Franz Berwald (1796–1868)
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2018-19 Chronological Calendar
2018-19 (119TH SEASON) Chronological Calendar (as of January 31, 2018) OPENING NIGHT September 13 at 7:00 PM–Thursday evening—Verizon Hall at the Kimmel Center for the Performing Arts The Philadelphia Orchestra Yannick Nézet-Séguin Conductor André Watts Piano Rossini Overture to William Tell Strauss Don Juan Join us as we kick off The Philadelphia Orchestra’s 119th season in high style. The Opening Night Concert and Gala for the 2018-19 season promises to be a highlight of the cultural year. Yannick, internationally renowned pianist André Watts (who made his debut with the Orchestra in 1957, at the age of 10), and the Fabulous Philadelphians are planning a special celebratory program that features musical masterworks and audience favorites, including Rossini’s famous Overture to William Tell and Strauss’s Don Juan. Opening Night Co-Chairs Alison Avery Lerman and Lexa Edsall, Volunteer Association President Lisa Yakulis, Board Chairman Richard Worley, and the Opening Night Gala committee look forward to welcoming you to this special evening, featuring great music, high couture and black tie, and delicious food and champagne with Philadelphia’s cultural leaders and arts patrons. Contact Dorothy Byrne in the Volunteer Relations office at 215.893.3124 or via e-mail at [email protected] to make sure you are on the invitation list. Concert-only tickets for the evening are also available—simply add them to your subscription. January 31, 2018—All programs and artists subject to change. PAGE 2 The Philadelphia Orchestra 2018-19 Chronological -
A History of German-Scandinavian Relations
A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term -
Mr. Mitty, a Tone Poem for Bassoon and Chamber Ensemble by Nansi Carroll: an Analysis Javier Antonio Rodriguez
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Mr. Mitty, a Tone Poem for Bassoon and Chamber Ensemble by Nansi Carroll: An Analysis Javier Antonio Rodriguez Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC MR. MITTY, A TONE POEM FOR BASSOON AND CHAMBER ENSEMBLE BY NANSI CARROLL: AN ANALYSIS By JAVIER ANTONIO RODRIGUEZ A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2012 Javier Antonio Rodriguez defended this treatise on October 15, 2012. The members of the supervisory committee were: Jeffrey Keesecker Professor Directing Treatise Richard Clary University Representative Eva Amsler Committee Member Frank Kowalsky Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii In loving memory of Martha Ann Stark iii ACKNOWLEDGEMENTS I would like to thank Dr. Nansi Carroll for the contributions she has made to the bassoon repertoire, especially the subject of this treatise, Mr. Mitty, a tone poem for bassoon and chamber ensemble. I am especially grateful for her willingness to allow me to write about her life and experiences as a composer, teacher, pianist, and vocalist. I am also thankful for her friendship and guidance throughout my education and career. I would like to thank my advisor, Professor Jeffrey Keesecker for his guidance while preparing this treatise and during my time as a student at Florida State University. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Doubt was expressed by his contemporaries as to the truth of Marco Polo’s account of his years at the court of the Mongol Emperor of China. For some he was known as a man of a million lies, and one recent scholar has plausibly suggested that the account of his travels was a fiction inspired by a family dispute. There is, though, no doubt about the musical treasures daily uncovered by the Marco Polo record label. To paraphrase Marco Polo himself: All people who wish to know the varied music of men and the peculiarities of the various regions of the world, buy these recordings and listen with open ears. The original concept of the Marco Polo label was to bring to listeners unknown compositions by well-known composers. There was, at the same time, an ambition to bring the East to the West. Since then there have been many changes in public taste and in the availability of recorded music. Composers once little known are now easily available in recordings. Marco Polo, in consequence, has set out on further adventures of discovery and exploration. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again. In addition to pioneering recordings of the operas of Franz Schreker, Der ferne Klang (The Distant Sound), Die Gezeichneten (The Marked Ones) and Die Flammen (The Flames), were three operas by Wagner’s son, Siegfried. Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich and Schwarzschwanenreich (The Kingdom of the Black Swan) explore a mysterious medieval world of German legend in a musical language more akin to that of his teacher Humperdinck than to that of his father. -
Guild Gmbh Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - E-Mail: [email protected] CD-No
Guild GmbH Guild -Historical Catalogue Bärenholzstrasse 8, 8537 Nussbaumen/TG, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Composer/Track Artists GHCD 2201 Parsifal Act 2 Richard Wagner The Metropolitan Opera 1938 - Flagstad, Melchior, Gabor, Leinsdorf GHCD 2202 Toscanini - Concert 14.10.1939 FRANZ SCHUBERT (1797-1828) Symphony No.8 in B minor, "Unfinished", D.759 NBC Symphony, Arturo Toscanini RICHARD STRAUSS (1864-1949) Don Juan - Tone Poem after Lenau, op. 20 FRANZ JOSEPH HAYDN (1732-1809) Symphony Concertante in B flat Major, op. 84 JOHANN SEBASTIAN BACH (1685-1750) Passacaglia and Fugue in C minor (Orchestrated by O. Respighi) GHCD Le Nozze di Figaro Mozart The Metropolitan Opera - Breisach with Pinza, Sayão, Baccaloni, Steber, Novotna 2203/4/5 GHCD 2206 Boris Godounov, Selections Moussorgsky Royal Opera, Covent Garden 1928 - Chaliapin, Bada, Borgioli GHCD Siegfried Richard Wagner The Metropolitan Opera 1937 - Melchior, Schorr, Thorborg, Flagstad, Habich, 2207/8/9 Laufkoetter, Bodanzky GHCD 2210 Mahler: Symphony No.2 Gustav Mahler - Symphony No.2 in C Minor „The Resurrection“ Concertgebouw Orchestra, Otto Klemperer - Conductor, Kathleen Ferrier, Jo Vincent, Amsterdam Toonkunstchoir - 1951 GHCD Toscanini - Concert 1938 & RALPH VAUGHAN WILLIAMS (1872-1958) Fantasia on a Theme by Thomas Tallis NBC Symphony, Arturo Toscanini 2211/12 1942 JOHANNES BRAHMS (1833-1897) Symphony No. 3 in F Major, op. 90 GUISEPPE MARTUCCI (1856-1909) Notturno, Novelletta; PETER IILYICH TCHAIKOVSKY (1840- 1893) Romeo and Juliet -
Dansk Musikforskning Online / Særnummer 2016 Danish Musicology Online / Special Edition 2016
DANSK MUSIKFORSKNING ONLINE / SÆRNUMMER 2016 DANISH MUSICOLOGY ONLINE / SPECIAL EDITION 2016 PROCEEDINGS OF THE 17TH NORDIC MUSICOLOGICAL CONGRESS Preface 3 Justin Christensen Preparing Empirical Methodologies to Examine Enactive, Embodied Subjects Experiencing Musical Emotions 7 Marit Johanne Høye Sequence Melodies in Icelandic and Norwegian Manuscripts 27 Gunnar Ternhag, Erik Wallrup, Elin Hermansson, Ingela Tägil, and Karin Hallgren Writing Composer Biographies in the Project Swedish Musical Heritage 43 Per Dahl Text, Identity and Belief in Stravinsky’s Symphony of Psalms 61 Martin Knust Musical and Theatrical Declamation in Richard Wagner’s Works and a Toolbox for Vocal Music Analysis 81 Erik Steinskog Analog Girl in a Digital World Erykah Badu’s Vocal Negotiations of the Human 107 Erik Wallrup From Mood to Tone: On Schoenberg and Musical Worlds 123 Heli Reimann Jazz and