Music You Know & Schumann Cello Concerto
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
97679 Digibooklet Schumann Vol
ROBERT SCHUMANN Complete Symphonic Works VOL. III OREN SHEVLIN WDR Sinfonieorchester Köln HEINZ HOLLIGER ROBERT SCHUMANN Complete Symphonic Works • Vol. III recording date: April 8-11, 2013 Cello Concerto in A minor, Op. 129 23:59 I. Nicht zu schnell 11:51 II. Langsam 4:08 P Eine Produktion des Westdeutschen Rundfunks Köln, 2013 lizenziert durch die WDR mediagroup GmbH III. Sehr lebhaft 8:00 recording location: Köln, Philharmonie executive producer (WDR): Siegwald Bütow recording producer & editing: Günther Wollersheim Symphony No. 4 in D minor, Op. 120 recording engineer: Brigitte Angerhausen (revised version 1851) 28:56 Recording assistant: Astrid Großmann I. Ziemlich langsam. Lebhaft 10:25 photos: Oren Shevlin (page 8): Neda Navaee II. Romanze. Ziemlich langsam 3:57 Heinz Holliger (page 10): Julieta Schildknecht III. Scherzo. Lebhaft 6:45 WDR Sinfonieorchester Köln (page 5): WDR Thomas Kost IV. Langsam. Lebhaft 7:49 WDR Sinfonieorchester Köln (page 9): Mischa Salevic front illustration: ‘Mondaufgang am Meer’ Caspar David Friedrich art direction and design: AB•Design executive producer (audite): Dipl.-Tonmeister Ludger Böckenhoff OREN SHEVLIN e-mail: [email protected] • http: //www.audite.de WDR Sinfonieorchester Köln © 2014 Ludger Böckenhoff HEINZ HOLLIGER Remembering, Narrating Schumann’s Cello Concerto contains movements are recalled in the same way the same in another: only the material is On 2 September 1848 Robert Schumann many recollections of Mendelssohn. It as Beethoven had done in his Ninth Sym- different”. Schumann noted this maxim no composed a piece for piano and called opens with three wind chords similar phony. Schumann also referred to his own later than 1834, at the age of twenty-four, it Erinnerung [recollection], inserting to those in the overtures to A Midsum- works: in the transition from the fi rst to the and he followed it in his ideal of musical the subtitle “4. -
Robert Schumann on the Poems of Heinrich Heine
DICHTERLIEBE opus 48 A Cycle of Sixteen. Songs by Robert Schumann on the poems of Heinrich Heine An Honors Thesis (Honrs 499) by Shawn L. Harrington Thesis Advisor (u,r$/ Mr. John Meadows", . " (! jl'lrli{Lul ~t;(,cY\' Ball State University Muncie, Indiana November, 1995 Expected date of graduation 12/95 !J,:'( ! __ <l !.", .,.' , j:L. ' .. " Purpose of Thesis This project has two components: a written discussion of the music of the Dichterliebe, and the lives of the composer Robert Schumann and the poet Heinrich Heine; and an audio tape of my performance of the Dichterliebe. The performance was the culmination of my study of the Dichterliebe, in particular, and of my voice studies, in general. Through the performance, I set out to share the wonderful music and poetry of the Dichterliebe as well as share my musical and vocal growth over the past four years. The written portion of the project was undertaken to satisfy my personal curiosity of the men who wrote the music and the poetry of the Dichterliebe. A study of the music without knowing the man who composed it or the man who wrote the words would be only half complete at best. Likewise, a study of the men and not the music would also be incomplete. That is why I included both venues of learning and experiencing in this project; and that is why I have included an audio tape of the performance with this written report. Acknowledgements I would like to thank my voice instructor (and thesis advisor), John Meadows. Without his expertise, advise, and instruction, I would not have been able to present the Dichterliebe in a performance. -
Mahler's Klagende Lied
