Yhtenäistetty Francis Poulenc
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Curriculum Vitae of Ben Sieben
Curriculum Vitae of Ben Sieben Table of Contents Education 2 Relevant Skills 2 Employment Positions Held 2 Performance Experience 3 Collaborative Experience 3 Master Classes 4 Teaching 4 Awards and Recognition 5 International Performances/Foreign Travel 5 Volunteer Work 5 Graduate Degree Recitals 6 Collaborative Repertoire 6 1 BEN SIEBEN [email protected] | 979-479-1197 | 61 San Jacinto St., Bay City, TX, 77414 Education Master of Music in Collaborative Piano 2017 University of Colorado Boulder Primary instructors: Margaret McDonald and Alexandra Nguyen Master of Music in Piano Performance 2012 University of Utah Primary instructor: Heather Conner Bachelor of Music in Piano Performance 2010 Houston Baptist University Primary instructor: Melissa Marse Relevant Skills 25 years of classical piano sight reading improvisation open-score reading transposition jazz and rock styles basso-continuo harpsichord music theory score arranging transcription by ear reading lead sheets keyboard/synthesizer proficiency Italian, German, French, and English diction fluent conversational Spanish Employment Positions Held Emerging Musical Artist-in-Residence, Penn State Altoona 2017 Vocal coach and accompanist for private voice students Graduate Assistant, University of Colorado Boulder 2015-2017 Collaborative pianist, pianist for instrumental students, vocal students, orchestra, opera, and opera scenes classes Choral Accompanist, Texas A&M University 2012-2015 Accompanist for Century Singers and Women’s Chorus Choral Accompanist, Brazos Valley Chorale -
KURT WEILL Concerto for Violin & Wind Orchestra Op
KURT WEILL Concerto for violin & wind orchestra Op. 12 GabRIELE PIERanUnzI, violin Soloists of The San CarloTheatre - Naples JEFFREY TaTE Milhaud stravinsky Suite Op. 157b Histoire du soldat Suite gabriele alessandro enriCo p i e r a n u n z i C a r b o n a r e p i e r a n u n z i Kurt Weill Concerto per violino e fiati, Op. 12 – Concerto for violin & wind orchestra, Op. 12 1. Andante con moto 11’14” 2. Notturno. Allegro un poco tenuto 3’51” 3. Cadenza. Moderato 4’08” 4. Serenata. Allegretto 4’11” 5. Allegro molto. Un poco agitato 7’47” La registrazione è stata effettuata al Teatro S. Carlo di Napoli il 21 Ottobre 2006. The concert was recorded at The San Carlo Theatre in Naples on October the 21st 2006. Igor Stravinsky Suite dall’ “Histoire du soldat” per clarinetto, violino e piano Histoire du soldat Suite for clarinet, violin and piano 6. Tango – Valse – Rag 6’37” 7. No. 3 from “Three Pieces for Clarinet solo” 1’06” 8. a. Improigor (E. Pieranunzi) 0’53” b. Danse du diable (I. Stravinsky) 1’35” Darius Milhaud Suite Op. 157b per violino, clarinetto e piano – Suite Op. 157b for violin, clarinet and piano 9. Ouverture 1’27” 10. Divertissement 2’51” 11. Jeu 1’33” 12. Introduction et Final 5’31” I brani di Stravinsky e Milhaud sono stati registrati live al Teatro S.Carlo di Napoli il 7 maggio 2012. Stravinsky and Milhaud pieces were recorded live at The San Carlo Theatre in Naples on May the 7th 2012. -
November 2016
November 2016 Igor Levit INSIDE: Borodin Quartet Le Concert d’Astrée & Emmanuelle Haïm Imogen Cooper Iestyn Davies & Thomas Dunford Emerson String Quartet Ensemble Modern Brigitte Fassbaender Masterclasses Kalichstein/Laredo/ Robinson Trio Dorothea Röschmann Sir András Schiff and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats. -
Francis Poulenc
