Recital Programs 1926-1927
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Bibliografia Canterbury Ridotta
Presentazione La scena di Canterbury fu un movimento musicale che si sviluppò tra la fine degli anni Sessanta e la meta dei Settanta nell’omonima cittadina del Kent. Anche se furono molti i gruppi che la composero – alcuni dei quali ancora oggi leggendari come i Soft Machine, i Caravan o i Matching Mole - il numero dei musicisti coinvolti fu sempre molto ridotto, favorendo così un rapporto osmotico tra le varie band anche nelle scelte musicali intraprese. Ciò che caratterizzò la Scena fu infatti una comune idea di arte che possiamo definire – citando Marcus O’Dair, autore della recente biografia di Wyatt – come “un certo stile rock psichedelico venato di jazz, pastorale, very english… con tempi complessi, una preferenza di tastiere rispetto alle chitarre e un modo di cantare convintamente radicato nell’East Kent, là dove i cantanti dell’epoca posavano tutti da Delta bluesman”. Nata con l’album Soft Machine (1968) e conclusa da Rock Bottom (1974) – nonostante i successivi epigoni - la Scena di Canterbury fu sicuramente il momento più alto di tutto il genere Progressive e uno dei movimenti musicali più innovativi (e altrettanto ostici) di tutto il rock. Riascoltato oggi può apparire troppo contorto e scarsamente fruibile, persino nelle sue espressioni più “pop” quali i dischi di Kevin Ayers o dei Caravan, ma in realtà è ancora un’esperienza unica ed entusiasmante per tutti gli ascoltatori disposti a superare le barriere e i tabù che troppo spesso caratterizzano il mondo della musica popolare. Aprile - Maggio 2015 Discografia: Guida all’ascolto Soft machine - Soft machine (1968) Una premessa importante: la Scena di Canterbury fu per sei Soft machine – Two (1969) entusiasmanti anni il fulcro della musica d’avanguardia inglese, Soft machine – Third (1970) proponendo opere spesso di non semplice fruizione che richiedono più Soft machine – Fourth (1971) di un ascolto per essere godute pienamente. -
String Quartet in E Minor, Op 83
String Quartet in E minor, op 83 A quartet in three movements for two violins, viola and cello: 1 - Allegro moderato; 2 - Piacevole (poco andante); 3 - Allegro molto. Approximate Length: 30 minutes First Performance: Date: 21 May 1919 Venue: Wigmore Hall, London Performed by: Albert Sammons, W H Reed - violins; Raymond Jeremy - viola; Felix Salmond - cello Dedicated to: The Brodsky Quartet Elgar composed two part-quartets in 1878 and a complete one in 1887 but these were set aside and/or destroyed. Years later, the violinist Adolf Brodsky had been urging Elgar to compose a string quartet since 1900 when, as leader of the Hallé Orchestra, he performed several of Elgar's works. Consequently, Elgar first set about composing a String Quartet in 1907 after enjoying a concert in Malvern by the Brodsky Quartet. However, he put it aside when he embarked with determination on his long-delayed First Symphony. It appears that the composer subsequently used themes intended for this earlier quartet in other works, including the symphony. When he eventually returned to the genre, it was to compose an entirely fresh work. It was after enjoying an evening of chamber music in London with Billy Reed’s quartet, just before entering hospital for a tonsillitis operation, that Elgar decided on writing the quartet, and he began it whilst convalescing, completing the first movement by the end of March 1918. He composed that first movement at his home, Severn House, in Hampstead, depressed by the war news and debilitated from his operation. By May, he could move to the peaceful surroundings of Brinkwells, the country cottage that Lady Elgar had found for them in the depth of the Sussex countryside. -
January 20, 2008 2655Th Concert
For the convenience of concertgoers the Garden Cafe remains open until 6:oo pm. The use of cameras or recording equipment during the performance is not allowed. Please be sure that cell phones, pagers, and other electronic devices are turned off. Please note that late entry or reentry of The Sixty-sixth Season of the West Building after 6:30 pm is not permitted. The William Nelson Cromwell and F. Lammot Belin Concerts National Gallery of Art 2,655th Concert Music Department National Gallery of Art Jeni Slotchiver, pianist Sixth Street and Constitution Avenue nw Washington, DC Mailing address 2000b South Club Drive January 20, 2008 Landover, md 20785 Sunday Evening, 6:30 pm West Building, West Garden Court www.nga.gov Admission free Program Heitor Villa-Lobos (1887-1959) Bachianas brasileiras no. 4 (1930-1941) Preludio (Introdu^ao) (Prelude: Introduction) Coral (Canto do sertao) (Chorale: Song of the Jungle) Aria (Cantiga) (Aria: Song) Dansa (Miudinho) (Dance: Samba Step) Francisco Mignone (1897-1986) Sonatina no. 4 (1949) Allegretto Allegro con umore Carlos Guastavino (1912-2000) Las Ninas (The Girls) (1951) Bailecito (Dance) (1941) Gato (Cat) (1940) Camargo Guarnieri (1907-1993) Dansa negra (1948) Frutuoso de Lima Viana (1896-1976) Coiia-Jaca (Brazilian Folk Dance) (1932) INTERMISSION Ferruccio Busoni (1866-1924) The Musician Indian Diary: Book One (Four Studies on Motifs of the Native American Indians) (1915) Pianist Jeni Slotchiver began her formal musical studies at an early age. A He-Hea Katzina Song (Hopi) recipient of several scholarships, she attended the Interlochen Arts Academy Song of Victory (Cheyenne) and the Aspen Music Festival, before earning her bachelor and master of Blue Bird Song (Pima) and Corn-Grinding Song (Lagunas) music degrees in piano performance at Indiana University. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
