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Round the World of Sound Moondog Madrigals
MUZZIX et DEDALUS present Round the World of Sound Moondog Madrigals >> www.muzzix.info/Round-the-World-of-Sound << Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info DISTRIBUTION Guitar and artistic direction : Didier Aschour Trumpet and co-direction : Christian Pruvost Percussions : Stéphane Garin Drums : Peter Orins Voice : Vincent Bouchot Nathalie Duong Keyboard : Barbara Dang Double Bass : Nicolas Mahieux Guitar : Sébastien Beaumont Piano : Denis Chouillet Saxophones : Sakina Abdou Julien Favreuille Bass Trombone : Thierry Madiot Cello : Déborah Walker PROGRAMME Moondog (Louis-Thomas Hardin) – Round the World of Sound Invocation (instrumental) Round the World of Sound 1 > Madrigaux 1-5 (Bells are Ringing ; Voices of spring ; What´s the Most Exciting Thing ; All is loneliness ; My tiny butterfly) Stamping Ground (instrumental) Round the World of Sound 2 > Madrigaux 6-10 (Why spend a dark night with you ? ; Coffee Beans ; Down is up ; Be a hobo ; Remember, remember) Witch of Endor (instrumental) Round the World of Sound 3 > Madrigaux 11-15 (I love you ; Nero´s Expedition ; No, the wheel was never invented ; With my wealth ; This student of life) Theme (instrumental) Round the World of Sound 4 > Madrigaux 16-20 (Some trust all ; Wine, women and song ; Sadness ; Maybe ; Each today) Bird’s Lament (instrumental) Round the World of Sound 5 > Madrigaux 21-25 (Imagine ; You, the Vandal ; Trees against the sky ; Behold ; Sparrows) Heimdall Fanfare (instrumental) Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info © Christian Mathieu Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info ROUND THE WORLD OF SOUNDS RTWOS is a cycle of 25 madrigals that covers the main aspects of Moondog’s music : indian percussions (Snake Rythm), canonical form, jazz harmony. -
Boston Symphony Orchestra
Tangtewqpd 19 3 7-1987 BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Saturday, 29 August at 8:30 The Boston Symphony Orchestra is pleased to present WYNTON MARSALIS An evening ofjazz. Week 9 Wynton Marsalis at this year's awards to win in the last four consecutive years. An exclusive CBS Masterworks and Columbia Records recording artist, Wynton made musical history at the 1984 Grammy ceremonies when he became the first instrumentalist to win awards in the categories ofjazz ("Best Soloist," for "Think of One") and classical music ("Best Soloist With Orches- tra," for "Trumpet Concertos"). He won Grammys again in both categories in 1985, for "Hot House Flowers" and his Baroque classical album. In the past four years he has received a combined total of fifteen nominations in the jazz and classical fields. His latest album, During the 1986-87 season Wynton "Marsalis Standard Time, Volume I," Marsalis set the all-time record in the represents the second complete album down beat magazine Readers' Poll with of the Wynton Marsalis Quartet—Wynton his fifth consecutive "Jazz Musician of on trumpet, pianist Marcus Roberts, the Year" award, also winning "Best Trum- bassist Bob Hurst, and drummer Jeff pet" for the same years, 1982 through "Tain" Watts. 1986. This was underscored when his The second of six sons of New Orleans album "J Mood" earned him his seventh jazz pianist Ellis Marsalis, Wynton grew career Grammy, at the February 1987 up in a musical environment. He played ceremonies, making him the only artist first trumpet in the New -
Mahler Song Cycles
TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Mahler Song Cycles Kindertotenlieder Lieder eines fahrenden Gesellen Rückert-Lieder Alice Coote, mezzo-soprano Netherlands Philharmonic Orchestra Marc Albrecht TRACK INFORMATION ENGLISH DEUTSCH ACKNOWLEDGMENTS ABOUT MORE Gustav Mahler (1860 – 1911) Lieder eines fahrenden Gesellen 1 1. Wenn mein Schatz Hochzeit macht 4. 03 2 2. Ging heut’ morgen über’s Feld 4. 18 3 3. Ich hab’ ein glühend Messer 3. 17 4 4. Die zwei blauen Augen 5. 25 Rückert-Lieder 5 1. Ich atmet einen linden Duft 2. 40 6 2. Blicke mir nicht in die Lieder! 1. 28 7 3. Liebst du um Schönheit 2. 09 8 4. Um Mitternacht 6. 05 ← ← 9 5. Ich bin der Welt abhanden gekommen 6. 33 Kindertotenlieder 10 1. Nun will die Sonn’ so hell aufgehen 5. 38 11 2. Nun seh’ ich wohl. warum so dunkle Flammen 4. 47 12 3. Wenn dein Mütterlein 4. 46 13 4. Oft denk’ ich, sie sind nur ausgegangen 3. 06 14 5. In diesem Wetter! 6. 59 Alice Coote, mezzo-soprano Total playing time: 61. 35 Netherlands Philharmonic Orchestra Conducted by Marc Albrecht mezz Gustav Mahler (1860 – 1911) The mirror of the soul – into a symphonic context (for example, very closely connected to the Symphony will send the final lied, even though the Similar to Schubert’s Winterreise (= mood of the journeyman. None of the Messer” (= I have a gleaming knife), At the beginning of the new century, Even in the late 19th century, child by Mahler for his Kindertotenlieder are intense vocal expressiveness required Alice Coote regarded as one of the great artists of English Concert, Kammerphilharmonie in welcoming and developing new people. -
