chapters ALABAMA ILLINOIS Long Island: Margaret H. Brown Birmingham: Janice Williams Chicago: Kim Katulka (708-484-4578) (516-765-1867) (205-870-7443) West Suburban: Christopher Culp New York City: Michael Zumoff ARIZONA (630-690-7304) (212-662-2946) AMERICAN Rochester: Frank Amato Phoenix: Donald Harrington LOUISIANA (602-956-1344) (716-225-6808) RECORDER Tucson: Scott Mason (520-721-0846) Baton Rouge: John Waite Rockland: Lorraine Schiller (225-925-0502) ARKANSAS (845-429-8340) SOCIETY New Orleans: Chris Alderman Aeolus Konsort: Don Wold Westchester: Carol B. Leibman (504-862-0969) INC. (501-666-2787) (914-241-3381) Honorary President Bella Vista: Barbara McCoy MARYLAND NORTH CAROLINA (501-855-6477) ERICH KATZ (1900-1973) Northern Maryland: Tanya Torres Triangle: Cindy Osborne Honorary Vice President CALIFORNIA (410-821-8678) (919-851-1080) WINIFRED JAEGER Central Coast: Edwina Mindheim (805-528-0266) MASSACHUSETTS OHIO Statement of Purpose East Bay: Kathy Cochran Boston: Laura Conrad (617-661-8097) Greater Cleveland: Edith Yerger The mission of the American Recorder Society is (510-483-8675) BRS-West: (Boston); Sheila Beardslee (440-826-0716) to promote the recorder and its music by Monterey Bay: Sandy Ferguson (978-263-9926) Toledo: Marilyn Perlmutter (831-462-0286) developing resources and standards to help Worcester Hills: Jennifer Southcott (419-531-6259) North Coast: Kathleen Kinkela-Love people of all ages and ability levels to play and (707-822-8835) (978-263-5875) OREGON study the recorder, presenting the instrument Orange County: Doris Leffingwell MICHIGAN Oregon Coast: Corlu Collier to new constituencies, encouraging increased (949-494-9675) Ann Arbor: Bill White (541-265-5910) career opportunities for professional recorder Sacramento: Robert Foster (734-668-7120) PENNSYLVANIA performers and teachers, and enabling and (916-391-7520) or Elsa Morrison (916-929-6001) Kalamazoo: Wade Lawrence supporting recorder playing as a shared Philadelphia: Dody Magaziner San Diego County: Richard Chang (269-353-9885) (215-886-2241) or social experience. Besides this journal, (760-726-8699) Metropolitan Detroit: Claudia Joanne Ford (215-844-8054) ARS publishes a newsletter, a personal study San Francisco: Florence Kress Novitzsky (248-548-5668) Pittsburgh: He;en Thornton (415-731-9709) program, a directory, and special musical Western Michigan: Marge Winter (412-781-6321) South Bay: Joanna Woodrow editions. Society members gather and play (231-744-1703) together at chapter meetings, weekend and (408-266-3993) RHODE ISLAND Southern California: Lynne Snead MINNESOTA Rhode Island: David Bojar summer workshops, and many ARS-sponsored (661-254-7922) events throughout the year. In 2000, the Twin Cities: Jean Fagerstrom (401-944-3395) COLORADO Society entered its seventh decade of (612-722-4967) TENNESSEE Boulder: Rose Marie Terada service to its constituents. (303-666-4307) MISSOURI Greater Knoxville: Ann Stierli Board of Directors Colorado Springs: Richard Bradley St. Louis: Bruce Petersmeyer (865-637-6179) (719-633-5683) (314-631-7962) Nashville: Janet Epstein Alan Karass, President; Chair, Fund-raising Denver: Keith Emerson (615-297-2546) Carolyn Peskin, Vice President; (303-750-8460) NEVADA Chair, Scholarship; Co-Chair, Education Fort Collins: Roselyn Dailey Sierra Early Music Society: TEXAS Marilyn Perlmutter, Secretary (970-282-1097) Karlene Dickey (775-832-9124) Austin: Susan Page (512-467-7520) Dallas: Bill Patterson (214-696-4892) Ann Stickney, Treasurer; Chair, Finance CONNECTICUT NEW HAMPSHIRE Rio Grande: Joyce Henry John Nelson, Asst.
