CHORAL and VOCAL ENSEMBLE 78S FISK UNIVERSITY JUBILEE SINGERS 3178
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18.7 Instrumental 78S, Pp 173-195
78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng. -
December 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 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]. —— THE ETUDE Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Mengjiao Yan Phd Thesis.Pdf
The University of Sheffield Stravinsky’s piano works from three distinct periods: aspects of performance and latitude of interpretation Mengjiao Yan A thesis submitted for the degree of Doctor of Philosophy Department of Music The University of Sheffield Jessop Building, Sheffield, S3 7RD, UK September 2019 1 Abstract This research project focuses on the piano works of Igor Stravinsky. This performance- orientated approach and analysis aims to offer useful insights into how to interpret and make informed decisions regarding his piano music. The focus is on three piano works: Piano Sonata in F-Sharp Minor (1904), Serenade in A (1925), Movements for Piano and Orchestra (1958–59). It identifies the key factors which influenced his works and his compositional process. The aims are to provide an informed approach to his piano works, which are generally considered difficult and challenging pieces to perform convincingly. In this way, it is possible to offer insights which could help performers fully understand his works and apply this knowledge to performance. The study also explores aspects of latitude in interpreting his works and how to approach the notated scores. The methods used in the study include document analysis, analysis of music score, recording and interview data. The interview participants were carefully selected professional pianists who are considered experts in their field and, therefore, authorities on Stravinsky's piano works. The findings of the results reveal the complex and multi-faceted nature of Stravinsky’s piano music. The research highlights both the intrinsic differences in the stylistic features of the three pieces, as well as similarities and differences regarding Stravinsky’s compositional approach. -
Musical Times Publications Ltd
Musical Times Publications Ltd. Some Italian Composers of To-Day. Postludium (Continued) Author(s): Guido M. Gatti Source: The Musical Times, Vol. 62, No. 946 (Dec. 1, 1921), pp. 833-836 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908547 Accessed: 30-10-2015 09:44 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 132.174.255.116 on Fri, 30 Oct 2015 09:44:05 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES-DECEMBER I 1921 833 spacing counteracts the blurr that might have falls into its place as if heard in its naturalsetting resultedfrom the duplication at the distance of a of echoing cliffsor wind-swepthills. The effect second : is indescribablysuggestive, and the whole piece is Ex. io. - . &A of surpassingloveliness. 4-.- -- The following quotation will show that here polytonalityis real, not only apparent: QpPsnorz. Ex. 13. 8va............. ......... ....... ........................................ sost. Needless to emphasize the differencebetween 111 L.H. R.H. &C such fifthsor seconds in polyphony,and pure colour effectssuch as those quoted in Exx. -
Sergei Prokofiev
Sergei Prokofiev Sergei Sergeyevich Prokofiev (/prɵˈkɒfiɛv/; Russian: Сергей Сергеевич Прокофьев, tr. Sergej Sergeevič Prokof'ev; April 27, 1891 [O.S. 15 April];– March 5, 1953) was a Russian composer, pianist and conductor. As the creator of acknowledged masterpieces across numerous musical genres, he is regarded as one of the major composers of the 20th century. His works include such widely heard works as the March from The Love for Three Oranges, the suite Lieutenant Kijé, the ballet Romeo and Juliet – from which "Dance of the Knights" is taken – and Peter and the Wolf. Of the established forms and genres in which he worked, he created – excluding juvenilia – seven completed operas, seven symphonies, eight ballets, five piano concertos, two violin concertos, a cello concerto, and nine completed piano sonatas. A graduate of the St Petersburg Conservatory, Prokofiev initially made his name as an iconoclastic composer-pianist, achieving notoriety with a series of ferociously dissonant and virtuosic works for his instrument, including his first two piano concertos. In 1915 Prokofiev made a decisive break from the standard composer-pianist category with his orchestral Scythian Suite, compiled from music originally composed for a ballet commissioned by Sergei Diaghilev of the Ballets Russes. Diaghilev commissioned three further ballets from Prokofiev – Chout, Le pas d'acier and The Prodigal Son – which at the time of their original production all caused a sensation among both critics and colleagues. Prokofiev's greatest interest, however, was opera, and he composed several works in that genre, including The Gambler and The Fiery Angel. Prokofiev's one operatic success during his lifetime was The Love for Three Oranges, composed for the Chicago Opera and subsequently performed over the following decade in Europe and Russia. -