Mahler’s Klagende Lied SIMONE YOUNG’S VISIONS OF VIENNA 4 – 7 DECEMBER SYDNEY OPERA HOUSE CONCERT DIARY FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. Ben Folds Nicholas Buc conductor Scheherazade Symphony Hour Wed 11 Mar, 7pm HYPNOTIC AND SUBLIME Thu 12 Mar, 7pm DEBUSSY Prelude to the Afternoon of a Faun Tea & Symphony RIMSKY-KORSAKOV Scheherazade Fri 13 Mar, 11am Alexander Shelley conductor Sydney Town Hall Debussy, Mozart and Rimsky-Korsakov Emirates Metro Series Fri 13 Mar, 8pm SENSE AND SENSUALITY Sydney Town Hall DEBUSSY Prelude to the Afternoon of a Faun MOZART Sinfonia Concertante, K.364 RIMSKY-KORSAKOV Scheherazade Alexander Shelley conductor Harry Bennetts violin Tobias Breider viola Abercrombie & Kent Beethoven Missa Solemnis Masters Series MUSIC OF INSPIRATION Wed 18 Mar, 8pm BEETHOVEN Missa Solemnis Fri 20 Mar, 8pm Sat 21 Mar, 8pm Donald Runnicles conductor Siobhan Stagg soprano Sydney Town Hall Vasilisa Berzhanskaya mezzo-soprano Samuel Sakker tenor Derek Welton bass Sydney Philharmonia Choirs Cats 240x150.indd 1 2/9/19 16:40 WELCOME Welcome to the Abercrombie & Kent Masters Series. -
A Formal Analytical Approach Was Utilized to Develop Chart Analyses Of
^ DOCUMENT RESUME ED 026 970 24 HE 000 764 .By-Hanson, John R. Form in Selected Twentieth-Century Piano Concertos. Final Report. Carroll Coll., Waukesha, Wis. Spons Agency-Office of Education (DHEW), Washington, D.C. Bureauof Research. Bureau No-BR-7-E-157 Pub Date Nov 68 Crant OEC -0 -8 -000157-1803(010) Note-60p. EDRS Price tvw-s,ctso HC-$3.10 Descriptors-Charts, Educational Facilities, *Higher Education, *Music,*Music Techniques, Research A formal analytical approach was utilized to developchart analyses of all movements within 33 selected piano concertoscomposed in the twentieth century. The macroform, or overall structure, of each movement wasdetermined by the initial statement, frequency of use, andorder of each main thematic elementidentified. Theme groupings were then classified underformal classical prototypes of the eighteenth and nineteenth centuries (ternary,sonata-allegro, 5-part or 7-part rondo, theme and variations, and others), modified versionsof these forms (three-part design), or a variety of free sectionalforms. The chart and thematic illustrations are followed by a commentary discussing each movement aswell as the entire concerto. No correlation exists between styles andforms of the 33 concertos--the 26 composers usetraditional,individualistic,classical,and dissonant formsina combination of ways. Almost all works contain commonunifying thematic elements, and cyclicism (identical theme occurring in more than1 movement) is used to a great degree. None of the movements in sonata-allegroform contain double expositions, but 22 concertos have 3 movements, and21 have cadenzas, suggesting that the composers havelargely respected standards established in theClassical-Romantic period. Appendix A is the complete form diagramof Samuel Barber's Piano Concerto, Appendix B has concentrated analyses of all the concertos,and Appendix C lists each movement accordog to its design.(WM) DE:802 FINAL REPORT Project No. -
Spohr and Schumann
SPOHR AND SCHUMANN by Keith Warsop OR MOST PEOPLE the link between Louis Spohr and Robert Schumann is limited to the latter's negative criticism of the Historrcai Symphony. In fact, the two musicians had a high regard for each other's compositions even though they each sometimes had reservations about particular aspects of certain individual works. Unfortunately, Spohr broke off his memoirs when he reached June 1838 shortly before he and Schumann met for the first time so we do not have his considered thoughts about Schumann's music in general. However, in the section of the memoirs added by his second wife, Marianne, after Spohr's death, she records that after the stay in Carlsbad detailed by Spohr in the last paragraphs he