Load more

Recommended publications
  • Reinhard Keiser (1674-1739) Markuspassion Passion Selon Saint Marc - St Mark Passion
    ENSEMBLE JACQUES MODERNE Gli Incogniti - Amandine Beyer Jan Kobow ténor - Thomas e. Bauer basse - Joël Suhubiette direction Jan Kobow ténor (Evangelist) Thomas E. Bauer basse (Jesus) Ensemble Jacques Moderne Anne Magouët soprano (arias et Magd) David Erler alto (arias et Hohepriester) Stephan Van Dyck ténor (arias et Petrus) Guilhem Terrail alto (Judas, Kriegsknecht) Gunther Vandeven alto (Hauptmann) Olivier Coiffet ténor (Pilatus) Cécile Dibon soprano Cyprile Meier soprano Marc Manodritta ténor Didier Chevalier basse Christophe Sam basse Pierre Virly basse Gli Incogniti Amandine Beyer violon 1 Alba Roca violon 2 Marta Páramo alto 1 Ottavia Rausa alto 2 Francesco Romano théorbe Marco Ceccato violoncelle Baldomero Barciela violone Anna Fontana orgue et clavecin Mélodie Michel basson Antoine Torunczyk hautbois Joël Suhubiette direction TRACKS 2 PLAGES CD REINHARD KEISER (1674-1739) Markuspassion Passion selon Saint Marc - St Mark Passion De récentes recherches musicologiques permettent de penser que la « Markuspassion » n’est pas l’œuvre de Reinhard Keiser, essentiellement pour des raisons stylistiques. En revanche, l’attribution à un autre compositeur du XVIIème siècle tel que Nicolaus Bruhns ou Gottfried Keiser, le père de Reinhard Keiser, n’est pas encore avérée et cette question reste donc à ce jour non élucidée. Recent musicological research tends to suggest that the Markuspassion is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain. Die Ergebnisse jüngster musikwissenschaftlicher Forschungen lassen, vor allem aus stilistischen Gründen, durchaus vermuten, dass Reinhard Keiser nicht der wirkliche Urheber der „Markuspassion“ ist.
    [Show full text]
  • Handel's Tea Time
    Handel’s Tea Time Dorothee Mields Die Freitagsakademie George Frideric Handel (1685–1759) “Venus & Adonis” Cantata for soprano, oboe and basso continuo, HWV 85 Kantate für Sopran, Oboe und Basso continuo, HWV 85 � I. Recitative “Behold, where weeping Venus stands” �:�� � II. Aria “Dear Adonis, beauty’s treasure” �:�� � III. Recitative “Thus, queen of beauty” �:�� � IV. Aria “Transporting joy, tormenting fears” �:�� Concerto à quattro in D Minor for oboe, violin, cello and basso continuo* Concerto à quattro in d-moll für Oboe, Violine, Violoncello und Basso continuo � I. Adagio �:�� � II. Allegro �:�� � III. Largo �:�� � IV. Allegro �:�� From 24 English Songs for soprano, oboe, violin and basso continuo, HWV 228 Aus „24 English Songs“ für Sopran, Oboe, Violine und Basso continuo, HWV 228 � Bacchus �:�� �� The Rapture �:�� Trio Sonata in G Major From 9 German Arias for oboe, violin and basso continuo, HWV 384 for soprano, obligatory instrument and basso continuo Triosonate in G-Dur Aus „9 Deutsche Arien“ für Oboe, Violine und Basso continuo, HWV 384 für Sopran, obligates Instrument und Basso continuo �� I. Adagio �:�� �� “Flammende Rose, Zierde der Erden”, HWV 210 �:�� �� II. Allegro �:�� �� “Süßer Blumen Ambraflocken”, HWV 204 �:�� �� III. Grave �:�� �� “Meine Seele hört im Sehen”, HWV 207 �:�� �� IV. Allegro �:�� “Mi palpita il cor” Henry Purcell (1659–1695) Cantata for soprano, oboe and basso continuo, HWV 132 b Kantate für Sopran, Oboe und Basso continuo, HWV 132 b From the semi-opera “The Fairy Queen”, Z 629 Aus der Semi-Opera „Fairy Queen“, Z 629 �� I. Recitative “Mi palpita il cor” �:�� �� II. Aria “Ho tanti affanni in petto” �:�� �� “O let me weep” (Aria) �:�� �� III.
