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Sunday, March 8 and 22, 2020
Sunday, March 8 and 22, 2020 THE METROPOLITAN YOUTH ORCHESTRA OF NEW YORK ADELPHI UNIVERSITY PERFORMING ARTS CENTER Sunday, March 8, 2020 at 4 PM NASSAU STRING ORCHESTRA Michelina Sobolewski, Music Director Phantom Tangos .........................................................................................Brian Balmages (b. 1975) Estella Doytch, Violin Capriol Suite ...........................................................................................Peter Warlock (1894–1930) II. Pavane III. Tordion Two Bridges Young Composers Compositions Morning Ken Aida Metamorphosis Tina He The Flower Life Valerie Tang Dark Mind Minh Anh Pham In the Tide of Battle Nathaniel Tang Iditarod ................................................................................................. Soon Hee Newbold (b. 1986) NASSAU CONCERT ORCHESTRA Peggy Ho, Music Director Coronation March from Le prophète ............................................Giacomo Meyerbeer (1791–1864) Blast Off! ..........................................................................................................Daniel Dorff (b. 1956) Elmore James, Narrator Carmen Suite No. 1 ................................................................................. Georges Bizet (1838–1875) Prélude Aragonaise Intermezzo Les Toréadors The cover art features a design from the 2019-2020 MYO T-Shirt Design Contest, created by Nassau Principal Orchestra member Victoria Lu. 3 4 THE METROPOLITAN YOUTH ORCHESTRA OF NEW YORK ADELPHI UNIVERSITY PERFORMING ARTS CENTER Sunday, March 8, 2020 at -
The Songs of Michael Head: the Georgian Settings (And Song Catalogue)
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1990 The onS gs of Michael Head: The Georgian Settings (And Song Catalogue). Loryn Elizabeth Frey Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Frey, Loryn Elizabeth, "The onS gs of Michael Head: The Georgian Settings (And Song Catalogue)." (1990). LSU Historical Dissertations and Theses. 4985. https://digitalcommons.lsu.edu/gradschool_disstheses/4985 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. -
Peter Warlock
This document is a snapshot of content from a discontinued BBC website, originally published between 2002-2011. It has been made available for archival & research purposes only. Please see the foot of this document for Archive Terms of Use. 23 April 2012 Accessibility help Text only BBC Homepage Wales Home Peter Warlock more from this section Last updated: 29 June 2006 Arts In December 2005,a festival Aber's Floating Lanterns celebrating the life of Add An Artist Andrew Lamont Gallery composer Peter Warlock was Beyond Pattern held in Montgomery in Powys. Celf O Gwmpas BBC Local Festival founder Dr Rhian Ceramics Festival 09 - In Pictures Mid Wales Davies has been delving into Coleg Ceredigion Things to do Cyrff Ystwyth the composer's Mid Wales David Gepp People & Places connections. Della Bufton Nature & Outdoors El Sueño Existe festival 2009 History Imaging The Bible Written by Dr Rhian Davies In Focus Religion & Ethics India Dance Wales Arts & Culture "Montgomery Civic Society is holding a Festival to mark the Interventions 2009 Music 75th anniversary of the death of Peter Warlock (Philip Jeremy Moore TV & Radio Lake Vyrnwy Sculpture Park Heseltine, 1894-1930) on 17 December 2005. Lion Art Local BBC Sites Llanfyllin Workhouse Gallery News Widely regarded as the composer of some of the finest Llwyn yr Eos seats Sport British songs and choral music of the twentieth century, Local Exhibitions Machinations Weather Warlock is also remembered for his famous friendships (D. H. Margaret Dorothy Jones Travel Lawrence, W. B. Yeats and Aleister Crowley) and eccentric Moira Hay hobbies (keeping rare breeds of cat, Cossack dancing on Nozstock Festival Neighbouring Sites railway stations, and motor-biking in the nude). -
Open Farrand - Under Wagner S Shadow.Pdf
The Pennsylvania State University The Graduate School UNDER WAGNER’S SHADOW: DELIUS’S USE OF WAGNERIAN MODELS IN THE MAGIC FOUNTAIN A Thesis in Music Theory and History by Timothy M. Farrand © 2020 Timothy M. Farrand Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts December 2020 ii The thesis of Timothy M. Farrand was reviewed and approved by the following: Charles Youmans Professor of Music Thesis Advisor Eric McKee Professor of Music David Frego Director of the School of Music iii ABSTRACT After 1900, Frederick Delius’s unique compositional style bears little resemblance to any singular influence. In the thirty-eight year apprentice period that led to the development of this style, Delius drew upon a wide range of references from the