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Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
Chuaqui C.V. 2019
MIGUEL CHUAQUI, Ph.D. Professor Director, University of Utah School of Music 1375 East Presidents Circle Salt Lake City, UT 84112 801-585-6975 [email protected] www.miguelchuaqui.com EDUCATION AND TRAINING 2007: Summer workshops in advanced Max/MSP programming, IRCAM, Paris. 1994 - 96: Post-doctoral studies in interactive electro-acoustic music, Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley. 1994: Ph.D. in Music, University of California, Berkeley, Andrew Imbrie, graduate advisor. 1989: M.A. in Music, University of California, Berkeley. 1987: B.A. in Mathematics and Music, With Distinction, University of California, Berkeley. 1983: Studies in piano performance and Mathematics, Universidad Católica de Chile, Santiago, Chile. 1982: Certificate in Spanish/English translation, Cambridge University, England. 1976 - 1983: Studies in piano performance, music theory and musicianship, Escuela Moderna de Música, Santiago, Chile. WORK HISTORY 2009 – present: Professor, School of Music, University of Utah, Salt Lake City, Utah; Chair, Composition Area, 2008-2014. 2003 - 2009: Associate Professor, School of Music, University of Utah, Salt Lake City, Utah. 1996 - 2003: Assistant Professor, School of Music, University of Utah, Salt Lake City, Utah. 1994 – 1996: Organist and Assistant Conductor, St. Bonaventure Catholic Church, Clayton, California. 1992 - 1996: Instructor, Music Department, Laney College, Oakland, California. Music Theory and Musicianship. 1992 – 1993: Lecturer, Music Department, San Francisco State University, San Francisco, California. (One-year music theory sabbatical replacement position). 1989 – 1992: Graduate Student Instructor, University of California, Berkeley, California. updated 2/19 Miguel Chuaqui 2 UNIVERSITY, PROFESSIONAL, AND PUBLIC SERVICE ADMINISTRATIVE APPOINTMENTS 2015-present: Director, University of Utah School of Music. -
Wiederentdeckt. Der Komponist Berthold Goldschmidt
BERTHOLD GOLDSCHMIDT Geflohen - verstummt - wiederentdeckt. Der Komponist Berthold Goldschmidt GESPRÄCHSKONZERT DER REIHE MUSICA REANIMATA AM 22. NOVEMBER 2016 IN BERLIN BESTANDSVERZEICHNIS DER MEDIEN VON UND ÜBER BERTHOLD GOLDSCHMIDT IN DER ZENTRAL- UND LANDESBIBLIOTHEK BERLIN INHALTSANGABE KOMPOSITIONEN VON BERTHOLD GOLDSCHMIDT Noten Seite 3 Aufnahmen auf CD Seite 4 Aufnahmen in der Naxos Music Library Seite 6 SEKUNDÄRLITERATUR ÜBER BERTHOLD GOLDSCHMIDT Seite 7 LEGENDE Freihand Bestand im Lesesaal frei zugänglich Magazin Bestand für Leser nicht frei zugänglich, Bestellung möglich Außenmagazin Bestand außerhalb der Häuser, Bestellung möglich AGB Amerika-Gedenkbibliothek, Blücherplatz 1, 10961 Berlin – Kreuzberg Berlin-Studien im Haus BStB (Berliner Stadtbibliothek) BStB Berliner Stadtbibliothek, Breite Str. 30-36, 10178 Berlin – Mitte Naxos Music Library Streamingportal mit klassischer Musik –- sowohl an den Datenbank-PCs der ZLB als auch (mit Bibliotheksausweis) von zu Hause nutzbar 2 KOMPOSITIONEN VON BERTHOLD GOLDSCHMIDT NOTEN Mediterranean songs : for tenor and orchestra = Gesänge vom Mittelmeer / Berthold Goldschmidt. - London : Boosey & Hawkes, c 1996. - 83 Seiten. HPS 1294 Exemplare: Standort Außenmagazin AGB Signatur 008/000 009 519 (No 139 Golds 1) Passacaglia opus 4 for large orchestra / Berthold Goldschmidt. - London : Boosey & Hawkes, 1998. - 1 Studienpartitur (22 Seiten). - ISMN M-060-10791-7 Exemplare: Standort Magazin AGB Signatur 108/000 052 355 (No 147 Golds 1) String quartet no 2 : for string quartet [Noten] / Berthold Goldschmidt. - London : Boosey & Hawkes, [1991]. - 1 Partitur (42 Seiten) ; 31 cm. - Anmerkungen des Komponisten in Deutsch und Englisch Exemplare: Standort Freihand AGB Signatur No 190 Golds 2 String quartet no. 4 (1992) / Berthold Goldschmidt. - London [u.a.] : Boosey & Hawkes, 1994. - 20 Seiten Exemplare: Standort Magazin AGB Signatur No 190 Golds 1 [Sinfonien, Nr. -