Soviet Censorship: The Example of Late-Stalinist Estonia 147 Anne Reese Willén The Capital – The Core of Musical Life 165 Thomas Solomon The Play of Colors: Staging Multiculturism in Norway 187 Áurea Dominguez Manuel Garcia’s Infl uence on Nineteenth-century Instrumental Music: Bassoon Playing in France as a Case Study 203 Robin Rolfhamre Embellishing Lute Music: Using Renaissance Italian Passaggi Practice as a Model and Pedagogical Tool for an Increased Improvisation Vocabulary in the French Baroque Style 219 Note on the contributors 239 Guest editors Mark Grimshaw (Department of Communication and Psychology, Music and Sound Knowledge Group – MaSK, Aalborg University). -
12:00:00A 00:00 Martes, 3 De Diciembre De 2019 12A NO - Nocturno 12:00:00A 10:45 Fantasía En Do May
*Programación sujeta a cambios sin previo aviso* MARTES 03 DE DICIEMBRE 2019 12:00:00a 00:00 martes, 3 de diciembre de 2019 12A NO - Nocturno 12:00:00a 10:45 Fantasía en Do May. op.12 Jan Vaclav Vorisek (1791-1825) Olga Tverskaya-fortepiano 12:10:45a 28:42 Bosquejos del país del norte Frederick Delius (1862-1934) Vernon Handley Orquesta Ulster 12:39:27a 16:38 Cantata "Ocurrió cuando Jesús vino a la ciudad de Nain" a 4 Christoph Graupner (1683-1760) Hermann Max Cantores Renanos y El Pequeño Barbara Schlick-sop.; Hein Meens-ten.; Stephen Varcoe-bajo 12:56:05a 00:50 Identificación estación 01:00:00a 00:00 martes, 3 de diciembre de 2019 1AM NO - Nocturno 01:00:00a 43:19 Sinfonía no.2 Philip Glass (1937- ) Dennis Russel Davies Sinfónica de la Radio de Viena 01:43:19a 15:00 Sonata II "Saúl se cura con la música de David" de "Sonatas Johann Kuhnau (1660-1722) Luc Beauséjour-clavecín 01:58:19a 00:50 Identificación estación 02:00:00a 00:00 martes, 3 de diciembre de 2019 2AM NO - Nocturno 02:00:00a 15:09 9 Recercadas s/tenores p/viola da gamba e instr. Diego Ortiz (1510-1570) (ver créditos) Jordi Savall-viola da gamba; Ton Koopman-clavecín; Andrew Lawrence King-arpa 02:15:09a 32:39 Trío c/piano no.1 op.32 en re men. Anton Arenski (1861-1906) Trio de Moscú 02:47:48a 08:29 Viaje, p/flauta y orq. de cuerdas John Corigliano (1938- ) David Effron Eastman Philarmonia James Galway-flauta 02:56:17a 00:50 Identificación estación 03:00:00a 00:00 martes, 3 de diciembre de 2019 3AM NO - Nocturno 03:00:00a 17:10 Sonata no.3, p/guitarra Ernesto García de León (1952) Marco Antonio Anguiano-guitarra 03:17:10a 26:58 Quinteto p/alientos de madera y piano Andre Caplet (1878-1925) Los alientos de Montreal Renee Lavergne-piano 03:44:08a 12:02 *El Holandés errante, obertura Richard Wagner (1813-1883) Lorin Maazel Filarmónica de Berlín 03:56:10a 00:50 Identificación estación 04:00:00a 00:00 martes, 3 de diciembre de 2019 4AM NO - Nocturno 04:00:00a 11:39 Trío p/baritón, viola y cello Hob.XI:45 Re May. -
Wilhelm Stenhammar
Wilhelm Stenhammar WilhelmStenhammar(1871–1927)tillhörde storanamnen i svenskmusikhis- toria – i dag mest känd som tonsättare,under sin korta livstidlika respekterad sompianist och dirigent.Det hör till sakenatt Stenhammar var verksamnär det modernamusiklivetformades,och de främstanamnen under denna epok har aldrigförloratsin lyskraft.För Stenhammarsdel illustrerasdet avde kom- positionersomstadigt behållitsin platssomrepertoarverk,i förstahand hans förstapianokonsert(b-moll),Två sentimentalaromanserför violinoch orkester, pianoverketSensommarnätter, solosångersom”Flickankom från sin älsklings möte”samt körsångerna”Sverige”och”I serallietshave”. WilhelmStenhammarskaade sigen gedigenoch framförallt bred mu- sikaliskskolning:pianostudiervid Richard Anderssonsmusikskola,orgelför WilhelmHeintze och AugustLagergren,kontrapunkt för JosephDente, kom- positionför Emil Sjögrenoch AndreasHallén. Som så många andra svenska musikstuderandevid