    [Show full text]
  • Early Music Review EDITIONS of MUSIC Here Are Thirteen Works in the Present Volume
    Early Music Review EDITIONS OF MUSIC here are thirteen works in the present volume. The first two are masses by John Bedingham, while the others are anonymous mass movements (either New from Stainer & Bell T single or somehow related). Previous titles in the series have been reviewed by Clifford Bartlett, and I confess this English Thirteenth-century Polyphony is the first time I have looked at repertory from this period A Facsimile Edition by William J. Summers & Peter M. since I studied Du Fay at university! At that time I also Lefferts sang quite a lot of (slightly later) English music, so I am not Stainer & Bell, 2016. Early English Church Music, 57 completely unfamiliar with it. I was immediately struck 53pp+349 plates. by the rhythmic complexity and delighted to see that the ISMN 979 0 2202 2405 8; ISBN 978 0 85249 940 5 editions preserve the original note values and avoids bar £180 lines - one might expect this to complicate matters with ligatures and coloration to contend with, but actually it is his extraordinarily opulent volume (approx. 12 laid out in such a beautiful way that everything miraculously inches by 17 and weighing more than seven pounds makes perfect sense. Most of the pieces are in two or three T- apologies for the old school measurements!) is a parts (a fourth part – called “Tenor bassus” – is added to marvel to behold. The publisher has had to use glossy paper the Credo of Bedingham’s Mass Dueil angoisseux in only in order to give the best possible colour reproductions of one of the sources).
    [Show full text]
  • Recorder in Oxford Music Online Oxford Music Online
    14.3.2011 Recorder in Oxford Music Online Oxford Music Online Grove Music Online Recorder article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/23022 Recorder. A woodwind instrument with a thumb-hole and (generally) seven finger-holes. It is the chief Western member of the class of duct flutes, i.e. flutes with a whistle mouthpiece, being distinguished from most other members particularly by its thumb-hole. Invented (or imported to Europe) during the Middle Ages, it was one of the most common wind instruments of the Renaissance and continued to play an important role in the Baroque. After being little used during the Classical and Romantic periods, it was resuscitated in the early 20th century and featured prominently in the early-music revival. Today it is a widely popular educational and amateur instrument and has attracted a skilled body of professionals. Recorders are made in different sizes, with compasses corresponding to different vocal ranges. There are four main instruments in use today: the descant (known in the USA as the ‘soprano’; lowest note c″); treble (in the USA ‘alto’; lowest note f′), tenor (lowest note c′) and bass ( f). Sopranino ( f″) and great bass ( c) instruments are also fairly common. The treble and tenor are written for as non-transposing instruments, but music for the sopranino, descant, bass and great bass is customarily written an octave below their sounding pitch. See also ORGAN STOP . I. The instrument 1. Nomenclature. The verb ‘to record’, meaning ‘to remember for oneself, to recall to another’, derives from the Latin recordari , ‘to remember’; thus a recorder was a rememberer or relater, such as a minstrel or, by extension, his instrument (E.