wrote down himself, they stopped in Leipzig on their way home. There, Marianne continues, "it was a source of great pleasure to him to make the long-desired acquaintance of Robert Schumann who, though in other respects exceedingly quiet and reserved, yet evinced his admiration of Spohr with great warmth and gratified him by the performanee of several of his interesting fantasias. " The two composers had, however, been in touch a few months before through the agency of a third composer, Felix Mendelssohn. On 24th November 1836, Mendelssohn wrote to Spohr requesting a song for inclusion in the wedding album of his new bride, Cdcilie Jeanrenaud, and on l3th December wrote again to thank Spohr for the song 'Was mir wohl tibrig bliebe', WoO96 (later included by Spohr as No.5 of his Op.139 Lieder collection). -
A Dichterliebe by Robert Schumann
,A DICHTERLIEBE BY ROBERT SCHUMANN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Hubert Neil Davidson, B. M. Denton, Texas August, 1957 PREFACE The purpose of this work, an analysis of the song cycle Dichterliebe (Op. 1+8) by Robert Schumann, is to recognize the special features of the songs which will contribute to their understanding and musical interpretation and perform- ance. The Dichterliebe was chosen as the composition to be analyzed because of its prominent position in the vocal lit.- erature of the Romantic period. An acquaintance with the life of the poet, Heinrich Heine, as well as the life of the composer of these songs and their relationship to each other contributes toward an understanding of the cycle. Each of the sixteen songs in the cycle is analyzed according to its most important characteristics, including text setting, general harmonic structure, important role of the accompaniment, expressive techniques, mood, tempo, rhythm, and dynamics. It is not the aim of this work to offer an extensive formal or harmonic analysis of this song cycle. iii TABLE OF CONTENTS Page PREFACE . iii LIST OF ILLUSTRATIONS.... ..... .v Chapter I. BACKGROUND OF THE DICHTERLIEBE . .1 Biographical Sketch of Robert Schumann The Life and Work of Heinrich Heine Robert Schumann's Relationship with Heinrich Heine History of Song Cycles up to and Past the Dichterliebe II. ANALYSIS OF THE DICHTERLIEBE . 18 I Im wundersch8ne Monat Mai II lus meinen Thranen spriessen III Die Rose, die Lilie, die Taube IV Wenn ich in!~deine Augen~seh1' V IhwiT miieine Seele tauchen VI Im Rhein, im heiligen Strome VII Ich rolle nicht VIII Und, ssten's die Blumen, die kleinen IX Das ist ein Fl8ten und Geigen x 'Tich das Liedchen~klingen XI Emn J17ling liebt ein Mdchen XII Am leuchtenden Sommemorgen XIII Ich hablimTTraum geweinet XIV llnHEhtlich im Traume seh' ich dich XV Aus alten Murchen Winkt es XVI Die alten b6sen Leider BIBLIOGRAPHY 0. -
Dichterliebe Schumann Julian Prégardien Éric Le Sage Sandrine Piau MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS
DICHTERLIEBE SCHUMANN JULIAN PRÉGARDIEN ÉRIC LE SAGE SANDRINE PIAU MENU › TRACKLIST › DEUTSCH › FRANÇAIS › ENGLISH › SUNG TEXTS ROBERT SCHUMANN (1810-1856) SPANISCHES LIEDERSPIEL, OP.74 1 NO.4 IN DER NACHT 4’24 CLARA SCHUMANN (1819-1896) 3 ROMANCES, OP.11 2 NO.2 ANDANte – allegrO PASSIONATO – aNDANTE 5’29 ROBERT SCHUMANN 3 GESÄNGE, OP.31 3 NO.1 DIE LÖWENBRAUT 7’53 CLARA SCHUMANN 4 WENN ICH EIN VÖGLEIN WÄR 1’08 ROBERT SCHUMANN 3 ZWEISTIMMIGE LIEDER, OP.43 (OSSIA GENOVEVA, OP.81, ACT II) 5 NO.5 WENN ICH EIN VÖGLEIN WÄR 1’27 MYRTHEN, OP.25 6 NO.15 AUS DEN HEBRÄISCHEN GESÄNGEN (MEIN HERZ IST SCHWER) 4’32 DICHTERLIEBE, OP.48 7 I. IM WUNDERSCHÖNEN MONAT MAI 1’32 8 II. AUS MEINEN TRÄNEN SPRIEßEN 0’45 9 III. DIE ROSE, DIE LILIE 0’34 10 IV. WENN ICH IN DEINE AUGEN seh’ 1’31 11 V. ICH WILL MEINE SEELE TAUCHEN 0’55 12 VI. IM RHEIN, IM HEILIGEN STROME 2’27 13 VII. ICH GROLLE NICHT 1’27 14 VIII. UND WÜSSTEN’s die BLUMEN 1’12 15 IX. DAS IST EIN FLÖTEN UND GEIGEN 1’17 16 X. Hör’ ich das LIEDCHEN KLINGEN 1’46 17 XI. EIN JÜNGLING LIEBT EIN MÄDCHEN 0’52 18 XII. AM LEUCHTENDEN SOMMERMORGEN 2’16 19 XIII. Ich hab’ im TRAUM GEWEINET 2’36 20 XIV. ALLNÄCHTLICH IM TRAUME 1’22 21 XV. AUS ALTEN MÄRCHEN WINKT ES 2’05 22 XVI. DIE ALTEN BÖSEN LIEDER 4’00 SECHS FRÜHE LIEDER, WOO 21 23 NO.4 KURZES ERWACHEN 2’16 5 LIEDER UND GESÄNGE, OP.127 24 NO.1 SÄNGERS TROST 2’05 3 ROMANZEN, OP.28 25 NO.1 SEHR MARKIRT 3’22 26 NO.2 EINFACH 3’23 4 GESÄNGE, OP.142 27 NO.4 MEIN WAGEN ROLLET LANGSAM 3’03 TOTAL TIME: 66’15 JULIAN PRÉGARDIEN TENOR ÉRIC LE SAGE FORTEPIANO FORTEPIANO BY JULIUS BLÜTHNER, LEIPZIG 1856, RESTORED BY CHRISTOPH KERN SANDRINE PIAU SOPRANO (1,3,4,5) › MENU Jedes musikalische Werk durchläuft eine Entstehungsgeschichte. -
Rudolph Ganz Swiss Pianist, Conductor and Composer
AMICA International Automatic Musical Instrument Collectors' Association Honor Roll Rudolph Ganz Swiss pianist, conductor and composer Zurich, 24.02.1877 - Chicago, 02.08.1972 RUDOLPH GANZ BY EMMETT M. FORD The AMICA, v.14, No 4, May 1977 Rudolph Ganz, distinguished pianist, composer, conductor,Duo-Art, Welte-Mignon and Ampico recording artist and phonograph recording artist was born in Zurich, Switzerland, February 24, 1877. His early studies were at the Zurich Conservatory with Robert Freund in piano and cello with John Hegar. Later he went to Lausanne to receive piano instruction from his uncle, Carl Eschmann-Dumur, and composition with Charles Blanchet. At the Conservatory in Strasburg, Alsatia, he was the pupil of Fritz Blumer. Going to Berlin, he studied piano with Ferruccio Busoni and composition with Heinrich Urban. At the age of ten he appeared in public for the first time as a cellist in his home town. He turned to the piano as a future choice in instruments and at the age of twelve made his pianistic debut in 1889 in Zurich. Many concerts were made after his Zurich debut. At his Berlin debut he performed the Beethoven Concerto in E Flat and the Chopin E Minor Concerto. His first appearance as an orchestral conductor was in May of 1900 conducting the Berlin Philharmonic Orchestra in the performance of his first symphony. It was in this year when he composed a piano and orchestra composition entitled "Konzertstuck." In July, 1900 he married an American concert singer, Mary Forrest. The couple came to the United States where Mr. Ganz became head of the piano department of the Chicago Musical College, the post vacated by A. -
The University Mnsical Society Of
The University Mnsical Society of The University of Michigan, Presents BOSTON SYMPHONY CHAMBER PLAYERS JOSEPH SILVERSTEIN, Violin DORIOT DWYER, Flute BURTON FINE, Viola RALPH GOMBERG, Oboe JULES ESKIN, Cello HAROLD WRIGHT, Clarinet SHERMAN WALT, Bassoon TUESDAY EVENING, MARCH 14, 1972, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PRO G RAM Quartet for Bassoon and Strings in B-flat, Op. 40 DANZI Allegro moderato Larghetto non troppo Minuetto Allegretto String Trio, Op. 45 (1946) SCHONBERG Quarter note - 60 Quarter note - 80 Lento j quarter note - 60 INTERMISSION String Trio in C minor, Op. 9, No.3 BEETHOVEN Allegro con spirito Adagio con espressione Scherzo: allegro molto e vivace Finale: presto Quatuor for Woodwinds VILLA-LoBOS Allegro non troppo Lento Allegro molto vivace RCA Victor R ecords Seventh Concert Ninth Annual Chamber Arts Series Complete Program 3766 INTERNATIONAL PRESENTATION S -1971-72 BOSTON SYMPHONY ORCHESTRA, WILLIAM STEINBERG, Conductor (8:30) Wednesday, March 15 Wagner: Prelude to "Die Meistersinger" j Hindemith: "Mathis der Mahler" j Brahms: Sym phony No.4. VIENNA SYMPHONY ORCHESTRA (2 :30) Sunday, March 19 JOSEF KRIPS, Conductor Haydn: Symphony No. 94 ("Surprise") jVon Einem: Concerto for Orchestraj Schubert: Sym phony No.9 in C major. MINNESOTA ORCHESTRA (8:30) Sunday, April 9 STANISLAW SKROWACZEWSKI, Conductor Berlioz: Excerpts from "Romeo and Juliet"j Mahler: Das Klagende Lied," with University Choral Union, Donald Bryant, director; Sheila Armstrong, soprano; Maureen Forrester, con tralto; John Stewart, tenor; Brent Ellis, baritone. ANN ARBOR The Philadelphia Orchestra at all concerts- Eugene Ormandy and Thor Johnson, conductors May 4-Harris: Symphony No.3; Mahler: Kindertotenlieder, Dietrich Fischer Dieskau, baritone; Berlioz: Symphonie fantastique. -
Accept Albums Metal Blast from the Past DVD / CD
Subba-Cultcha Page 1 of 3 *HOME *CONTACT To view all DVD reviews click h PODCAST FESTIVALS Homepage Accept Albums Metal Blast From The Past DVD / CD Singles & EPs Breeze Music / Drakkar Entertainment / BMG Live Features “The ultimate DVD / CD package from the epitome of Germ metal…” Demos Homepage Film In 1985, I was introduced to a band that would change my life. They made me rethink everything I knew about metal, made me realise that whilst metal may have been born DVD in the UK, and may have become the staple diet of teenage Americans, it’s real home Games and future lay in Germany. The band was Accept, and the record that changed Books everything for me went by the name of “Metal Heart”. It was, and is, everything that I thought metal should always be - overblown and dramatic, crammed full of incredible songs played by some of the greatest metal musicians that Satan ever created, and th voice….Damn, Udo Dirkschneider still has the BEST voice in metal. “Metal Heart” was and is, perfect, in every sense of the word. Thus began my continuous obsession with both German metal and to a lesser extent, Accept, and twenty one years later, it still Homepage consumes me, fills my waking thoughts and drives me ever onwards in my quest to fin Forum a metal record equal to “Metal Heart”… Competiton Subba -games Enough of me though, and on to “Metal Blast From The Past”…It’s like handing a fix t a addict entering withdrawal, presenting fresh virgins to Genghis Khan and handing a oil filed to George Dubya Bush. -
ACCEPT Release Date Pre-Order Start Symphonic Terror - Live at Wacken 2017 Uu 23/11/2018 Uu 21/09/2018 Territory: World
New Release Information uu November ACCEPT Release Date Pre-Order Start Symphonic Terror - Live At Wacken 2017 uu 23/11/2018 uu 21/09/2018 Territory: World uu 05.10. digital 2-track single Balls To The Wall (live) uu a dvertising in many important music magazines SEP/OCT/NOV 2018 uu album reviews, interviews in all important Metal magazines in Europe’s SEP/OCT/NOV 2018 issues uu song placements in European magazine compilations uu spotify playlists in all European territories uu Facebook, YouTube, Twitter, Google+ organic promotion uu Facebook ads and promoted posts + Google ads in both the search and display networks, bing ads and gmail ads uu Banner advertising on more than 60 most important Metal & Rock websites all over Europe uu additional booked ads on Metal Hammer Germany and UK, and in the Fixion network (mainly Blabbermouth) uu video and pre-roll ads on You tube uu ad campaigns on iPhones for iTunes and Google Play for Androids uu banners, featured items at the shop, header images and a background on nuclearblast.de and nuclearblast.com uu features and banners in newsletters, as well as special mailings to targeted audiences in support of the release Price Code: DVD01 Price Code: DVD02 Price Code: CD15 Price Code: CD02 Price Code: CD15 NB 4499-0 BluRay+2CD-Digi NB 4499-2 DVD+2CD-Digi NB 4499-4 Earbook NB 4573-0 2CD-Digi NB 4499-1 3LP BOX BluRay + DVD + 2CD black incl. booklet and poster uu Tracklists: Blu-ray / DVD (Blu-ray+2CD, DVD+2CD, Earbook) CD1 (Blu-ray+2CD, DVD+2CD, 2CD-Digi, Earbook) 3LP (33 rpm) Part 1: Accept 01.