CORO CORO Palestrina – Volume 6 “Christophers artfully moulds and heightens the contours of the polyphonic lines, which ebb and flow in a liquid tapestry of sound...[The Sixteen] are ardent and energetic in ‘Surge amica mea’, radiant in ‘Surgam et circuibo FRANCIS POULENC civitatem’, painting and animating the words to vibrant effect.” ***** Performance ***** Recording Mass in G BBC MUSIC MAGAZINE cor16133 Choral & Song Choice October 2015 Un soir de neige James MacMillan: Litanies à la Vierge Noire Stabat Mater Edmund Rubbra “A masterpiece.” “Harry Christophers balances Quatre motets pour artsdesk the soaring soprano of Julie le temps de Noël Cooper caressingly against the ensemble singers, in a “A haunting and Quatre motets pour powerful new performance which achieves choral work.” ecstasy without any element un temps de pénitence of overstatement.” guardian cor16150 cor16144 bbc music magazine To find out more about The Sixteen, concert tours, and to buy CDs visit The Sixteen www.thesixteen.com cor16149 HARRY CHRISTOPHERS oulenc is a composer who has fascinated me Whilst the death of his friend Ferroud had a devastating impact on Poulenc, the poetry Pever since I was a schoolboy struggling with the of Paul Éluard gave him inspiration beyond measure. Poulenc grew up with him and technical difficulties of his clarinet sonata. His music once said that ‘Éluard was my true brother – through him I learned to express the most always bears a human face and he himself felt he put his secret part of myself’. They both felt the savagery of WWII deeply, the social anguish, best and most authentic side into his choral music; the internal conflict and ignominy of the Nazi occupation. -
California State University, Northridge Jean Cocteau
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Marlisa Jeanine Monroe January 1987 The Thesis of Marlisa Jeanine Monroe is approved: B~y~ri~jl{l Pfj}D. Nancy an Deusen, Ph.D. (Committee Chair) California State University, Northridge l.l. TABLE OF CONTENTS Chapter Page ABSTRACT iv INTRODUCTION • 1 I. EARLY INFLUENCES 4 II. DIAGHILEV 8 III. STRAVINSKY I 15 IV • PARADE 20 v. LE COQ ET L'ARLEQUIN 37 VI. LES SIX 47 Background • 47 The Formation of the Group 54 Les Maries de la tour Eiffel 65 The Split 79 Milhaud 83 Poulenc 90 Auric 97 Honegger 100 VII. STRAVINSKY II 109 VIII. CONCLUSION 116 BIBLIOGRAPHY 120 APPENDIX: MUSICAL CHRONOLOGY 123 iii ABSTRACT JEAN COCTEAU AND THE MUSIC OF POST-WORLD WAR I FRANCE by Marlisa Jeanine Monroe Master of Arts in Music Jean Cocteau (1889-1963) was a highly creative and artistically diverse individual. His talents were expressed in every field of art, and in each field he was successful. The diversity of his talent defies traditional categorization and makes it difficult to assess the singularity of his aesthetic. In the field of music, this aesthetic had a profound impact on the music of Post-World War I France. Cocteau was not a trained musician. His talent lay in his revolutionary ideas and in his position as a catalyst for these ideas. This position derived from his ability to seize the opportunities of the time: the need iv to fill the void that was emerging with the waning of German Romanticism and impressionism; the great showcase of Diaghilev • s Ballets Russes; the talents of young musicians eager to experiment and in search of direction; and a congenial artistic atmosphere. -
Cello Sonatas and Concertos Is Small Who Realised to the Full Both the Technical and the Compared to Those for the Piano Or the Violin