VIST-Settlement
NOTICE OF PUBLIC HEARING NOTICE IS HEREBY GIVEN that a public hearing will be held by the Philadelphia Authority for Industrial Development (the “Authority”) at 10:00 a.m., on June 22, 2021 via conference call by dialing the toll-free number +1 (855) 633-2040 and then when prompted, passcode 2805224#. Due to the COVID-19 pandemic, the building that the Authority uses for its meetings is currently closed to the public, as such the meeting is open to the public via conference call only in accordance with Pennsylvania law (2020 Pa. Legis. Serv. Act 2020-15 (S.B. 841) (PURDON'S)) and the Governor’s Declaration of a State of Emergency for the Commonwealth of Pennsylvania dated March 6, 2020 due to a public health emergency, as amended by a First Amendment to Proclamation of Disaster Emergency dated June 3, 2020, a Second Amendment to Proclamation of Disaster Emergency dated August 31, 2020, a Third Amendment to Proclamation of Disaster Emergency dated November 24, 2020,a Fourth Amendment to Proclamation of Disaster Emergency dated February 19, 2021 and a Fifth Amendment to Amendment to Proclamation of Disaster Emergency dated May 20,2021. The purpose of the public hearing is to discuss to consider the proposed issuance of indebtedness (the “Note”) by the Horsham Industrial and Commercial Development Authority (“HICDA”) to finance a Project, as defined below. A. Borrower: Settlement Music School of Philadelphia, a Pennsylvania nonprofit corporation (“School”). B. Maximum Amount of the Note: Not anticipated to exceed $4,000,000.00. C. Project Locations: 416 Queen Street, Philadelphia, PA; 6128 Germantown Avenue, Philadelphia, PA; 3745 Clarendon Avenue, Philadelphia, PA; 4910 Wynnefield Avenue, Philadelphia, PA and 318 Davisville Road, Willow Grove, PA. -
Tertis's Viola Version of Elgar's Cello Concerto by Anthony Addison Special to Clevelandclassical
Preview Heights Chamber Orchestra conductor's notes: Tertis's viola version of Elgar's Cello Concerto by Anthony Addison Special to ClevelandClassical An old adage suggested that violists were merely vio- linists-in-decline. That was before Lionel Tertis! He was born in 1876 of musical parents who had come to England from Poland and Russia and, at three years old, he started playing the piano. At six he performed in public, but had to be locked in a room to make him practice, a procedure that has actually fostered many an international virtuoso. At thirteen, with the agree- ment of his parents, he left home to earn his living in music playing in pickup groups at summer resorts, accompanying a violinist, and acting as music attendant at a lunatic asylum. +41:J:-:/1?<1>95@@1041?@A0510-@(>5:5@E;88131;2!A?5/@-75:3B5;85:-?45? "second study," but concentrating on the piano and playing concertos with the school or- chestra. As sometime happens, his violin teacher showed little interest in a second study <A<58-:01B1:@;8045?2-@41>@4-@41C-?.1@@1>J@@102;>@413>;/1>E@>-01 +5@4?A/4 encouragement, Tertis decided he had to teach himself. Fate intervened when fellow stu- dents wanted to form a string quartet. Tertis volunteered to play viola, borrowed an in- strument, loved the rich quality of its lowest string and thereafter turned the old adage up- side down: a not very obviously gifted violinist becoming a world class violist. But, until the viola attained respectability in Tertis’s hands, composers were reluctant to write for the instrument. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo Elegiaco • Three Pieces
Balys DVARIONAS (1904-1972) Complete Works for Violin and Piano Sonata-Ballade • Pezzo elegiaco • Three Pieces Justina Auškelytė, Violin • Cesare Pezzi, Piano Balys Dvarionas (1904-1972) Complete Works for Violin and Piano Balys Dvarionas was one of the most prominent figures in Igor Stravinsky and Sergey Prokofiev, among others. The pianist, and his son, the violinist. There can be little doubt Sonata was meant to be a one-movement composition the field of Lithuanian (and indeed Baltic) musical culture. last time Dvarionas appeared on stage was on May 12, as to why Dvarionas’ instrumental chamber works are with the main theme reprised in the recapitulation. During A polymath, he excelled as a pianist, conductor, 1972 at the Lithuanian National Philharmonic in Vilnius, said to possess an especially personal quality. In the creative process each musical idea inspired the next, composer and pedagogue. Dvarionas was born in the where together with the Lithuanian Chamber Orchestra composing music for his children, the composer and so the work can be viewed as one constantly evolving Latvian harbour city of Liepaja. His father was a Roman he played Mozart’s Piano Concerto No. 1 in D major, inadvertently developed a particularly original chamber beautiful episodic sequence. A colleague of the composer Catholic church organist, and as a result the young K.107 and conducted Schubert’s Mass No. 2 in G major music idiom, where the interplay between parts relies on once described the work in the following terms: “…when Dvarionas received his first music lessons at home. He D.167. an uninhibited bond between performers. -