Salt Lake City August 1—4, 2019 Nfac Discover 18 Ad OL.Pdf 1 6/13/19 8:29 PM
47th Annual National Flute Association Convention Salt Lake City August 1 —4, 2019 NFAc_Discover_18_Ad_OL.pdf 1 6/13/19 8:29 PM C M Y CM MY CY CMY K Custom Handmade Since 1888 Booth 110 wmshaynes.com Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. schmittmusic.com/f lutegallery Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 214 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2019, Salt available in Carbon Fibre. Lake City! Dr. Rachel Haug Root Katie Lowry Bianca Najera An expert for every f lutist. Three amazing utists, all passionate about helping you und your best sound. The Schmitt Music Flute Gallery offers expert consultations, easy trials, and free shipping to utists of all abilities, all around the world! Visit us at NFA booth #126! Meet our specialists, get on-site ute repairs, enter to win prizes, and more. 00 44 (0)20 8778 0752 [email protected] schmittmusic.com/f lutegallery www.wisemanlondon.com TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ............................................................... -
Utah Symphony | Utah Opera
Media Contact: Renée Huang | Public Relations Director [email protected] | (801) 869-9027 FOR IMMEDIATE RELEASE: UTAH SYMPHONY PRESENTS BERLIOZ’S DAMNATION OF FAUST WITH ACCLAIMED GUEST OPERA SOLOISTS KATE LINDSEY AND MICHAEL SPYRES SALT LAKE CITY, Utah (Sept.12, 2013) – Mezzo Soprano Kate Lindsey, a veteran of the Metropolitan Opera, and Michael Spyres, called “one of today’s finest tenors” by French Opera magazine join the Utah Symphony on September 27 and 28 at Abravanel Hall in Hector Berlioz’s dramatic interpretation of Goethe’s tale of Faust and his fateful deal with the devil, The Damnation of Faust. The Utah Symphony Chorus and Utah Opera Chorus lend their voices to the work, which is an ingenious combination of opera and oratorio that ranks among Berlioz’s finest creations. In addition to the star power of Lindsey and Spyres who sings the role of Marguerite and Faust, three other operatic guest artists will join the cast, including Baritone Roderick Williams, whose talents have included appearances with all BBC orchestras, London Sinfonietta and the Philharmonia, performing Mephistopheles; and Bass- baritone Adam Cioffari, a former member of the Houston Grand Opera Studio. Newcomer Tara Stafford Spyres, a young coloratura soprano, just sang her first Mimi in Springfield Missouri’s Regional Opera production of La Bohème. La Damnation de Faust was last performed on the Utah Symphony Masterworks Series in 2003 as part of the company’s Faust Festival. TICKET INFORMATION Single tickets for the performance range from $18 to $69 and can be purchased by phone at (801) 355- 2787, in person at the Abravanel Hall ticket office (123 W. -
National Conference Performing Choirs
National Conference Performing Choirs 20152015 ACDA FestivalFestival ChoirChoir UniversityUniversity ofof Utah A Cappella Choir Thursday 8:00 pm - 9:45 pm Abravanel Hall (Blue Track) Friday 8:00 pm - 9:45 pm Abravanel Hall (Gold Track) The 2015 ACDA Festival Choir includes the Utah Sym- phony Chorus, Utah Chamber Artists, the University of Utah Chamber Choir, and the University of Utah A Cappella Choir conducted by Barlow Bradford. The Utah Symphony is con- ducted by Thierry Fischer. Founded in 1962, the A Cappella Choir offers singers the opportunity to perform works for larger choirs and to fi ne- tune the art of choral singing through exposure to music from Utah Chamber Artists the Renaissance through the