denna tid, och tidigare,for Stenhammarocksåutom- lands,till Berlinför pianostudier. Redan under studietidenbörjadeStenhammarframträdasom pianist, men ocksåkomponera.Sompianist inleddehan ett samarbetemed violinistenTor Aulinoch dennesstråkkvartett somskullekomma att utvecklakammarmusi- cerandei Sverige.Derasturnéer runt om i landet är legendariska. Stenhammarvar dirigentför körenFilharmoniskasällskapeti Stockholm 1897–1900.1902 var han med att grunda det som idagbenämns Kungliga Filharmonikernai Stockholm.Han dirigeradei perioderocksåvid Kungl. Teaternoch var åren 1907–22konstnärligledareför dåvarandeGöteborgs -
Rawson Duo Concert Series, 2019-20 Burning His Sketches Sometime in the Forties
work trickled out. He worked for decades on an eighth symphony but never completed it, finally Rawson Duo Concert Series, 2019-20 burning his sketches sometime in the Forties. The composer's personality had been troubled for a long time. He began drinking heavily at the death of his mother. Much of the money he earned went to his binges, sometimes to the destitution of his family, despite a small stipend from the Finnish government. The hat was passed several times for him among the Finnish art-loving public. It seems that the anxieties of composition triggered such binges. After he destroyed his eighth, his wife, Aino, Ainola, the Sibelius home, built 1913 reported that he became much happier. Järvenpää (near Helsinki) ~ classical.net named after his wife, Aino What’s Next? Good question — perhaps it will be a Spanish or maybe another Italian program. Several possibilities are being considered for sometime in February, and an exciting family trio concert with cellist Ian Rawson is anticipated in early Spring. And beyond that? . as the fancy strikes (check those emails and website) Reservations: Seating is limited and arranged through advanced paid reservation, $25 (unless otherwise noted). Contact Alan or Sandy Rawson, email [email protected] or call 379- 3449. Notice of event details, dates and times when scheduled will be sent via email or ground mail upon request. Be sure to be on the Rawsons’ mailing list. For more information, visit: www.rawsonduo.com HOUSE NOTES Please, no food or drink near the piano and performing area. No photography during performance, and be sure to turn off all electronics, cell phones, etc If parked below the house, please follow the roadway upon exit and do not shortcut across the soft, grassy area opposite the wetland. -
Svensk Musiktidning (1880-1913) Copyright © 2001 RIPM Consortium Ltd Répertoire International De La Presse Musicale (
Introduction to: Kirsti Grinde, Svensk musiktidning (1880-1913) Copyright © 2001 RIPM Consortium Ltd Répertoire international de la presse musicale (www.ripm.org) Svensk musiktidning Svensk musiktidning [Swedish music journal], the most important and longest running nineteenth-century Swedish music periodical, was published in Stockholm from 1 January 1880 to 1 May 1913. The journal was initially titled Necken: svensk musiktidning. 1 In the 15 December 1880 issue, the journal's editor Alfred Lundgren announced that he was too busy to carry on, and passed the periodical on to the music publishing company Huss & Beer. The publication then continued under the name Svensk musiktidning. 2 The journal produced twenty-four issues annually through 1883; these appeared at the beginning and in the middle of each month. From 1884 the number of issues was reduced to twenty, with no issues being published during July and August, the "dead season." In 1899 the two June issues were printed as a do.uble issue. This arrangement continued until 1902, when the double issue became the last issue of the year. The unexpected death of the editor Frans Huss in March 1912 resulted in a gap in the journal's publication until 1 September when a double issue appeared. In a note to the readers the new editor, Gunnar Norlen, promised to publish a complete volume. To fulfill his promise Norlen then produced five issues and complet~d the volume with a quadruple issue. During the spring of 1913 Svensk musiktidning appeared irregularly and finally ceased publication after printing a double issue, no. 7/8. -
Festskrift Till Ulf Göranson
ACTA BIBLIOTHECAE R. UNIVERSITATIS UPSALIENSIS VOL . XLVI Utgivare: Per Cullhed Redaktör: Krister Östlund Redaktionskommitté: Åke Bertenstam, Lars Munkhammar, Lars Thune I lag med böcker Festskrift till Ulf Göranson Utgivare: Per Cullhed Redaktör: Krister Östlund Redaktionskommitté: Åke Bertenstam, Lars Munkhammar, Lars Thune 2012 © Uppsala universitet och författarna 2012 ISSN 0346-7465 ISBN 978-91-554-8406-4 Formgivning och sättning: Martin Högvall och Petra Wåhlin, Grafisk service, Uppsala universitet Huvudtexten satt med Berling Antiqua Tr yck: Edita Västra Aros, ett klimatneutralt företag, Västerås, 2012 Distribution: Uppsala universitetsbibliotek, Box 510, 751 20 Uppsala Innehåll Förord ....................................................................................................................................... 9 Tabula gratulatoria .......................................................................................................... 11 Stefan Andersson När Digitala vetenskapliga arkivet blev DiVA ................................................... 15 Paul Ayris The LERU Roadmap Towards Open Access. A Case Study from European Universities .................................................................................................... 31 Oloph Bexell Ad Acta – några anteckningar om Acta Universitatis Upsaliensis ........... 43 Sven-Erik Brodd Carolina Rediviva – eller på spaning efter en forskarmiljö som flytt ...... 57 Lars Burman Småländsk vältalighet. Inspektor Linné och Uppsalanationernas orationer .............................................................................................................................. -
Tchaikovsky Violin Concerto in D Major, Op
23 Season 2018-2019 Thursday, September 20, at 7:30 The Philadelphia Orchestra Friday, September 21, at 2:00 Saturday, September 22, Yannick Nézet-Séguin Conductor at 8:00 Lisa Batiashvili Violin Berwald Symphony No. 3 in C major (“Sinfonie singulière”) I. Allegro fuocoso II. Adagio III. Finale: Presto First Philadelphia Orchestra performances Sibelius Symphony No. 7, Op. 105 (In one movement) Intermission Tchaikovsky Violin Concerto in D major, Op. 35 I. Allegro moderato—Moderato assai II. Canzonetta: Andante— III. Allegro vivacissimo This program runs approximately 1 hour, 50 minutes. LiveNote® 2.0, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The September 20 concert is sponsored by Mrs. Lyn M. Ross in memory of George M. Ross. The September 21 concert is sponsored by Edith R. Dixon. The September 22 concert is sponsored by David Haas. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM, and are repeated on Monday evenings at 7 PM on WRTI HD 2. Visit www.wrti.org to listen live or for more details. ® Getting Started with LiveNote 2.0 » Please silence your phone ringer. » Make sure you are connected to the internet via a Wi-Fi or cellular connection. » Download the Philadelphia Orchestra app from the Apple App Store or Google Play Store. » Once downloaded open the Philadelphia Orchestra app. » Select the LiveNote tab in the bottom left corner. » Tap “OPEN” on the Philadelphia Orchestra concert you are attending. » Tap the “LIVE” red circle. The app will now automatically advance slides as the live concert progresses.