    [Show full text]
  • Xavier Díaz-Latorre, Eorbo and Baroque Guitar Music for Kings And
    Indianapolis Foundation, on the occasion of its 100th anniversary, is the presenting sponsor of the IEM 50th Anniversary Season Friday, June 24th, 2016 Xavier Díaz-Latorre, "eorbo and Baroque Guitar Music for Kings and Commoners Suite for "eorbo in A minor La Royalle Robert de Visée (ca. 1655 – Prelude 1732/1733) Allemande Courante Sarabande Masquerade Chaconne Suite for the "eorbo in C Minor Le Plainte Robert de Visée Prélude Allemande pour la mort de Mds. de Visée DIAZ-LATORRE // JUNE 24 JUNE // DIAZ-LATORRE Suite for the "eorbo in G Major Robert de Visée Musette Chaconne From Le Bourgeois Gentilhomme Jean-Baptiste Lully (1632-1687) Suite de dances Intermission Instrucción de música para la guitarra española (1697) Gaspar Sanz (1640-1710) Pavana al ayre español Xácara Passeos por el cuarto tono Tarantella ( improvisation) Poema harmónico (1694) Francisco Guerau (1659-1722) Marionas Instrucción de música para la guitarra española Gaspar Sanz Xácara Paradetas (improvisation) 22 THE 2016 INDIANAPOLIS EARLY MUSIC FESTIVAL Xavier Díaz-Latorre was born in Barcelona, Spain, in 1968. He studied in Basel with Oscar Ghiglia at the Musikakademie and with Hopkinson Smith at the Schola Cantorum. He has given concerts in major venues around the world, including Carnegie Hall (New York), Covent Garden (London), the Palaude la Música Catalana (Barcelona), the Teatro Real (Madrid), the Teatro Colón (Buenos Aires), the Wiener Philharmoniker (Vienna), and the Konzerthaus (Berlin). Díaz-Latorre performs regularly with such world-renowned ensembles as Hesperion XXI, La Capella Reial de Catalunya, and Le 24 JUNE // DIAZ-LATORRE Concert des Nations. He has also performed with Al Ayre Español, the Orquesta Nacional de España, Concerto Vocale, the Akademie für Alte Musik Berlin, and Concerto Köln.
    [Show full text]
  • J.E. Gardiner (SDG
    Johann Sebastian Bach 1685-1750 Cantatas Vol 13: Köln/Lüneburg SDG162 COVER SDG162 CD 1 65:19 For the First Sunday in Advent Nun komm, der Heiden Heiland I BWV 61 Nun komm, der Heiden Heiland II BWV 62 Schwingt freudig euch empor BWV 36 Joanne Lunn soprano, William Towers alto Jan Kobow tenor, Dietrich Henschel bass CD 2 69:03 For the Fourth Sunday in Advent Wachet! betet! betet! wachet! BWV 70 C Bereitet die Wege, bereitet die Bahn! BWV 132 M Herz und Mund und Tat und Leben BWV 147 Y Brigitte Geller soprano, Michael Chance alto K Jan Kobow tenor, Dietrich Henschel bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage St. Maria im Kapitol, Köln, 3 December 2000 Michaeliskirche, Lüneburg, 10 December 2000 Soli Deo Gloria Volume 13 SDG 162 P 2009 Monteverdi Productions Ltd C 2009 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01622 8 13 SDG 162 Bach Cantatas Gardiner Bach Cantatas Gardiner CD 1 65:19 For the First Sunday in Advent The Monteverdi Choir The English Double Bass 1-6 15:06 Nun komm, der Heiden Heiland I BWV 61 Baroque Soloists Barry Guy Sopranos 7-12 19:33 Nun komm, der Heiden Heiland II BWV 62 Suzanne Flowers Violins I Oboes 13-20 30:26 Schwingt freudig euch empor BWV 36 Lucinda Houghton Maya Homburger Michael Niesemann Nicola Jenkin Nicolette Moonen Catherine Latham Gillian Keith Anne Schumann Bassoon Joanne Lunn soprano, William Towers alto Joanne Lunn Sarah Bealby-Wright Alastair Mitchell Jan Kobow tenor, Dietrich Henschel bass Emma Preston-Dunlop Roy Mowatt Cornetto Altos Violins II Michael Harrison Simon Baker Peter Lissauer The Monteverdi Choir Elinor Carter Jane Gillie Harpsichord The English Baroque Soloists William Missin Silvia Schweinberger Rob Howarth William Towers Penelope Spencer John Eliot Gardiner Organ Tenors Violas Andrew Arthur Simon Davies Mari Giske Live recording from the Bach Cantata Pilgrimage Rory O’Connor Colin Kitching Nicolas Robertson Penny Veryard St.