Norwegian mountains, to the “Negro” spirituals sung by former slaves in Florida, to the dramatic style of Richard Wagner. Studies have been written detailing the impact that his two years spent in Florida had on Delius as well as the twenty visits that he made to Norway throughout his life, ten of which occurred during his apprentice period. Several scholars have pointed out the similarities between Delius’s early harmonic language and that of Richard Wagner but there has not been a study showing the importance of Wagner’s influence upon the development of Delius’s dramatic style. In the creation of his second opera The Magic Fountain (1894-95), Delius used the operatic works of Richard Wagner, specifically Tristan und Isolde and Parsifal, as musical, dramatic, and philosophical models. The use of Wagner’s works as a model for The Magic Fountain allowed Delius to discover his own artistic voice, which he continued to refine until it was fully formed in 1900. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
The Elgar Society JOURNAL
The Elgar Society JOURNAL FIFTIETH ANNIVERSARY ISSUE MARCH 2001 Vol.12 No.1 ELGAR AND WARLOCK (PHILIP HESELTINE) Barry Smith [Until recently Barry Smith was an Associate Professor in the Faculty of Music at the University of Cape Town, and is presently Organist and Master of the Choristers at St George’s Cathedral, Cape Town. He is founder and director of the St George’s Singers, and has made frequent recordings for radio, television and compact disc. He is an Honorary Fellow of the Royal School of Church Music and the Guild of Church Musicians. A noted authority on Peter Warlock, his writings include the widely acclaimed biography Peter Warlock : The Life of Philip Heseltine (OUP, 1994), and Frederick Delius and Peter Warlock : A Friendship Revealed (OUP, 2000). He has also edited a four-volume collection of Warlock’s miscellaneous writings about music (Thames Publishing).] On the surface the coupling of the names Elgar and Peter Warlock (Philip Heseltine) would seem rather far-fetched. Just as there is little of the modal, ‘pastoral’ or ‘folk-song’ elements in Elgar’s music, so are there few traces of nineteenth century German Romanticism in the music of Warlock. Yet, if one delves deeper into their characters and their music, there was much in common between these two composers. Both were self-taught, both felt at times alienated from society, both suffered from bouts of depression, and both have a completely original, uniquely personal quality displayed in their compositions. Besides the innate yet really indefinable ‘Englishness’ of their music, a work by Elgar (despite the obvious influences of the German Romantic school) has a stamp all of its own just as a piece by Peter Warlock (in spite of his early obsession with the music of Delius and later van Dieren and Bartók) has a musical language that is absolutely his and his alone. -
University Band & Maryland Community Band in Concert
UNIVERSITY BAND & MARYLAND COMMUNITY BAND IN CONCERT UMD School of Music presents UNIVERSITY BAND & MARYLAND COMMUNITY BAND IN CONCERT Wednesday, November 4, 2015 . 8PM Elsie & Marvin Dekelboum Concert Hall University Band, Craig G. Potter, conductor Maryland Community Band, Bill Sturgis, conductor 35 UNIVERSITY BAND & MARYLAND COMMUNITY BAND IN CONCERT: PROGRAM UNIVERSITY BAND Craig G. Potter, conductor CLIFTON WILLIAMS The Ramparts (1965) PETER WARLOCK Capriol Suite (1926) 1. Basse-Danse 2. Pavane 3. Tordion 4. Bransles 5. Pieds-en-l’air 6. Mattachins RICHARD WAGNER Procession of the Knights of the Holy Grail from Parsifal (1882) JULIUS FUCˇÍK Florentiner March, Op. 214 (1907) MARYLAND COMMUNITY BAND Bill Sturgis, conductor GUSTAV HOLST Moorside March from A Moorside Suite (1928) JOSEPH WILLCOX JENKINS American Overture (1955) ERIC WHITACRE October (2000) ALFRED REED The Hounds of Spring (1980) This performance will last approximately 1 hour and 20 minutes with one 10-minute intermission. Video or audio recording of the production is strictly prohibited. 36 PROGRAM NOTES The Ramparts describes the history, steps and musical details of CLIFTON WILLIAMS various dances of the time. For the 1925 translation, Born March 26, 1923 in Traskwood, Arkansas Warlock edited Arbeau’s music examples to fit in a Died February 12, 1976 in Miami, Florida more modern notation. Warlock must have found Instrumentation: Concert Band the experience of editing the old book inspirational; Duration: 7 minutes the music examples in the book serve as the basis Composed: 1965 for the themes in his Capriol Suite. The Ramparts, Concert Overture for Band, was The Basse-Danse is a dance in triple time that was commissioned by the United States Air Force most popular in the mid-16th century. -