The Founder of the Ljubljana Festival Is the City of Ljubljana the Patron
The Founder of the Ljubljana Festival is the City of Ljubljana The Patron of the 2019 Ljubljana Festival is the Mayor of the City of Ljubljana, Mr Zoran Janković. PRESS RELEASE Ljubljana, May 2019 LJUBLJANA FESTIVAL – CULTURAL HUB AT THE HEART OF YOUR SUMMER CULTURAL EXPERIENCE Every summer the Ljubljana Festival makes an important contribution to the cultural life of Ljubljana with a carefully selected programme covering a wide variety of genres. Today’s press conference in the Red Hall at Ljubljana Town Hall served to present this year’s 67th Ljubljana Festival, which will run from July until September. Once again the festival will feature ballet and opera performances, musicals, chamber and symphonic concerts, the International Fine Arts Colony, workshops for children and young people, the Ljubljana Festival on the Ljubljanica, and much more. Even before the official start of the festival, you will have the unique opportunity to hear Verdi’s Requiem conducted by the great Plácido Domingo, in his first appearance as a conductor in Slovenia. This pre-festival event will be followed at beginning of July by the most eagerly awaited cultural event of the year: the opening of the 67th Ljubljana Festival, which gets under way with Aida, one of the best known and most frequently performed operas not only of Verdi's oeuvre, but in the entire history of opera. Director Dražen Siriščević’s imaginative staging will make the most of the outdoor setting and the opera will include an appearance by thoroughbred Lipizzaner horses from the stud farm in Lipica. The events of the Ljubljana Festival take place throughout the summer and Slovenia’s capital will continue to welcome some of the biggest names in music – performers of worldwide renown – right up until September. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones. -
The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) Spring 4-27-2013 Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966-1976 David Allen Chapman Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Part of the Music Commons Recommended Citation Chapman, David Allen, "Collaboration, Presence, and Community: The hiP lip Glass Ensemble in Downtown New York, 1966-1976" (2013). All Theses and Dissertations (ETDs). 1098. https://openscholarship.wustl.edu/etd/1098 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Peter Schmelz, Chair Patrick Burke Pannill Camp Mary-Jean Cowell Craig Monson Paul Steinbeck Collaboration, Presence, and Community: The Philip Glass Ensemble in Downtown New York, 1966–1976 by David Allen Chapman, Jr. A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2013 St. Louis, Missouri © Copyright 2013 by David Allen Chapman, Jr. All rights reserved. CONTENTS LIST OF FIGURES .................................................................................................................... -
“Tragic” Mistake
UNDOING A “TRAGIC” MISTAKE DETERMINING THE INNER-MOVEMENT ORDER OF MAHLER’S SIXTH SYMPHONY A critical examination of the evidence by Jerry Bruck New York City October 19th, 2002 A publication of THE KAPLAN FOUNDATION 450 Park Avenue New York City © Jerry Bruck, 2002 I. OVERVIEW Nearly a century has passed since Gustav Mahler composed his Sixth Symphony, yet confusion still persists among conductors, scholars and biographers regarding the order of its inner movements. Mahler began work on the symphony in 1903, first composing a Scherzo and an Andante as the central pair of its eventual four-movement structure, framing them with the remaining movements the following year. He then reversed this “S-A” order of inner movements before the symphony’s premiere in 1906, and thereafter never reverted to their previous arrangement. It was not until 1919, almost a decade after Mahler’s death, that the conductor Willem Mengelberg queried Mahler’s widow about the order of these inner movements. Her response: “First Scherzo, then Andante” prompted him to alter the “A-S” order of his conductor’s score, igniting a controversy that has spanned the decades since. With the publication in 1963 of the first Critical Edition of the Sixth by the Internationale Gustav Mahler Gesellschaft (IGMG), the matter seemed settled at last. In his introduction, IGMG founder-editor Erwin Ratz stated that the thematic similarities between the symphony’s opening movement and its Scherzo, commented upon during rehearsals for its premiere, had prompted Mahler to succumb to the advice of “outside influences” to transpose the Sixth’s inner movements. -
110855Bk Mengelberg
Great Conductors • Mengelberg ADD Producer’s Note Great Conductors: Mengelberg 8.110855 The recordings on this disc span fourteen years, feature two orchestras on two different continents in Concertgebouw Orchestra of Amsterdam (Tracks 1 - 3, 6 and 7) three venues, and were originally made by three record companies. Some disparity in sound is Philharmonic-Symphony Orchestra of New York (Tracks 4 and 5) therefore to be expected, particularly between the rather faint Mahler recording of 1926 and the comparatively hi-fi Meistersinger Prelude of 1940. Save for two rather primitive early electrical recordings (the Flying Dutchman Overture and the 1 WAGNER: Tannhäuser Overture (Dresden version) 13:24 WAGNER Ride of the Valkyries which the conductor made in New York in 1925/6), this disc features all of Recorded on 9th May, 1932 in the Concertgebouw, Amsterdam Mengelberg’s recorded Wagner repertoire. The original sound of the Tannhäuser Overture is over- Matrix Nos. WAX 6413-3, 6414-3, 6415-2 and 6416-1 Overture to Tannhäuser reverberant and rather opaque, with a tendency to distort in loud passages even on the best pressings First issued on Columbia LX 170 and 171 (such as the ‘Royal Blue’ American Columbias used for this transfer) which I have attempted to ameliorate through filtering. The Lohengrin Prelude never appeared on quiet U.S. Columbia discs, and 2 WAGNER: Lohengrin – Prelude to Act I 8:31 Prelude to Lohengrin some fuzziness at the climax is unavoidable on laminated English copies like the one heard here. Recorded on 10th June, 1927 in the Concertgebouw, Amsterdam Telefunken afforded Mengelberg his best recorded sound on commercial 78s yet, that label’s pressings Matrix Nos. -
Article Moondog
! MOONDOG, DÉDALUS & MUZZIX ROUND THE WORLD OF SOUND NEW WORLD RECORDS, CD, 80774-2 – 2016 Nous sommes bien étranges, dans cette revue... En 1994, le compositeur Moon- dog (1916-1999) ne jouissait pas encore de ce succès revival qu’il connaît au- jourd’hui. Il était surtout une icône pour musiciens tels Frank Zappa, Janis Joplin, Tom Waits, Jimmy Mc Griff, Charlie Parker ou Stéphane Eicher. Pourtant, dans le n°22 de décembre 1994, Laurent Jullier écrivait un article sur Moondog; Philippe Robert fit de même dans le n°64 de juin 2005 ; puis des livres sur lui ont été chroniqués ; mais personne n’a encore chroniqué ce CD, qui en raconte long aux oreilles sur ce compositeur. Peut-être parce que certains musiciens participant à ce projet sont d’éminents membres de la revue : Barbara Dang est responsable de publication, et Didier Aschour membre du comité de rédaction. Ceci d’ailleurs tendrait à prouver une cer- taine cohérence artistique des membres de la revue. Faut- il peut-être y voir aussi une extrême délicatesse, les rédacteurs préférant partager ce qui est « autre »... Ce projet Moondog réunit l’ensemble Dédalus, spécialisé depuis 20 ans dans l’interprétation du répertoire minima- liste américain – cette musique contem- poraine expérimentale, comme aime à le dire son directeur artistique Didier Aschour – et certains membres du collec- tif lillois Muzzix. Avec Didier Aschour, Christian Pruvost a codirigé cet ensemble de 14 musicien(ne)s talentueux(ses) réu- nis pour ce disque. Notons la présence exceptionnelle de l’éclectique Nathalie Duong au chant : rien que pour elle ce disque mérite de trouver sa place dans toute discothèque digne de ce nom ; et toujours au chant, et c’est surprenant, Deborah Walker, que nous connaissons surtout comme brillantissime violoncel- liste. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Willem Mengelberg Author(S): Alfred Kalisch Source: the Musical Times, Vol
Willem Mengelberg Author(s): Alfred Kalisch Source: The Musical Times, Vol. 53, No. 833 (Jul. 1, 1912), pp. 433-435 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/906886 . Accessed: 11/02/2015 23:22 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 128.235.251.160 on Wed, 11 Feb 2015 23:22:08 PM All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1912. 433 began his musical education at the School of Music &t of his native town,and continuedhis studies at the ANDe SINGING-musical CLASS CIRCULAR.timts Conservatoireof Cologne, under Wiillner and Jensen. It had been his original intention to JULY I, 1912. become a solo pianist,but in I892 he was chosen fromamong morethan eighty candidates as Director of Music in the city of Lucerne. It was there WILLEM MENGELBERG. that he had his only experience of operatic It is not fromany disrespectfulmotives that we conducting. head this article ' Willem Mengelberg' simply.