1 RITA STROHL (1865-1941) Titus et Bérénice (1892) Grande sonate dramatique · Great dramatic sonata for cello & piano 1. Allegro Moderato - 13’01 « Incertitude de Titus… passion… espoir de fléchir Rome qui, “Par une loi qui ne se peut changer N’admet avec son sang aucun sang étranger” (Racine). » 2. Vivace / Molto movimento - 4’55 « Appartements de Bérénice. Ses femmes par leurs chants et leurs danses s’efforcent de la distraire. » 3. Lento, Tristamente - 7’32 « Bérénice sait tout… Titus malgré son amour, la sacrifie à l’Empire. Bérénice : “Je m’agite, je cours, languissante, abattue La force m’abandonne, et le repos me tue” » 4. Allegro molto movimento - 9’40 « Le terrible moment approche, la séparation s’accomplira. Scène d’amour – déchirements. Titus : “Ce jour surpasse tout. Jamais je le confesse Vous ne fûtes aimée avec tant de tendresse Et jamais…” Bérénice : “Vous m’aimez, vous me le soutenez Et cependant je pars et vous me l’ordonnez ! Ah, cruel ! Par pitié, montre-moi moins d’amour !” » 2 FRANCIS POULENC (1899-1963) Sonata for cello & piano (1948-9) 5. Allegro - Tempo di marcia - 5’58 6. Cavatine - 6’25 7. Ballabile - 3’22 8. Finale - 7’08 CÉSAR FRANCK (1822-1890) Sonata for violin and piano in A Major FWV 8 . la majeur . A-Dur (1886) Arrangement for cello: Jules Delsart (1887) 9. Allegretto ben moderato - 6’36 10. Allegro - 8’36 11. Recitativo-Fantasia (ben moderato) - 7’16 12. Allegretto poco mosso - 6’36 FERNAND DE LA TOMBELLE (1854-1928) 13. Andante espressivo for cello & piano (1900) - 4’28 FRANCIS POULENC 14. -
Catalogue Chronologique Des Œuvres De Francis Poulenc
CATALOGUE CHRONOLOGIQUE DES ŒUVRES DE FRANCIS POULENC Légende : [œuvre inédite] [œuvre détruite] [œuvre perdue] 1 [Processionnal pour la crémation d’un mandarin] 2 [Préludes pour piano] 1918 3 Rhapsodie nègre, œuvre pour voix et piano 4 [Scherzo à quatre mains] 5 [Trois pastorales pour piano] 6 [Poèmes sénégalais] 1919 7 Sonate pour 2 clarinettes, œuvre de musique de chambre 8 Sonate pour piano à quatre mains, œuvre pour piano 9 [Prélude-percussion] 10 [Le Jongleur] 11 Toréador (Cocteau), œuvre pour voix et piano 12 [Sonate pour violon et piano n°0] 13 [Sonate pour violon, piano et violoncelle] 1920 14 3 Mouvements perpétuels, œuvre pour piano 15 Le Bestiaire (Apollinaire), œuvre pour voix et piano 16 Cocardes (Cocteau), œuvre pour voix et piano 17 Valse 18 [Quadrille à quatre mains] 19 Suite en 3 mouvements, œuvre pour piano 20 Le gendarme incompris, œuvre pour la scène 21 5 Impromptus, œuvre pour piano 1921 22 Quatre poèmes de Max Jacob, œuvre pour voix et piano 23 Les mariés de la Tour Eiffel, œuvre pour orchestre 24 10 Promenades, œuvre pour piano 25 Esquisse pour une fanfare, œuvre pour la scène 26 [Trois études de pianola] 27 [Suite d’orchestre n°1] 28 [Quatuor à cordes n° 1] 29 [Trio pour piano, clarinette et violoncelle] 30 [Marches militaires pour piano et orchestre] 1 1922 31 Chanson à boire, œuvre chorale profane 32 Sonate pour clarinette et basson, œuvre de musique de chambre 33 Trio pour cor, trompette et trombone, œuvre de musique de chambre 34 [« Caprice espagnole »] 1923 35 [Récitatifs pour La Colombe -
Le Cinéma De Jean Anouilh Christophe Mercier
Document generated on 09/28/2021 11:54 p.m. Études littéraires Le cinéma de Jean Anouilh Christophe Mercier Anouilh aujourd’hui Article abstract Volume 41, Number 1, printemps 2010 Jean Anouilh’s cinematic output is not easy to figure out. In addition to those movies he scripted in full and whose text one would love to see published, URI: https://id.erudit.org/iderudit/044577ar much like Giraudoux’s, he was involved in adapting or contributing some or DOI: https://doi.org/10.7202/044577ar many scenes or dialogues to a number of other movies. While these other productions were not his, he still manages to shine through. Let us not forget See table of contents La citadelle du silence (Lherbier, 1937), which involved Anouilh’s participation, nor Piège pour Cendrillon or the haunting Temps de l’amour. These will probably resurface in a few years, and yield their share of discoveries. Indeed, there remains much to explore in Jean Anouilh’ cinema. Publisher(s) Département des littératures de l'Université Laval ISSN 0014-214X (print) 1708-9069 (digital) Explore this journal Cite this document Mercier, C. (2010). Le cinéma de Jean Anouilh. Études littéraires, 41(1), 157–170. https://doi.org/10.7202/044577ar Tous droits réservés © Université Laval, 2010 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
The Sorcerer's Apprentice Suite from Les Biches
Paul Dukas / October 1, 1865 – May 17, 1935 THE SORCERER’S APPRENTICE Best known for its prominent role in Walt Disney’s Fantasia, Dukas’s scherzo is the translation into music of a poem by Johann von Goethe based on an ancient folk tale. The moral of the tale is ‘don’t try to run before you can walk,’ or ‘don’t meddle in matters you don’t understand.’ Goethe turned the fable into poetry, Dukas into a literal sound poem. Dukas’s programmatic music recounts the story of a magician who could turn a broom handle into a living object which would then execute the duties of a servant, such as fetching water. The secret of the trick lay in the magic words the sorcerer used to work this miracle. One day the sorcerer’s apprentice overheard him rehearsing these words, and while his boss was away on an errand, the apprentice decided to try the trick himself – with disastrous results. The broom did become a servant, and it did fetch water as commanded, but the apprentice had not overheard the words needed to put the magic in reverse. The mindless runaway broom proceeded to flood the house. Desperately, the apprentice took an axe to the broom, splitting it in two – but then there were two mindless creatures flooding the house. Fortunately, the sorcerer arrived and put a halt to the mayhem. Dukas’s clever music captures the story in great detail, with the bassoons and contrabassoon playing the part of the broom. As the flood increases, orchestral arpeggios create the effect of flooding water. -
Poulenc, Francis (1899-1963) by Mario Champagne
Poulenc, Francis (1899-1963) by Mario Champagne Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Francis Poulenc with harpsichordist Wanda Landowska. One of the first openly gay composers, Francis Poulenc wrote concerti, chamber music, choral and vocal works, and operas. His diverse compositions are characterized by bright colors, strong rhythms, and novel harmonies. Although his early music is light, he ultimately became one of the most thoughtful composers of serious music in the twentieth century. Poulenc was born on January 7, 1899 into a well-off Parisian family. His father, a devout Roman Catholic, directed the pharmaceutical company that became Rhône-Poulenc; his mother, a free-thinker, was a talented amateur pianist. He began studying the piano at five and was following a promising path leading to admission to the Conservatoire that was cut short by the untimely death of his parents. Although he did not attend the Conservatoire he did study music and composition privately. At the death of his parents, Poulenc inherited Noizay, a country estate near his grandparents' home, which would be an important retreat for him as he gained fame. It was also the source of several men in his life, including his second lover, the bisexual Raymond Destouches, a chauffeur who was the dedicatee of the surrealistic opera Les mamelles de Tirésias (1944) and the World War II Resistance cantata La figure humaine (1943). From 1914 to 1917, Poulenc studied with the Spanish pianist Ricardo Viñes, through whom he met other musicians, especially Georges Auric, Erik Satie, and Manuel de Falla. -
Songs and Chamber Music of Reynaldo Hahn and Francis Poulenc
Songs and Chamber Music of Reynaldo Hahn and Francis Poulenc ! In 2013 I was asked to curate a series of three concerts at the Brighton Festival and I chose to focus on the chamber music and songs of Poulenc and Hahn. !“Les chansons instrumentales” The series was partly a commemoration of the fiftieth anniversary of the death of Poulenc, and partly a study in the contrasting musical styles, and wholly a !celebration of French music. It was a wonderful opportunity to explore the relatively unknown chamber music and songs by Reynaldo Hahn, a composer that I have always admired and who’s compositional style I feel suits my artistic temperament. We had a wonderful time performing his songs, the epic piano quintet and charming piano quartet as well as some works for flute and piano, and flute, viola and !piano. The series was very popular with the audience, and we received a lot of feedback, especially to say how much the audience enjoyed the unusual !pieces by Hahn. Les Chanson Instrumentales: Part 1: Wednesday 15 May 2013 Partly a commemoration of the fiftieth anniversary of the death of Poulenc, partly a study in contrasting musical styles, and wholly a celebration of French music, this series of chamber concerts reunites many of the artists who began their careers in our Lunchtime concerts. Curated by the pianist James Baillieu, who made a big impression in last year’s Festival, it is a chance to explore the charm and originality of the French chamber music repertory. The Irish soprano Ailish Tynan is noted for the breadth of her repertory, and is a noted exponent of French song. -
1. Tristan Tzara, 'The Gas Heart'
Notes Dates of reviews in newspapers are given in brackets as in note 5, chapter 3 (11.11.46). PART 1: DADA, SURREALISM AND THE THEATRE OF CRUELTY 1. Andre Breton, Manifeste du Surrealisme, p. 51. 2. Ibid., p. 11. 3. Louis Aragon, 'Une vague de reves', Commerce, automne, 1924. 4. From Nadeau, Surrealisme, p. 45. 1. Tristan Tzara, 'The Gas Heart' 1. J. H. Matthews, Theatre in Dada and Surrealism, p. 18. 2. Michel Corvin, Revue d'Histoire du Theatre, 1971-73. Le Theatre existe-t-il?', p. 21. 3. Elmer Peterson, Tristan Tzara, p. 43. 4. Ibid., p. 35. 5. Micheline Tison-Braun, Tristran Tzara inventeur de l'homme nouveau, p. 7. 6. Corvin, p. 228. 171 French Theatre 1918-1939 7. Matthews, pp. 19-22. 8. Ibid., pp. 22-30. 9. Corvin, p. 255. 10. Ibid., p. 260. 11. Matthews, pp. 3(}..38. Quotes Henri Behar, Etude sur le Theatre Dada et Surrealiste, p. 159. 12. Ibid., p. 32. 13. Matthews, pp. 3(}..35. 14. Ibid., p. 20. 2. Andre Breton 1. Andre Breton,Manifeste du Surrealisme, p. 37. 2. Ibid., p. 34. 3. Andre Breton, Les Pas perdus, p. 9. 4. J. H. Matthews, Theatre in Dada and Surrealism, p. 88. 5. Ibid., p. 90. 6. Ibid., pp. 97-100. 3. Roger Vitrac, 'Victor' 1. Henri Behar, Roger Vitrac, p. 18; 42-47. 2. Antonin Artaud, Oeuvres completes, II, p. 14. 3. Ibid., II, p. 12. 4. Ibid., II, p. 267. 5. See J. H. Matthews, Theatre in Dada and Surrealism, pp. 109-32. From Le Figaro litteraire (11.11.46).