twenty-fi rst century. Choir mem- bers hone musicianship skills such as rhythm, sight-reading, and the understanding of complex scores. They develop an understanding of the intricacies of vocal production, includ- ing pitch, and how to blend individual voices together into a unifi ed, beautiful sound. In recent years, the A Cappella Choir has become a standard of excellence in student singing in the State of Utah. Last fall, they sang Mozart’s Trinity Mass with the Utah Symphony and the Utah Symphony Chorus under the direction of Thierry Fischer. This renewed a tradition of collaboration between the choirs of the University of Utah and the Utah Symphony, and their outstanding performance resulted in invitations for return engagements in 2015. Utah Chamber Artists was established in 1991 by Barlow University of Utah Chamber Choir Bradford and James Lee Sorenson. The ensemble comprises forty singers and forty players who create a balance and so- nority rarely found in a combined choir and orchestra. -
Undiscovered Weill David Drew
Undiscovered Weill David Drew These two extracts from 'Kurt Weill: a Handbook' (published by Faber and Faber on September 28 at £25) have been specially adapted and in the second instance expanded by the author for serialization in OPERA, with the permission of the publishers. 1. Na Und? In March 1927 Weill completed the full score of a two-act opera provisionally entitled Na und? to a libretto by Felix Joachimson-Felix Jackson as he is known today. No libretto or scenario has survived. In a discussion with the present author in 1960, the librettist declared that he had only the haziest recollection of the plot. It concerned, he said, an Italian of humble birth who makes his fortune in America and then returns to his native village to find that his erstwhile fiancee is about to marry another. He abducts her to his mountain retreat, which is then besieged by the outraged villagers. Jackson was unable to recall the denouement or indeed any other details, except that he had based the libretto on a newspaper story. While that may seem to confirm the impression that Na und? was some sort of latterday verismo opera-a slice of Menotti before its time-surviving sections of the voice-and-piano draft (with barely legible text) give a very different impression. So too does the brief description provided by Weill himself, in a letter to his publishers (4 April 1927) enclosing a copy of the libretto: It is the first operatic attempt to throw light on the essence of our time from within, rather than by recourse to the obvious externals. -
MAHLER SYMPHONY No
MAHLER SYMPHONY No. 1 “TITAN” Fresh ! Gustav Mahler MAHLER : S YMPHONY NO. 1 The work recorded here is, of course, known everywhere as Mahler’s First Symphony. That is not, however, what Mahler thought he was writing at the time, and it took him several years to decide quite what he had wrought (and, in the process, to drop one of the movements). Was this a symphony, or did it belong rather to that alternative, more modern category, the symphonic poem? It was as an example of this latter type that the work was performed for the first time, on November 20, 1889, in Budapest, where Mahler had a post as opera conductor—though it was at the city’s main concert hall, the Vigadó, that he conducted his “Symphonic Poem.” At the next performance, in Hamburg four years later, the composition was billed as “Titan, a tone poem in symphony form,” becoming “Titan, symphony” the following year in Weimar, then finally and fully, reduced from five movements to the standard four, “Symphony in D major” in Berlin in 1896. By that time, Mahler had completed his Second Symphony and most of his Third; he knew what he was about. Some of the ambiguity, however, remains. In a tradition going back through Liszt and Berlioz to Beethoven, this is a symphony that by no means discounts narrative, even though its composer was in two minds about how much of the story to reveal, and what story. “Titan,” the title the piece briefly acquired in 1893-4, to be often revived today, presents a conundrum, for at different times Mahler seems to have explained it either with reference to a novel of the same name by Jean-Paul or simply to stand for a strong heroic figure. -
