WAGNER Die Walküre Acts I and II
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Ko?pfe U1_U2_U3_U4_EK_07-08_2011:EZK Cover 10.06.2011 13:00 Uhr Seite 1 erziehungs07 / 08 | 2011 kunstJuli / August | 6,90 € Waldorfpädagogik heute Kinder, Lehrer, Temperamente Chemie kann auch schmecken Die andere Frau – ein Sommerkrimi »O Mensch, erkenne Dich« Was ist Schulreife? Ko?pfe U1_U2_U3_U4_EK_07-08_2011:EZK Cover 10.06.2011 13:00 Uhr Seite 2 2 INHALT 4 H. Eller: Warum Rechtsanwälte und Frisöre sich für die Temperamente interessieren 5 U. Maiwald: Im Haus der Temperamente 9 M. Schnabel: Temperamente im Klassenzimmer – ein Praxisbericht 12 E. Leipold: Die Temperamente sind die Farben der Seele 14 M. Maurer: Temperamente ad acta? 17 L. Ravagli: Mit Temperament in den Urlaub 19 B. Olayiwola-Olosun: Wenn Temperamente nicht zu bremsen sind … 22 25 E. Schaffrath: Was ist Schulreife? 25 A. Ziemke: Sollen Kinder auswendig lernen? 28 30 H. Erasmus: Sind Waldorfschüler interessierter als Schüler von Regelschulen? 30 33 34 K. Joost: Generationenübergreifend 34 36 S. Hesse: Der steinerne Horizont. 50 Jahre Mauer 36 B. Kettel: Chemie kann auch schmecken 39 43 M. Maurer: »O Mensch, erkenne Dich« 43 46 N. Göbel: Waldorf boomt in China 46 K. Tevdorashvili: Holzspielzeug statt Flachbildschirm 49 B. Scheffold: »Welcome on Board of the Air Rosado« 52 C. Boettger: Sind Geschäftsführer an Waldorfschulen zufrieden? 56 T. Steen: »Erweckungserlebnis« in Dornach 57 58 J. Holle: Die andere Frau – ein Sommerkrimi 58 61 M. Stettner-Ruff: Nach der Wehrpflicht die Schulpflicht: abschaffen! 61 64 L. Ravagli: Fallende Schleier 64 66 68 72 77 80 98 erziehungskunst Juli / August | 2011 Titelfoto und Fotos Inhalt: Joan Vicent Cantó Roig 03_04_EK07/08_2011:EZK 10.06.2011 14:13 Uhr Seite 3 EDITORIAL 3 Die Temperamente – keine Lehre, eine Kunst Liebe Leserin, lieber Leser, Elternabend, fünfte Klasse. -
Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
Deutsche Nationalbibliografie 2010 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 02 Stand: 17. Februar 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT02_2010-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Famous Singers Fro M the Establish Ment of Italian Opera Down T O the Present
FAMOUS SING ERS OF TO-DAY AND YESTERDAY THE MU SIC LOVER S’ SER IES T o ll o i he f w n g, each, GREAT COMPOSERS A ND THEIR WORK By Loui s C . E lson FAMOUS PIANIS TS OF TO-DAY A ND YE S TER DAY B en r C Lahee y H y . The ll w ach fo o ing, e , A HI STORY OF OPER A New Revised E dition By Arthur E lson MODERN COMPOSERS OF EUROPE New Revised E dition By Arth ur E lson ORCHE S TR AL I N S TRUME NTS A ND THE IR U SE New Revised E di ti o n By Arthur E lson S HA KE S PEAR E IN MU S IC By Louis C . Elson FAMOUS VIOLINISTS OF T0 -DAY A ND YE S TERDAY New Revised E dition B en r C Lahee y H y . FAMOU S S INGE RS OF TO-DAY A ND YE S TERDAY New Revised E dition B n y He ry C . Lahee THE NATIONAL MU S IC OF AMERI CA A N D I TS S CE OUR S . New Revised E dition B Loui s C an d r hur E son y . A t l The ll w ach fo o ing, e , AMERICAN COMPOSERS By R up er t Hughes an d Arthur Elson THE GRAND OPER A S I NGER S OF TO-D A Y New Revised E dition B en r C Lahee y H y . THE ORGAN A ND I TS MAS TER S New Revised E dition B en r C Lahee y H y . -
Boston Symphony Orchestra Concert Programs, Summer, 1947-1950
BOSTON SYMPHONY ORCH ESTRA MUSIC DIRECTOR. AT TANGLEWOOD 1948 « The Steinway is the1 official pian~ Arkansas Philharmonic «—— Buffalo Philharmonic Chattanooga Symphony Cleveland Orchestra Columbus Philharmonic Dallas Symphony Detroit Symphony Duluth Civic Symphony El Paso Symphony s'teinway . instrument of the Ft. Wayne Symphony Harrisburg Symphony immortals ! For excellence of Hollywood Bowl, Los Angeles Houston Symphony workmanship, resonance of tone, responsiveness Indianapolis Symphony Kansas City Symphony to the player's touch, and durability of construction, Los Angeles Symphony Louisville Philharmonic the Steinway, from the smallest, lowest priced Miami Symphony Minneapolis Symphony vertical, grand, to the Steinway