September 2016 – July 2017
SEPTEMBER 2016 –JULY 2017 Director’s Introduction Frances Marshall Photography One of Britain’s foremost singers, Sarah Connolly, opens the Hall’s new season with regular duo partner Malcolm Martineau, leading listeners through a programme rich in emotional contrasts, poetic reflections and glorious melodies. The recital includes Mahler’s sublime Rückert Lieder, the impassioned lyricism of Berlioz’s Les nuits d’été, the exotic subtle narrative impressions of Debussy’s three Chansons de Bilitis, and a selection of Schumann songs. Mark Padmore’s vocal artistry and ability to extract every drop of emotion from poetic texts have secured his place among today’s finest recitalists. Morgan Szymanski, described by Classical Guitar magazine as ‘a player destined for future glories’ joins him on 12 September. Critical acclaim for Angela Hewitt’s Bach interpretations bears witness to the pianist’s extraordinary ability to connect physically and emotionally as well as intellectually with the dance rhythms and expressive gestures of the composer’s keyboard works. The Bach Odyssey will highlight all of this over the next four years. Canadian soprano Barbara Hannigan performs like a force of nature, captivating audiences with her artistry’s presence and expressive vitality. She joins the Calder Quartet, winner of the 2014 Avery Fisher Career Grant, for the world première of The sirens cycle by Peter Eötvös. Beethoven’s piano sonatas occupied forty years of his life. They offer insights into his development as artist and individual, and stand among the greatest of all his works. Igor Levit, now in his late 20s, drew critical superlatives to his debut recording of Beethoven’s late sonatas and has since established his reputation as a visionary interpreter of the composer’s music. -
Recording Master List.Xls
UPDATED 11/20/2019 ENSEMBLE CONDUCTOR YEAR Bartok - Concerto for Orchestra Baltimore Symphony Orchestra Marin Alsop 2009 Bavarian Radio Symphony Orchestra Rafael Kubelik 1978L BBC National Orchestra of Wales Tadaaki Otaka 2005L Berlin Philharmonic Herbert von Karajan 1965 Berlin Radio Symphony Orchestra Ferenc Fricsay 1957 Boston Symphony Orchestra Erich Leinsdorf 1962 Boston Symphony Orchestra Rafael Kubelik 1973 Boston Symphony Orchestra Seiji Ozawa 1995 Boston Symphony Orchestra Serge Koussevitzky 1944 Brussels Belgian Radio & TV Philharmonic OrchestraAlexander Rahbari 1990 Budapest Festival Orchestra Iván Fischer 1996 Chicago Symphony Orchestra Fritz Reiner 1955 Chicago Symphony Orchestra Georg Solti 1981 Chicago Symphony Orchestra James Levine 1991 Chicago Symphony Orchestra Pierre Boulez 1993 Cincinnati Symphony Orchestra Paavo Jarvi 2005 City of Birmingham Symphony Orchestra Simon Rattle 1994L Cleveland Orchestra Christoph von Dohnányi 1988 Cleveland Orchestra George Szell 1965 Concertgebouw Orchestra, Amsterdam Antal Dorati 1983 Detroit Symphony Orchestra Antal Dorati 1983 Hungarian National Philharmonic Orchestra Tibor Ferenc 1992 Hungarian National Philharmonic Orchestra Zoltan Kocsis 2004 London Symphony Orchestra Antal Dorati 1962 London Symphony Orchestra Georg Solti 1965 London Symphony Orchestra Gustavo Dudamel 2007 Los Angeles Philharmonic Andre Previn 1988 Los Angeles Philharmonic Esa-Pekka Salonen 1996 Montreal Symphony Orchestra Charles Dutoit 1987 New York Philharmonic Leonard Bernstein 1959 New York Philharmonic Pierre -
Maurice Ravel Chronology
Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport. -
Francis Poulenc Dalai