    [Show full text]
  • Schütz Edition Has Been Published Containing Choral Collection, Loreley, Which Is Published As Part of the Various Individual Works
    X | 201X CHCHORCHORALCHORMUSIKOR MUMUSIK MUSICSIK HEUTE HEUTHEUTETODAYE 2 | 2017 CARUSCARUS MagazinMagazine MOZART UNVOLLEN- DET Fragment c-Moll-Messe BACH COMPLETE EDITION GOUNOD GEISTLICH INTEGRATION MUSIKALISCH ChorwerkeThe Complete für die KircheSacred VocalKinderlieder Works für alle MUSICAL CAPITAL PARIS CULTURAL TREASURE Following Rossini and Gounod German folk songs in new arrangements C Carus Gioachino Rossini 1792–1868 150th anniversary of death 2018 Although first and foremost considered an opera composer, the Italian Gioachino Rossini composed an extensive range of sacred and secular vocal music. Well-known are the Stabat Mater and the Petite Messe solennelle. It is also worth discovering his many smaller choral works. Gioachino Rossini ROSSINI Petite Messe solennelle Stabat Mater Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 Stabat Mater komponierte Gioachino Rossini neben Kammermusik nur noch Carus 40.650 größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. Immer wieder hat Rossini die bildreiche Sprache der vermutlich aus dem 13. Jahrhundert stam- menden latenischen Dichtung Komponisten zu Vertonungen inspi- riert, darunter große Namen wie Pergolesi, Joseph Haydn und Verdi. In 10 Nummern vereinigt Rossini unterschiedliche Formen wie Arie, CHOIR Chor- und E AP Duett, Quartett und Chor, opernhaft ariose Schreibweise und stren- TH P Stabat Mater gen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Ensemblemusik Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works Carus 70.089 of church music.
    [Show full text]
  • Abendprogrammheft Accattone Als
    ARBEIT STINKT ACCATTONE Nach dem gleichnamigen Film von Pier Paolo Pasolini in einer Fassung von Koen Tachelet Musikalische Leitung: Philippe Herreweghe (14., 15., 19., 20. 08.), Christoph Siebert (22., 23. 08.) Regie: Johan Simons Bühne: Muriel Gerstner Kostüm: Anja Rabes Licht: Wolfgang Göbbel Soundscapes: Steven Prengels Sounddesign: Will-Jan Pielage Dramaturgie: Koen Tachelet, Tobias Staab Musikdramaturgie: Jan Vandenhouwe Mitarbeit Musikdramaturgie: Jens Van Durme Aufnahmeleitung: Marc Swaenen Regieassistenz: Katelijne Laevens Bühnenbildassistenz: Luc Goedertier Sprachcoach: Roswitha Dierck Kostümassistenz: Christina Hillinger Regiepraktikum: Julie Peters, Clara-Lilian Risa Berger Inspizienz: Stefan Jansen Übertitelinspizienz: Erik Borgmann, Dirk Dehooghe Beratung Klangkonzept: Barak Koren Kinderbetreuung: Chris Nietvelt Künstlerische Produktionsleitung: Marieke Cardinaels, Caitlin van der Maas Technische Projektleitung: Andreas Dietmann Produktionsleitung Kostüm: Monika Frenz Garderobe: Sandra Gabrovec, Stefanie Klein Maske: Sabine Heuser, Laura Nahberger ACCATTONE Darsteller: Accattone: Steven Scharf Maddalena: Sandra Hüller Amore: Elsie de Brauw Das Gesetz: Benny Claessens Stella: Anna Drexler Pio: Mandela Wee Wee Balilla: Steven van Watermeulen Cartagine: Jeff Wilbusch Renato: Lukas von der Lühe Nannina / Ascensa: Laura Mentink Io: Pien Westendorp Solisten: Dorothee Mields (Sopran) Alex Potter (Alt) Thomas Hobbs (Tenor) Peter Kooij (Bass) Christine Busch (Solo Violine) Chor Collegium Vocale Gent Sopran: Dorothee Mields, Griet
    [Show full text]
  • 03 November 2020