concert the Nat. Orchestral Assoc, of N.Y. Nat. Symphony, Wash., D.C. overwhelming choice of concert artists New Jersey Symphony New Orleans Civic Symphony and symphony orchestras, has no equal. It is New York Philharmonic Symphony Philadelphia Orchestra the recognized standard by which all other Pittsburgh Symphony Portland Symphony pianos are judged. It is the best . Robin Hood Dell Concerts, Phila. Rochester Symphony and you cannot afford anything but the best. St. Louis Symphony San Antonio Symphony Seattle Symphony Stadium Concerts, N. Y. City in Massachusetts and New Hampshire Syracuse Symphony Vancouver Symphony new Steinway pianos are sold ONLY by M'Steinert & Sons Jerome F. Murphy, President 162 Boylston St., Boston Branches in Worcester, Springfield and Wellesley Hills # * 'Serkshire Festival SEASON 1948 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN historical and descriptive notes by John N. Burk COPYRIGHT, I948, BY BOSTON SYMPHONY ORCHESTRA, INC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Henry B. -
Voici La Liste Des 67 Représentations De Tristan Et Isolde Dirigées Par Wilhelm Furtwängler Entre 1916 Et 1952. Pour Trois D
Voici la liste des 67 représentations de Tristan et Isolde dirigées par Wilhelm Furtwängler entre 1916 et 1952. Pour trois d’entre elles, le grand chef a aussi été metteur en scène. I. Temps de la Première Guerre mondiale (7 représentations) 1. 23 janvier 1916, Mannheim, Théâtre de la Cour (la distribution : Hermine Rabl von Kriesten, Walter Günther-Braun, Wilhelm Fenten, Joachim Kromer) 2. 28 mai 1916 (la distribution n’est pas connue) 3. 24 juin 1917 (la distribution n’est pas connue) 4. 1 janvier 1918 (la distribution n’est pas connue) 5. 20 janvier 1918 (la distribution n’est pas connue) 6. 7 avril 1918 (la distribution n’est pas connue) 7. 15 septembre 1918 (la distribution n’est pas connue) II. Temps de la République de Weimar (19 représentations) 8. 15 décembre 1918 (la distribution n’est pas connue) 9. 26 octobre 1919 (la distribution n’est pas connue) 10. 28 décembre 1919 (la distribution n’est pas connue) 11. 21 juin 1921, Mannheim, Théâtre de la Cour (la distribution : Anna Wolf-Ortner, Otto Fanger, etc.) 12. 22 mai 1924, Mannheim, Théâtre de la Cour (la distribution : Beatrice Sutter-Kottlar, Otto Wolf, Joachim Kromer, Wilhelm Fenten) 13. 21 août 1924, Festival de Munich, Théâtre du Prince-Régent (la distribution : Gabriele Englerth, Otto Wolf, Paul Bender, Friedrich Brodersen, Oswald Brückner, Luise Willer, Guido Diemer) 14. 18 juin 1929, Festival de Berlin, Städtische Oper (la distribution : Frida Leider, Lauritz Melchior, Friedrich Schorr, Alexander Kipnis, Sigrid Onégin) 15. 6 novembre 1929, Opéra d’État de Vienne (la distribution : Helene Wildbrunn, Gunnar Graarud, Josef von Manowarda, Rosette Anday) 16. -
Der . Fliegende Hollander
_ Der . Fliegende Hollander. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 Courtle[glz GOLD BAND FILTER TIPPED ·HAND BLENDED ·LIGHT AND MILD Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 &caPAB ~ '' I I CAPAB OPERA/KHUIK-OPERA Artistic Director/ Artistieke Direkteur PROF. MURRAY DICKIE Der Fliegende Hollander OPERA IN THREE ACTS/OPERA IN DRIE BEDRYWE (Sung in German/Geslng in Duits) Music/Musiek & Libretto RICHARD WAGNER Producer/Regisseur, Set Designs/Dekorontwerpe, Lighting/Beligting GUNTHER SCHNEIDER-SIEMSSEN Conductor/Dirigent CHRISTOPHER DOWDESWELL Costume Designs/ Kostuumontwerpe JENNY DE SWARDT Lighting Director/ Beligtingsdirekteur PIETER DE SWARDT Design Assistants/ DIETMAR SOLT Ontwerpassistente AMELIA MULLER Scenic Painter/T oneeiskilder CHRISTOPHER LORENTZ Assistant Producer/ Assistent-Regisseur CHRISTINE CROUSE Choreography Adviser/ Choreografie-Adviseur PAMELA CHRIMES CAPAB CHORUS/ KRUIK-KOOR Chorus Master/Koormeester RAYMOND HUGHES CAPAB ORCHESTRA/ KRUIK-ORKES Leader/ Konsertmeester THOMAS MOORE Der Fliegende Hollander Der Riegende Hollander was first performed in Dresden is di€ eerste maal op 2 Januarie 1843 on 2nd January, 1843 in Dresden opgevoer. hrst production in the Nico Malan Opera House. Eerste produksie in die Nico Malan-Operahuis. Aprill976 Aprill976 Season: 29th March until 12th April, 1986. Speelvak: 29 Maart tot 12 Aprtll986. Digitised by the Open Scholarship & Digitisation Programme, University of Pretoria, 2016 THE VISUAL AND DRAMATIC CONCEPTION OF WAGNER'S DER FLIEGENDE HOLlANDER By Professor Giinther Schneider-Siemssen While Wagner's music for Tristan und Isolde belongs to the later period of his work and has an erotic and cosmic nature, Der Fliegende Hollander is an earlier work in which the influence of Verdi is sometimes felt. -