Soundscapes – Würzburger Klangräume
Soundscapes – Würzburger Klangräume von einer studentischen Projektgruppe * unter Leitung von Hansjörg Ewert und Guido Fackler Musikforschung und Urbanität Städte sind schon immer Sammelbecken unterschiedlicher Kulturen. Was bei den vielen Einflüssen an einigender Tradition verloren geht, wird aufgewogen durch Vielfalt und Komplexität. Und nicht erst heutzutage definieren sich Städte trotz Sparzwängen über ihre Kultur. Die wissenschaftliche Beschäfti- gung mit Musik konzentriert sich jedoch meist auf die Spezifika homogener Einheiten: Dörfer, sog. ‚Peer-Groups‘ oder die klassische Hochkultur. Denk- modelle wie ‚Wiener Klassik‘ reduzieren das komplexe Netzwerk einer Stadt auf eine fragwürdige Heroengeschichte. Oftmals geht die traditionelle Regio- nalgeschichte ähnlich vor, die nach dem Vorbild der großen Meister (z.B. Richard Wagner in Würzburg) die kleinen lokalen Meister (etwa Giovanni Benedetto Platti) modelliert. Nimmt man aber umgekehrt eine Stadt zum Ausgangspunkt, geraten der jeweils populäre Habitus verschiedener Musikkulturen und vor allem die Be- nutzer von Musik, die musizierenden Laien und das Publikum, in den Mittel- punkt des Interesses. Ästhetische Wertungen treten hinter die Fragen nach der * Das Ausstellungsteam setzte sich aus folgenden Arbeitsgruppen zusammen: Geistliche Musik: Judith Kestler, Constanze Köppe, Tatjana Scheibner, Katja Wächter Höfisches und bürgerliches Musikleben: Beate Knauer, Theresa Ott, Carola Schauerte, Sabine Vix Mu- sikausbildung: Irene Reuter, Thomas Stollberger, Stephan Ziron Musikfeste: -
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By LYNN WORCESTER Norman, Oklahoma 2015 ALLISON NELSON: PIANIST, TEACHER AND EDITOR A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Jane Magrath, Chair ______________________________ Dr. Stephen Beus, Co-Chair ______________________________ Dr. Barbara Fast ______________________________ Dr. Edward Gates ______________________________ Dr. Eugene Enrico ______________________________ Dr. Joseph Havlicek © Copyright by LYNN WORCESTER 2015 All Rights Reserved. ACKNOWLEDGMENTS This work would not have been possible without the guidance and support of the faculty members who served on my committee, Dr. Jane Magrath, Dr. Barbara Fast, Dr. Edward Gates, Dr. Eugene Enrico, Dr. Stephen Beus and Dr. Joseph Havlicek. To Dr. Jane Magrath: Thank you for your patience and continued support through every turn and for showing me how to be the finest professional I can be. Your guidance has allowed me to come in to my own as a pianist, teacher and writer. Special gratitude is reserved for Dr. Allison Nelson who shared her time, memories, and efforts over the course of this past year. Her wisdom, energy, and passion for music will stay with me for the rest of my life. Thank you to all of Dr. Nelson’s colleagues and former students who shared their time and participated in this study. A special thanks is owed to my family—my father, Mark Worcester, my mother, Eiki Worcester and my sister, Leya Worcester—whose love and dedication will always be cherished. -
Centre D'etudes Et De Recherches Documentaires Sur L'afghanistan
Centre d’Etudes et de Recherches documentaires sur l’Afghanistan Association Loi 1901 16, passage de la Main d'Or - 75011 PARIS [email protected] Bibliographie Janvier 2019 1 Repère alphabétique A ABBAS, Hassan ................................................................................................................................................................................. 5 B BABUR ............................................................................................................................................................................................ 25 C CAGNAT, René, .............................................................................................................................................................................. 48 D DAGENS, Bruno .............................................................................................................................................................................. 65 E EDEL, Patrick .................................................................................................................................................................................. 76 F FAIZI, Abdulmalik ........................................................................................................................................................................... 80 Ǧ ǦALĀL AL-DĪN RŪMĪ .................................................................................................................................................................. 89 H HABEREY, -
Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY