Lucien Garban Musical Scores
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rezension Für: Deutsches Symphonie-Orchester Berlin
Rezension für: Deutsches Symphonie-Orchester Berlin Edition Friedrich Gulda – The early RIAS recordings Ludwig van Beethoven | Claude Debussy | Maurice Ravel | Frédéric Chopin | Sergei Prokofiev | Wolfgang Amadeus Mozart 4CD aud 21.404 Radio Stephansdom CD des Tages, 04.09.2009 ( - 2009.09.04) Aufnahmen, die zwischen 1950 und 1959 entstanden. Glasklar, "gespitzter Ton" und... Full review text restrained for copyright reasons. Neue Musikzeitung 9/2009 (Andreas Kolb - 2009.09.01) Konzertprogramm im Wandel Konzertprogramm im Wandel Full review text restrained for copyright reasons. Piano News September/Oktober 2009, 5/2009 (Carsten Dürer - 2009.09.01) Friedrich Guldas frühe RIAS-Aufnahmen Friedrich Guldas frühe RIAS-Aufnahmen Full review text restrained for copyright reasons. page 1 / 388 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de DeutschlandRadio Kultur - Radiofeuilleton CD der Woche, 14.09.2009 (Wilfried Bestehorn, Oliver Schwesig - 2009.09.14) In einem Gemeinschaftsprojekt zwischen dem Label "audite" und Deutschlandradio Kultur werden seit Jahren einmalige Aufnahmen aus den RIAS-Archiven auf CD herausgebracht. Inzwischen sind bereits 40 CD's erschienen mit Aufnahmen von Furtwängler und Fricsay, von Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau u. v. a. Die jüngste Produktion dieser Reihe "The Early RIAS-Recordings" enthält bisher unveröffentlichte Aufnahmen von Friedrich Gulda, die zwischen 1950 und 1959 entstanden. Die Einspielungen von Beethoven, Debussy, Ravel und Chopin zeigen den jungen Pianisten an der Schwelle zu internationalem Ruhm. Die Meinung unserer Musikkritiker: Eine repräsentative Auswahl bisher unveröffentlichter Aufnahmen, die aber bereits alle Namen enthält, die für Guldas späteres Repertoire bedeutend werden sollten: Mozart, Beethoven, Debussy, Ravel, Chopin. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
A Study of Ravel's Le Tombeau De Couperin
SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today. -
Samson Et Dalila De Camille Saint-Saëns
DOSSIER PÉDAGOGIQUE SAMSON © Christian Legay - Opéra-Théâtre de Metz Métropole de Metz - Opéra-Théâtre © Christian Legay ET DALILA DE CAMILLE SAINT-SAËNS CONTACTS ACTION CULTURELLE Marjorie Piquette / 01 69 53 62 16 / [email protected] Eugénie Boivin / 01 69 53 62 26 / [email protected] 1 SAMSON ET DALILA DE CAMILLE SAINT-SAËNS répétition générale : mercredi 7 novembre 2018 à 20h30 vendredi 9 novembre 2018 à 20h dimanche 11 novembre 2018 à 16h OPÉRA EN 3 ACTES ET 4 TABLEAUX Livret en français de Ferdinand Lemaire d’après la Bible (Juges 16, 4-30). Création au Théâtre de la Cour grand-ducale de Weimar, le 2 décembre 1877 grâce à Liszt et représenté à Paris en 1892. Direction Musicale David Reiland Mise en Scène Paul-Emile Fourny Assisté de Sylvie Laligne Décors Marco Japelj Costumes Brice Lourenço Lumières Patrice Willaume Chorégraphie Laurence Bolsigner-May Chef de Chant Nathalie Dang Chef de Chœur Nathalie Marmeuse Avec Samson Jean-Pierre Furlan Dalila Vikena Kamenica Le Grand Prêtre Alexandre Duhamel Abimélech Patrick Bolleire Un Vieillard Hébreu Wojtek Smilek Un Messager Daegweon Choi Le 1er Philistin Eric Mathurin Le 2e Philistin Jean-Sébastien Frantz Orchestre national d’Île-de-France Chœur de l’Opéra-Théâtre de Metz Métropole Chœurs Supplémentaires de l’Opéra de Massy Ballet de l’Opéra-Théâtre de Metz Métropole Production de l’Opéra-Théâtre de Metz Métropole En coproduction avec l’Opéra de Massy et le SNG-Opéra et Ballet National de Slovénie à Maribor ALLER PLUS LOIN : CONFÉRENCE CONFÉRENCE AUTOUR DE SAMSON ET DALILA : MARDI 6 NOVEMBRE À 19H Par Barbara Nestola, musicologue Entrée gratuite sur réservations au 01 60 13 13 13 (à partir du 23/10) 2 LE COMPOSITEUR On a pris la fâcheuse habitude de croire que, là où il y a des sons musicaux, il y a nécessairement de la musique. -