    03 November 2020 12:01 AM Antonio Salieri (1750-1825) Sinfonia in D major 'Veneziana' Stavanger Symphony Orchestra, Fabio Biondi (conductor) NONRK 12:11 AM Fryderyk Chopin (1810-1849) Ballade for piano no 4 (Op 52) in F minor Zbigniew Raubo (piano) PLPR 12:23 AM Lorenzo Allegri (1567-1648) Primo Ballo della notte d'amore & Sinfonica (Spirito del ciel) Suzie Le Blanc (soprano), Barbara Borden (soprano), Dorothee Mields (soprano), Tragicomedia, Stephen Stubbs (director) DEWDR 12:33 AM Franz Schubert (1797-1828) Overture in D major, D590, 'in the Italian style' Stavanger Symphony Orchestra, Paul McCreesh (conductor) NONRK 12:41 AM Ludwig van Beethoven (1770-1827) Duet for viola and cello in E flat major, WoO.32 Milan Telecky (viola), Juraj Alexander (cello) SKSR 12:51 AM Georg Philipp Telemann (1681-1767) Trio No.8 from Essercizii Musici Camerata Koln, Michael Schneider (recorder), Rainer Zipperling (cello), Yasunori Imamura (theorbo), Sabine Bauer (harpsichord), Harald Hoeren (organ) DEWDR 12:59 AM Heino Kaski (1885-1957) Symphony in B minor (Op.16) (1918/19) Finnish Radio Symphony Orchestra, Ilpo Mansnerus (conductor) FIYLE 01:25 AM George Frideric Handel (1685-1759) Violin Sonata in A minor (Op.1 No.4) (HWV.362) Tomaz Lorenz (violin), Jerko Novak (guitar) SIRTVS 01:35 AM Wolfgang Amadeus Mozart (1756-1791) Quintet in E flat major for piano, oboe, clarinet, horn and bassoon (K.452) Anton Kuerti (piano), James Mason (oboe), James Campbell (clarinet), James Sommerville (horn), James McKay (bassoon) CACBC 02:01 AM Samuel Barber (1910-1981) Adagio for Strings Shanghai Symphony Orchestra, Zhang Jiemin (conductor) CNSMG 02:09 AM Bela Bartok (1881-1945) Music for Strings, Percussion and Celesta Shanghai Symphony Orchestra, Zhang Jiemin (conductor) CNSMG 02:42 AM Astor Piazzolla (1921-1992) The Four Seasons of Buenos Aires Li Pei (violin), Shanghai Symphony Orchestra, Zhang Jiemin (conductor) CNSMG 03:10 AM Joseph Haydn (1732-1809) Divertimento in C, Hob.
    [Show full text]
  • Early Music Instruments on Permanent Loan to EMSQ from QUT Enquiries
    Early Music Instruments on permanent loan to EMSQ from QUT Enquiries about hiring instruments should be directed to Michael Yelland - email [email protected], mobile 0404 072 209 Monthly Item Maker's marks EMSQ Code Comments rental Deposit Viols Bass viol Inside label "Geoff Wills Lota 1973" BV1 $30 $120 Bass viol Inside label "Geoff Wills 1979" BV2 $30 $120 Tenor viol Inside label "Geoff Wills 1980" TeV1 $30 $120 Treble viol Inside label "Geoff Wills 1983" TrV1 $30 $120 Treble viol Geoff Wills 1976 TrV2 $30 $120 Bass viol Geoff Wills BV3 $30 $120 Tenor viol Geoff Wills - no label TeV2 $30 $120 Bass viol Geoff Wills BV4 $30 $120 Sopranino recorders Sopranino recorder Aulos Snino1 $10 $40 Not available Sopranino recorder Aulos Snino2 $10 $40 Not available Descant recorders Descant recorder Moeck SR1 Renaissance style, three joints $20 $80 Not available Descant recorder Hohner SR2 Baroque style, plastic rings, three joints $20 $80 Descant recorder Hohner SR3 Baroque style, plastic rings, three joints $20 $80 Descant recorder Moeck SR4 Baroque style, ivory rings, three joints $20 $80 Descant recorder Dolmetsch SR5 Baroque style. TJ16572, MJ16572, TJBJ16577 $10 $40 Not available Treble recorders Treble recorder Dolmetsch AR1 Baroque style, ivory mouthpiece $20 $80 Treble recorder Hohner AR2 Plastic rings, has been recorked $20 $80 Treble recorder AR3 Plastic rings, has been recorked, chips off bottom Hohner joint $20 $80 Treble recorder Moeck AR4 Ivory rings $20 $80 Treble recordeer Moeck AR5 Renaissance style, brass rings, flared