Dame Joan Hammond (1912-1966) 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended. -
Roger Quilter
ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. -
Cheltenham Symphony’
richard witts Shopping and Fricker: the origins of the Cheltenham Festival of Modern British Music and the ‘Cheltenham Symphony’ The author is grateful to t remains a remarkable fact that during World War 2 a civic the late Mrs Ann Wilkinson and the late Mrs Eleanor enter tain ments manager in the Cotswolds planned a festival of modern Budge, whose husbands Imusic. The Tory council supported his idea. He staged it merely five were involved with the weeks after the war’s end, and it continued yearly and continues still. Festival’s creation; Steven Blake, curator of the Cheltenham’s summer festival of music occasionally tweaked its name to Cheltenham Museum; Sue meet the evolving demands of marketing, as Table 1 shows, while the share Robbins, archivist of the Gloucestershire Echo; Sue of new music in it steadily dwindled. Yet it has remained a presence on the Liptrot of the Cheltenham festival calendar and in certain contemporary music circles for 70 years. Reference Library; Meurig I argue here that the festival’s precepts are tied to the political and Bowen of Cheltenham Music Festival; Lewis Foreman, economic strategies of Cheltenham town itself. Even so, the origins of the Simon Frith and, above all, festival in wartime England deserve wider examination for three reasons. Jeremy Tyndall, formerly Head of Cheltenham Firstly, Britain’s integrative national arts policy is based on a 1940s formula Festivals. in which Cheltenham became the first peacetime example of that system in action for new music. Secondly, Cheltenham initiated the postwar arts festival movement. According to the British Arts Festivals Association there are around 140 such festivals in force, and 2,000 in general across the United Kingdom. -
January 2021 Newsletter
January 2021 Newsletter Editor - Phillip Tolley (all misspellings are mine) Firstly … An Apology …. It has been pointed out by our esteemed Choir Secretary that while other members of the Choir had a ‘head and shoulders’ photograph accompanying their articles on the December 2020 Newsletter, the Secretary’s picture, which accompanied his 2020 review, showed him on his arse having slipped down the bank while walking. I am therefore rectifying this omission by including a choir ‘head and shoulders’ photo in keeping with his Committee role. Thank you Editor 2021 AGM The Choir Constitution (Section 7 (i) )states that the Annual General Meeting (AGM) should be held during the month of February in each year or at any other date sanctioned by the Management Committee. In light of the ongoing Covid 19 Pandemic and Government restrictions the 2021 AGM will be postponed until a later date, to be agreed by the Committee. In view of this delay the current members of the Management Committee, together with the Concert Secretary, have agreed to remain in post until the next AGM. In accordance with the Constitution (Section 7 (ii) )sufficient notice of the intention to convene the AGM, and the new date, shall be given to Choir Members. Zoom Committee Meeting & Quiz Night The next AOMC Committee Meeting will be on Thursday 18 February 2021 and the next AOMC Quiz Night (via Zoom) is on Friday 26 February 2021. If you would like to join in the quiz night please contact Kevin Harris January 2021 Newsletter Dear Fellow Choristers, Friends & Supporters, Welcome to 2021. -
Volume 67, Number 04 (April 1949) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 4-1-1949 Volume 67, Number 04 (April 1949) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 67, Number 04 (April 1949)." , (1949). https://digitalcommons.gardner-webb.edu/etude/163 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. aetnnr f ? 'l l >*v L m r conductor of the Main Line Symphony ALEXANDER SCHREINER, famous Orchestra and the Germantown Sym- American organist, gave a recital on phony Orchestra, which regularly give a March 9 in the Wanamaker Store, Phila- series of concerts during the season. learning feature attraction of the suggests how to relax while delphia, as a Mr. G-Clef pre-Easter music in that establishment. THE ST. LOUIS SYMPHONY OR- of MUSIC Mr. Schreiner, known to millions through CHESTRA, conducted by Vladimir WHY the WHO-WHAT-WHERE-WHEN-HOW-and his Sunday broadcasts from the Mormon Golschmann, presented in February THE Tabernacle in Salt Lake City, included world premiere of a genuinely rare mu- S. Bach, Camil van Hulse, Concerto for Marimba, works of J. sical work, a Henri Mulet, Debussy, and Cesar Franck Vibraphone, and Orchestra.