Takte 1-09.Pmd
[t]akte Das Bärenreiter-Magazin Wundersame Mischungen Ernst und komisch zugleich: Haydns „La fedeltà premiata” 1I2009 Das geheime Leben Informationen für Miroslav Srnka auf Entdeckungstour Bühne und Orchester Plädoyer für ein großartiges Repertoire Marc Minkowski über die französische Oper des 19. Jahrhunderts [t]akte 481018 „Unheilvolle Aktualität“ Abendzauber Das geheime Leben Telemann in Hamburg Ján Cikkers Opernschaffen Neue Werke von Thomas Miroslav Srnka begibt sich auf Zwei geschichtsträchtige Daniel Schlee Entdeckungstour Richtung Opern in Neueditionen Die Werke des slowakischen Stimme Komponisten J n Cikker (1911– Für Konstanz, Wien und Stutt- Am Hamburger Gänsemarkt 1989) wurden diesseits und gart komponiert Thomas Miroslav Srnka ist Förderpreis- feierte Telemann mit „Der Sieg jenseits des Eisernen Vorhangs Daniel Schlee drei gewichtige träger der Ernst von Siemens der Schönheit“ seinen erfolg- aufgeführt. Der 20. Todestag neue Werke: ein Klavierkon- Musikstiftung 2009. Bei der reichen Einstand, an den er bietet den Anlass zu einer neu- zert, das Ensemblestück „En- Preisverleihung im Mai wird wenig später mit seiner en Betrachtung seines um- chantement vespéral“ und eine Komposition für Blechblä- Händel-Adaption „Richardus I.“ fangreichen Opernschaffens. schließlich „Spes unica“ für ser und Schlagzeug uraufge- anknüpfen konnte. Verwickelte großes Orchester. Ein Inter- führt. Darüber hinaus arbeitet Liebesgeschichten waren view mit dem Komponisten. er an einer Kammeroper nach damals beliebt, egal ob sie im Isabel Coixets Film -
Les Nuits D'été & La Mort De Cléopâtre
HECTOR BERLIOZ Les nuits d'été & La mort de Cléopâtre SCOTTISH CHAMBER ORCHESTRA ROBIN TICCIATI CONDUCTOR KAREN CARGILL MEZZO-SOPRANO HECTOR BERLIOZ Les nuits d’été & La mort de Cléopâtre Scottish Chamber Orchestra Robin Ticciati conductor Karen Cargill mezzo-soprano Recorded at Cover image The Usher Hall, Dragonfly Dance III by Roz Bell Edinburgh, UK 1-4 April 2012 Session photos by John McBride Photography Produced and recorded by Philip Hobbs All scores published by Bärenreiter-Verlag, Kassel Assistant engineer Robert Cammidge Design by gmtoucari.com Post-production by Julia Thomas 2 Les nuits d’été 1. Villanelle ......................................................................................2:18 2. Le spectre de la rose .................................................................6:12 3. Sur les lagunes ............................................................................5:50 4. Absence ......................................................................................4:45 5. Au cimetière ...............................................................................5:32 6. L’île inconnue .............................................................................3:56 Roméo & Juliette 7. Scène d’amour ........................................................................16:48 La mort de Cléopâtre 8. Scène lyrique ..............................................................................9:57 9. Méditation.................................................................................10:08 Total Time: ......................................................................................65:48 -
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart Des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03
Claude Debussy Orchestral Works Dirk Altmann · Daniel Gauthier Radio-Sinfonieorchester Stuttgart des SWR · Heinz Holliger 02 CLAUDE DEBUSSY (1862 – 1918) 03 1 Première Rapsodie pour orchestre 7 Prélude à L’après-midi d’un faune [11:35] Diese wesensmäßige Fertigkeit hatte schon in den Chemie“, an der er sich selbst immer neu ergötzen avec clarinette principale [08:15] flûte solo: Tatjana Ruhland frühen Neunzigern die Bedenken des Dichters konnte, und die aus sich selbst erwachsenden For- Stéphane Mallarmé zerstreut, der zunächst von men in Regelwerke zu zwängen, sich im Geflecht Images pour orchestre 8 Rapsodie pour Debussys Ansinnen, die Ekloge vom Après-midi des Gefundenen, bereits „Gehabten“ zu verhed- Deutsch 2 Rondes de Printemps [08:29] orchestre et saxophone [09:45] d’un faune mit Musik zu umgeben, nicht begeis- dern. Vielleicht wurde daher auch nur das Prélude 3 Gigues [08:38] tert war. Er fürchtete eine bloße „Verdopplung“ zum „Faun“ vollendet, während das Interlude und Iberia [19:48] TOTAL TIME [67:04] seiner musikalisch-erotischen Alexandriner, sah die abschließende Paraphrase nie über die Idee 4 I. Par les rues et par les chemins [07:09] sich aber, kaum dass er das Resultat zu hören be- hinausgelangten. Es war schon alles gesagt. 5 II. Les parfums de la nuit [08:10] 1 Dirk Altmann Klarinette | clarinet kam, ebenso bezwungen wie die Besucher der 6 III. Le matin d'un jour de fête [04:28] 8 Daniel Gauthier Saxophon | saxophone Société Nationale, die am 22. Dezember 1894 die Wer weiß, ob nicht aus just diesem Grunde auch Uraufführung des Prélude „zum Nachmittag eines die Rapsodie arabe im Sande verlief, die sich der Fauns“ miterleben durften. -
Four-Hand Piano Music • 2
DEBUSSY Four-Hand Piano Music • 2 Prélude à l’Après-midi d’un faune La Mer • Images Jean-Pierre Armengaud Olivier Chauzu Claude Debussy (1862–1918) undulating arabesques complemented by an expressive Written between 1905 and December 1908, Ibéria was Music for Piano Four Hands • 2 theme which is followed by a new, melancholy figure treated the first of the Images to be completed. Debussyʼs only visit contrapuntally in the upper register; the second is to Spain consisted of a single afternoon spent in San Symbolist poet Stéphane Mallarméʼs eclogue, or pastoral is impassioned, almost Wagnerian in tone. The central dominated by dotted rhythms and sees the reappearance Sebastián, just across the border. There are no quotations poem, LʼAprès-midi dʼun faune (The Afternoon of the Faun; section introduces the third theme, which is marked of the cyclical theme. The music then becomes more or borrowings from pre-existing music here, the work pub. 1876) was quick to capture the imagination of expressif et très soutenu and wreathed in arabesques, serene, ending with a solemn, chorale-like theme. drawing instead on a kind of imagined folk tradition in which Debussy, who even gave a copy of its second edition to triplets and arpeggios. Jeux de vagues (Play of the waves) acts as the scherzo all the melodies stem from the composerʼs own mind, fellow composer Paul Dukas in May 1887. Mallarmé, who in This arrangement was made by Ravel in early 1910, in here, with a central episode whose main function is that of although they are based on modal or ornamental cellular 1885 had written a prose article entitled Richard Wagner, response to a commission from the publisher Fromont. -
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos. -
B-RECORDS Ascanio B-RECORDS Ascanio P.1
B-RECORDS Ascanio P.1 B-RECORDS Ascanio P.2 B-RECORDS Ascanio P.4 CAMILLE SAINT-SAËNS — ASCANIO Opéra en cinq Actes et sept Tableaux livret de Louis Gallet Première exécution absolue de la version conforme au manuscrit autographe de 1888. Concerts enregistrés les 24 et 26 novembre 2017 à Genève. Guillaume Tourniaire direction musicale Raphaël Hardmeyer Charles Quint Olivia Doutney Une Ursuline Jean-François Lapointe Benvenuto Cellini Joé Bertili Pagolo Choeur de la Haute école Bernard Richter Ascanio de musique de Genève Ève-Maud Hubeaux Scozzone Choeur du Grand Théâtre de Genève Jean Teigten François Ier Alan Woodbridge