Christopher Hailey
Christopher Hailey: Franz Schreker and The Pluralities of Modernism [Source: Tempo, January 2002, 2-7] Vienna's credentials as a cradle of modernism are too familiar to need rehearsing. Freud, Kraus, Schnitzler, Musil, Wittgenstein, Klimt, Schiele, Kokoschka conjure up a world at once iridescent and lowering, voluptuously self-indulgent and cooly analytical. Arnold Schoenberg has been accorded pride of place as Vienna's quintessential musical modernist who confronted the crisis of language and meaning by emancipating dissonance and, a decade later, installing a new serial order. It is a tidy narrative and one largely established in the years after the Second World War by a generation of students and disciples intent upon reasserting disrupted continuities. That such continuities never existed is beside the point; it was a useful and, for its time, productive revision of history because it was fueled by the excitement of discovery. Revision always entails excision, and over the decades it became increasingly obvious that this narrative of Viennese modernism was a gross simplification. The re-discovery of Mahler was the first bump in the road, and attempts to portray him as Schoenberg's John the Baptist were subverted by the enormous force of Mahler's own personality and a popularity which soon generated its own self-sustaining momentum. In recent years other voices have emerged that could not be accommodated into the narrative, including Alexander Zemlinsky, Franz Schmidt, Egon Wellesz, Karl Weigl, Erich Wolfgang Korngold, and most vexing of all Franz Schreker. Long banished out of hand, Schreker was subsequently marginalized as a late Romantic and allotted a mini-orbit of his own. -
New Publications
NEW PUBLICATIONS ARTICLES Kater, Michael H. 'The Revenge of the Fathers: The Demise of Modern Music at the End of the Weimar Republic." German Studies Review 15, no. 2 (May 1992): 295-313. Lareau, Alan. "1ne German Cabaret Movement During the Weimar Republic." Theatre journal 43 (1991): 471-90. · Lucchesi, Joachim. "Contextualizing The Threepenny Opera: Music and Politics." Com munications from the international Brecht Society 21, no. 2 (November 1992): 45-48. Lucchesi, Joachim. " ... ob Sie noch deutscher lnlander sind? Der Komponist Kurt Weill im Exil." Ko"espondenzen 11-12-13 (1992): 42-44. Published by the Gesellschaft fur Theaterpadagogik Niedersachsen, Hannover. Stempel, Larry. 'The Musical Play Expands." American Music 10, no. 2 (Summer 1992): 13&-69. Stern, Guy and Peter Schon back. "Die Vertonung Werfelscher Dramen." ln Franz We,fel im Exit, edited by Wolfgang Nehring and Hans Wagener, 187-98. Bonn: Bouvier, 1992. Wagner, Gottfried. "ll teatro de Weill e Brecht." Musica e Dossier41 Oune 1990): 74-79. WiBkirchen, Hubert. "Mimesis und Gestus: Das 'Llebeslied' aus der Dreigroschenoper (Brecht/Weill)." Musik und Unterricht 5 (1990): 38-44. BOOKS Jacob, P. Walter. Musica Prohibida-Verbotene Musik: Ein Vortrag im Exit. Hrsg. und kommentiert von Kritz Pohle (Schriftenreihe des P. Walter Jocob-Archivs. nr. 3). Hamburg: Hamburger Arbeitsstelle fur deutsche Exilliteratur, 1991. Wagner, Gottfried. Weill e Brecht. Pordenone, Italy: Studio Tesi, 1992. Weill, Kurt Kurt Weill:de Berlin aBroadway. Traduitetpresentepar Pascal Huynh. Paris: Editions Plume, 1993. RECORDINGS ''Kurt Weill: Un Pianoforte a Broadway." Roberto Negri, piano. Riverrecords CDR 5405. "Laura Goes Weill" Laura Goes Blue (rock ensemble). Industrial Jive Records 04-14-92- 01. -