La Couleur Du Temps – the Colour of Time Salzburg Whitsun Festival 29 May – 1 June 2020
SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli La couleur du temps – The Colour of Time Pauline Viardot-Garcia (1821 – 1910) Photo: Uli Weber - Decca Salzburg Whitsun Festival 29 May – 1 June 2020 (SF, 30 December 2019) The life of Pauline Viardot-Garcia – singer, musical ambassador of Europe, outstanding pianist and composer – is the focus of the 2020 programme of the Salzburg Whitsun Festival. “The uncanny instinct Cecilia Bartoli has for the themes of our times is proven once again by her programme for the 2020 Salzburg Whitsun Festival, which focuses on Pauline Viardot. Orlando Figes has just written a bestseller about this woman. Using Viardot as an example, he describes the importance of art within the idea of Europe,” says Festival President Helga Rabl-Stadler. 1 SALZBURGER FESTSPIELE PFINGSTEN Künstlerische Leitung: Cecilia Bartoli Pauline Viardot not only made a name for herself as a singer, composer and pianist, but her happy marriage with the French theatre manager, author and art critic Louis Viardot furthered her career and enabled her to act as a great patron of the arts. Thus, she made unique efforts to save the autograph of Mozart’s Don Giovanni for posterity. Don Giovanni was among the manuscripts Constanze Mozart had sold to Johann Anton André in Offenbach in 1799. After his death in 1842, his daughter inherited the autograph and offered it to libraries in Vienna, Berlin and London – without success. In 1855 her cousin, the pianist Ernst Pauer, took out an advertisement in the London-based journal Musical World. Thereupon, Pauline Viardot-García bought the manuscript for 180 pounds. -
EASTMAN NOTES JUNE 2004 Draft: Final Date: 6/15/2004 INSIDE
NOTES JUNE 2004 A MAGAZINE FOR ALUMNI OF THE EASTMAN SCHOOL OF MUSIC FROM THE EDITOR The right “stu≠” Dear Eastman Alumni: We like Notes’ new look, and it seems you do too. Response has been unani- mously favorable; perhaps we should consider a Steve Boerner–David Cowles NOTES presidential ticket for 2008. I’d vote for them; these two artists made “Notes Volume 22, Number 2 nouveau” a pleasure, and I’m glad the pleasure was conveyed in the magazine June 2004 itself. I write the stuff, but they (and our photographers) make it look good! We also had a tremendous response to our “Eastman Alumni on CD” feature; Editor see pages 33¬34. And enough of you commented on different editorial aspects of David Raymond Notes (not always favorably) that we have a “Letters to the Editor” section, which Assistant editor may be a first for us. Christina Casey This issue of Notes is admittedly filled with history, but Susan Conkling’s re- Contributing writers minder of the great women who shaped both American music and Eastman, and Martial Bednar Amy Blum Paul Burgett’s reminder of four black composers who Christine Corrado played an important part in Eastman history, are stories Contributing photographers worth telling. As is the story of the success of Howard Kurt Brownell Hanson’s Merry Mount at the Met in 1934—a remarkable Gelfand-Piper Photography event, when you think about it. I should add a special Bob Klein Photography word of thanks here to David Peter Coppen, the Sibley Carlos Ortiz Don Ver Ploeg/VP Communications Library Archivist, who is always helpful with providing Amy Vetter historical photographs and other materials for Notes, but Photography coordinator outdid himself for these three articles.