chef de chœur Karina Gauvin La Duchesse d'Étampes Clémence Tilquin Colombe D'Estourville Orchestre de la Haute école Mohammed Haidar Un Mendiant de musique de Genève Bastien Combe D'Estourville Maxence Billiemaz D'Orbec Joidy Blanco flûte solo B-RECORDS Ascanio P.5 B-RECORDS Ascanio P.6 ORCHESTRE DE LA HAUTE CLARINETTES CHŒUR DU GRAND THÉÂTRE ALTOS ÉCOLE DE MUSIQUE DE GENÈVE Marina Yamashita, Mio Yamashita DE GENÈVE Leilla Attigui, Camille Bourquin, Pierre-Antoine Marçais Roberto Balistreri Ornella Corvi, Alina Delgadillo, chef d’orchestre assistant BASSONS Assistant du chef de choeur Zoé Vauconsant Aline Kalchofner, Citlalli Medina Durán, VIOLONS Carla Rouaud (et contrebasson) SOPRANOS TÉNORS Lucie Menier (1er VS), Camille Guilpain Fosca Aquaro, Chloé Chavanon, Paul Belmonte, Quentin Monteil, (2ème VS), Jou Chan, Sen Chan, CORS Magali Duceau, Györgyi Garreau-Sarlos, Jeka Pawel, Marin Yonchev Seat Byeol Choi, Benjamin -
'L'isle Joyeuse'
Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’ Esteban Buch To cite this version: Esteban Buch. Climax as Orgasm: On Debussy’s ‘L’isle Joyeuse’. Music and Letters, Oxford Univer- sity Press (OUP), 2019, 100 (1), pp.24-60. 10.1093/ml/gcz001. hal-02954014 HAL Id: hal-02954014 https://hal.archives-ouvertes.fr/hal-02954014 Submitted on 30 Sep 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Esteban Buch, ‘Climax as Orgasm: On Debussy’s “L’isle Joyeuse”’, Music and Letters 100/1 (February 2019), p. 24-60. Climax as Orgasm: On Debussy’s L’isle joyeuse This article discusses the relationship of musical climax and orgasm by considering the case of L’isle joyeuse, a piano piece that Claude Debussy (1862-1918) began in 1903, completing it in the Summer of 1904 soon after starting a sentimental relationship with Emma Bardac, née Moyse (1862-1934), his second wife and the mother of his daughter Claude-Emma, alias ‘Chouchou’ (1905-1919). By exploring the genesis of the piece, I suggest that the creative process started as the pursuit of a solitary exotic male fantasy, culminating in Debussy’s sexual encounter with Emma and leading the composer to inscribe their shared experience in the final, revised form of the piece. -
Michael Tilson Thomas and the San Francisco Symphony Release All-Debussy Album on Sfs Media October 28, 2016
Press Contacts: Public Relations National Press Representation: San Francisco Symphony Shuman Associates (415) 503-5474 (212) 315-1300 [email protected] [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / SEPTEMBER 27, 2016 (High resolution images available for download from the SFS Media’s Online Press Kit) MICHAEL TILSON THOMAS AND THE SAN FRANCISCO SYMPHONY RELEASE ALL-DEBUSSY ALBUM ON SFS MEDIA OCTOBER 28, 2016 Album Includes Images pour orchestre, Jeux, and La plus que lente Pre-order September 27 on iTunes.com/SFSymphony and SFSymphony.org/Debussy SAN FRANCISCO, September 27, 2016 – Music Director Michael Tilson Thomas (MTT) and the San Francisco Symphony (SFS) will release an all-Debussy album featuring three works that illustrate the French composer’s mastery with orchestration including Images pour orchestre, Jeux, and La plus que lente, on the Orchestra’s Grammy Award- winning SFS Media label on Friday, October 28, 2016. The recording will be available for pre-order on iTunes.com/SFSymphony and SFSymphony.org/Debussy on Tuesday, September 27, 2016. This recording is presented by SFS Media in premium audio hybrid SACD as well as studio master-quality download. Michael Tilson Thomas comments, “Right from the start of my musical life, Debussy’s music captivated me. He had a genius for sensing the essential quality of a particular instrument’s voice and creating for it evocative solos that have become emblematic. His sense of unusual blends of different instruments was also original and highly