Is Romance Dead? Erich Korngold and the Romantic
IS ROMANCE DEAD? ERICH KORNGOLD AND THE ROMANTIC GERMAN LIED By Georgia Jamieson Emms A thesis submitted to the Victoria University of Wellington in partial fulfillment of the requirements for the degree of Master of Music in Classical Performance New Zealand School of Music Victoria University 2017 1 ABSTRACT Far from being the operatic aria's less glamorous sister, the Romantic German Lied offers much dramatic scope for the classical performer. It has been described as the “quintessential Romantic genre”: the balanced and harmonious union of the music and text, in which the pianist and singer are equals. As accessible at private music gatherings as in concert halls, the Lied enjoyed popularity in German-speaking countries for over a hundred years, before facing its greatest adversary: Modernism. Romanticism, as an artistic movement, fought to survive in the uncertain musical and political landscape of the twentieth century. In Erich Korngold, Romantic music found a staunch advocate, and Lieder gained one of its most gifted contributors. Following in the daunting footsteps of Richard Strauss and Gustav Mahler, Korngold's unashamedly luscious, rich orchestrations and soaring melodies earned him the nickname “the Viennese Puccini.” A child prodigy, Erich Korngold's rise was swift and glorious; his fall coincided with that of the German Lied and Romanticism itself. Romance may not have “died”, but it became outdated in the twentieth-century push for modernity and innovation across all art forms. In encyclopedias little is written of Korngold and his compositional output beyond his most famous and enduring opera Die tote Stadt, and his pioneering film scoring in pre- and post-war Hollywood. -
The Future of Higher Education
ANNUAL NEWSLETTER CONCEPTUAL RENDERING THE FUTURE OF HIGHER EDUCATION THE HINCKLEY INSTITUTE’S FUTURE HOME PLANNING FOR THE PRICE INTERNATIONAL PAVILION LAUNCH OF THE SAM RICH LECTURE SERIES MALCOLM GLADWELL’S VISION FOR COMPETITIVE STUDENTS OFFICE FOR GLOBAL ENGAGEMENT PARTNERSHIP THE U’S GLOBAL INTERNSHIPS POISED FOR MASSIVE GROWTH 2013 SICILIANO FORUM EDUCATION EXPERTS CONVERGE FOR FULL WEEK table of contents NEW & NOTEWORTHY: 4 HINCKLEY FELLOWS 5 DIGNITARIES 44 HINCKLEY HAPPENINGS: 8 HINCKLEY PRESENCE 10 HINCKLEY FORUMS 8 THE FUTURE OF HIGHER ED: 12 OUR VISION 14 PRICE INTERNATIONAL BUILDING 15 OUR NEW PARTNERSHIP 16 16 SICILIANO FORUM 18 SAM RICH LECTURE SERIES 1414 HINCKLEY TEAM: 20 OUR INTERNS 30 OUR STAFF 31 31 PORTRAIT UNVEILING Contributing Editors: Ellesse S. Balli Rochelle M. Parker Lisa Hawkins Kendahl Melvin Leo Masic Art Director: Ellesse S. Balli MESSAGE FROM THE DIRECTOR Malcolm Gladwell. Dubbed by the seven short years since we KIRK L. JOWERS Time magazine as “one of the 100 launched our global internship most influential people” in the program, we have placed more world and by Foreign Policy as than 400 students in almost 60 a leading “top global thinker,” countries across the globe. It is Gladwell discussed the advantages now celebrated as the best political of disadvantages in a sold-out and humanitarian internship pro- event at Abravanel Hall. gram in the U.S. Culminating this Gladwell’s findings confirmed achievement, this year the Hinck- my belief that it is far better for ley Institute was charged with undergraduates to be a “big fish” overseeing all University of Utah within the University of Utah and campus global internships in part- Hinckley Institute than a “little nership with the new Office for fish” at an Ivy League school.