CSEREKLYEI ANDREA FRANCIS POULENC DALAI DOKTORI ÉRTEKEZÉS 2017 Liszt Ferenc Zeneművészeti Egyetem 28-as számú művészet- és művelődéstörténeti besorolású doktori iskola FRANCIS POULENC DALAI Louise de Vilmorin dalciklusok CSEREKLYEI ANDREA DOKTORI ÉRTEKEZÉS 2017 I Tartalomjegyzék Rövidítések II Köszönetnyilvánítás III Bevezetés IV 1. A dalokról 1 1.1. Hatások 1 1.2. A húszas évek 7 1.3. A harmincas évek eleje 9 1.4. Pierre Bernac 15 1.5. Fordulat 16 1.6. Háborús évek 18 1.7. A háború utáni évek 25 1.8. Az utolsó évtized 29 2. Kompozíciós technikák Poulenc dalaiban 36 2.1. Szövegválasztás, fordítások 36 2.2. Zongorakíséret, hangszerelés 38 2.3. Forma, szerkezet, dallam, harmónia 40 3. Louise de Vilmorin 44 4. Trois poèmes de Louise de Vilmorin (FP 91) 51 5. Fiançailles pour rire (FP 101) 63 6. Métamorphoses (FP 121) 85 7. Záró gondolatok 93 8. Függelék – A dalok jegyzéke 94 9. Bibliográfia 101 II Rövidítések André de Vilmorin André de Vilmorin: Essai sur Louise de Vilmorin. (Paris: Édition Pierre Seghers, 1962.) Audel 1978 Stéphane Audel: My friends and Myself. [Moi et mes amis.] Ford: James Harding. (London: Dennis Dobson, 1978.) Bernac 1977 Pierre Bernac: Francis Poulenc. The Man and His Songs. [Francis Poulenc et ses mélodies]. Ford: Winifred Radford. (London: Victor Gollancz, 1977.) Correspondance 1967 Francis Poulenc: Correspondance 1915-1963. (Paris: Éditions du Seuil, 1967.) Daniel 1982 Keith W. Daniel: Francis Poulenc. His Artistic Development and Musical Style. (Ann Arbor, Michigan: UMI Research Press, 1982.) Gyergyai Gyergyai Albert: „A szép kertésznő”. Kritika 17/4 (1979. ápr.) 19-21. Henri Hell 1958 Henri Hell: Francis Poulenc. -
16 Juin ONF 0
JEUDI 16 JUIN 2016 20H MAISON DE LA RADIO - AUDITORIUM ORCHESTRE NATIONAL DE FRANCE DANIELE GATTI DIRECTEUR MUSICAL FAZIL SAY PIANO ANDRIS POGA DIRECTION LUC HÉRY VIOLON SOLO PROGRAMME Alfred Schnittke (K)ein Sommernachtsraum (11 minutes environ) Fazil Say Water 1. Blue Water 2. Grenn Water 3. Black Water (30 minutes environ) Olivier Messiaen Les Offrandes oubliées, méditation symphonique (13 minutes environ) Dimitri Chostakovitch Symphonie n° 1 en fa mineur, opus 10 1. Allegretto – Allegro non troppo 2. Allegro 3. Lento – Largo – Lento 4. Allegro molto – Lento – Allegro molto (30 minutes environ) › Ce concert est diffusé en direct sur France Musique Il est également disponible à l’écoute sur francemusique.fr › Retrouvez la page facebook des concerts de Radio France et de l’Orchestre National de France. › Consultez le site sur maisondelaradio.fr rubrique concerts. ALFRED SCHNITTKE 1934-1998 (K)EIN SOMMERNACHTSRAUM COMPOSÉ EN 1984-1985. CRÉÉ LE 12 AOÛT 1985 AU KLEINES FESTSPIELHAUS DE SALZBOURG PAR LE RADIO-SYMPHONIEORCHESTER WIEN SOUS LA DIRECTION DE LEOPOLD HAGER. NOMENCLATURE : 4 FLÛTES (DONT PICCOLO), 4 HAUTBOIS, 4 CLARINETTES (DONT CLARINETTE BASSE), 2 BASSONS / 4 CORS, 4 TROMPETTES, 4 TROMBONES, 1 TUBA / TIMBALES, PERCUSSIONS, 1 HARPE, CÉLESTA, PIANO / CORDES. Le compositeur russe d’origine allemande Alfred Schnittke, grande figure de la musique soviétique dans les années 1970 et 1980, est considéré généra- lement comme l’un des principaux représentants du « postmodernisme » mu- sical, bien loin de la génération de Boulez, Stockhausen et Xenakis. Adepte du collage, du mélange des styles musicaux, des rencontres entre univers sonores apparemment hétérogènes (du rock à Bach), Schnittke a développé une forme d’écriture « polystylistique » qui a séduit de nombreux interprètes en Occident, tout en étant toléré en Union Soviétique. -
KWE 2002 Music with Solo Violin Introduction
Kurt Weill Edition, Ser. II, Vol. 2 Music with Solo Violin: Concerto for Violin and Wind Orchestra op. 12 INTRODUCTION Der neue Orpheus Op. 16 by Andreas Eichhorn This volume presents two works in full score: the Concerto for Violin and Concerto’s first movement, with its interwoven allusions to the Dies irae, Wind Orchestra, op. 12, which Weill composed between April and June could be related to this context.) By July 1924, however, Weill had found 1924; and his cantata Der neue Orpheus, op. 16—based on a poem of the a new friend in Kaiser, who was to fill the gap that Busoni would leave: he same name by Iwan Goll—for soprano, solo violin, and orchestra, com- not only wrote the librettos for three of Weill’s stage works, but he also in- posed between July and September 1925. Only a piano reduction of the troduced Weill to his future wife, Lotte Lenya, and to the Alsatian poet Violin Concerto, which Weill himself prepared, appeared in print during Iwan Goll (1891–1950), who, in addition to Der neue Orpheus, would his lifetime; not until 1965 would his publisher, Universal Edition in provide the text for the one-act opera Royal Palace. In the first months of Vienna (hereafter UE), issue a full score, albeit with a layout quite different 1924, when Weill and Kaiser had started work on a ballet-pantomime, from Weill’s. Der neue Orpheus has been available in print only as a piano- Weill also toyed with the idea of composing a violin concerto.