    [Show full text]
  • William Shelton (Countertenor)
    William Shelton (Countertenor) William Shelton was born in Nancy (France). His parents who were both members of the Nancy Opera chorus encouraged him to develop his musical potential and he won a scholarship to Salisbury Cathedral School (England) at the age of eight. He continued his musical studies at Dole, Besançon and Dijon conservatories, where he studied singing, horn, organ, music theory, chamber music and orchestra. He moved to Paris in 2015 after obtaining a Bachelors degree in Physics and Chemistry at Besançon university, a Horn diploma, an organ diploma and a singing diploma with the highest distinctions. He has had the opportunity to develop his singing by participating in masterclasses with Hans Jörg Mammel, Jan Kobow, Michel Laplénie, Isabelle Druet, Robert Expert, Regina Werner, Mickaël Mardayer and by entering the Philippe Jaroussky Academy in 2017. In 2018 he won the Young Artist Award at the Pietro Antonio Cesti baroque opera competition in Innsbruck, he was awarded the 2nd prize at the Froville international baroque singing competition and he was admitted into the Opera Fuoco Opera Company for young artists conducted by David Stern. William Shelton takes part in projects of many renowned vocal ensembles : Les Cris de Paris, Pygmalion, Les Arts Florissants, La Compagnie la Tempête, Scherzi Musicali, La Fenice, Collegium Vocale Gent and Vox Luminis. His Bach Cantatas debut with Raphaël Pichon at the Paris Philharmonie was broadcast live on french television and was followed by a tour to Israël for the Eilat chamber music festival. He was subsequently engaged by William Christie in the Bach B minor Mass as Alto soloist for the Arts Florissants Spring Festival in Vendée.
    [Show full text]
  • 37563/Clasical Guitar/229-249
    229 Classical Guitar 230 Solo Guitar Literature by Composer 242 Guitar Collections 245 Guitar Duos 246 Guitar Ensembles 247 Guitar with Various Instruments 249 Voice and Guitar 249 Mandolin 230 SOLO GUITAR LITERATURE J.S. BACH ______00006366 Bach Again for Guitar (Block) SOLO GUITAR Contents: Minuet In G; Gavotte; Minuet; Bouree In Em; Little Prelude; Gavotte In D; Short Prelude; Menuet; LITERATURE Fantasia In C Minor; Bouree. Marks M834.....................................................................$4.95 ______00006329 Bach for Guitar (Block) ANONYMOUS Contents: Minuet; Jesu, Joy Of Man’s Desiring; Rondo- ______50562985 Dindandon et tambourin joli (Pujol 2001) Gavotte; Awake, Awake, A Voice Is Calling; Gavotte; Minuet Eschig ME0784300........................................................$12.95 In G Minor; Sarabande; Polonaise; Concerto In The Italian Style ______00663025 Malagueña (Paul Henry) Marks M366.....................................................................$4.95 Hal Leonard .....................................................................$3.95 ______50250440 Bach For My Guitar ______50560305 Scottisch Madrilene (Pujol 1088) Ricordi R132592............................................................$12.00 Eschig ME0729700..........................................................$6.95 ______50560002 Canon (Pujol 2006) DIONISIO AGUADO Eschig ME0788100..........................................................$6.95 ______50015050 50 Studies (Gonzales) ______00315184 Classical Guitar of Bach Ricordi RLD546 ............................................................$10.95
    [Show full text]