May 2018 List
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Dame Emma Kirkby Soprano
Dame Emma Kirkby Soprano Originally, Emma Kirkby had no In 2009 BIS issued a compilation entitled expectations of becoming a professional "The Artistry of Emma Kirkby", drawing on singer. As a classics student at Oxford and nine CDs in all. then a schoolteacher she sang for pleasure in choirs and small groups, In 1999 Emma was voted Artist of the Year always feeling most at home in by Classic FM Radio listeners; in 2000 she Renaissance and Baroque repertoire. She received the Order of the British Empire, joined the Taverner Choir in 1971 and in and 2007 saw her appointed a Dame 1973 began her long association with the Commander of the Order of the British Consort of Musicke. Emma took part in the Empire. She was delighted in June 2008 to early Decca Florilegium recordings with return to her alma mater, Oxford both the Consort of Musicke and the University, and receive an Honorary Academy of Ancient Music, at a time when Doctorate of Music. Most surprisingly of most college-trained sopranos were not all, BBC Music Magazine, April 2007, in a seeking a sound appropriate for early survey of critics to find “The twenty instruments. She therefore had to find her greatest sopranos”, placed Emma at own approach, with enormous help from number 10. While such media flurries Jessica Cash in London, and from the can be discounted as parochial, partial, directors, fellow singers and controversial, and outdated as soon as instrumentalists with whom she has they appear, she was pleased at the worked over the years. recognition this implied for an approach to singing where ensemble, clarity and Emma feels privileged to have been able to stillness are valued alongside the more build further long-term relationships with usual features of volume and display. -
A Master of Music Recital in Clarinet
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 2019 A master of music recital in clarinet Lucas Randall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©2019 Lucas Randall Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Music Performance Commons Recommended Citation Randall, Lucas, "A master of music recital in clarinet" (2019). Dissertations and Theses @ UNI. 1005. https://scholarworks.uni.edu/etd/1005 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. A MASTER OF MUSIC RECITAL IN CLARINET An Abstract of a Recital Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music Lucas Randall University of Northern Iowa December, 2019 This Recital Abstract by: Lucas Randall Entitled: A Master of Music Recital in Clarinet has been approved as meeting the recital abstract requirement for the Degree of Master of Music. ____________ ________________________________________________ Date Dr. Amanda McCandless, Chair, Recital Committee ____________ ________________________________________________ Date Dr. Stephen Galyen, Recital Committee Member ____________ ________________________________________________ Date Dr. Ann Bradfield, Recital Committee Member ____________ ________________________________________________ Date Dr. Jennifer Waldron, Dean, Graduate College This Recital Performance by: Lucas Randall Entitled: A Master of Music Recital in Clarinet Date of Recital: November 22, 2019 has been approved as meeting the recital requirement for the Degree of Master of Music. -
Concerts Streaming on Demand
CONCERTS STREAMING ON DEMAND ‘PURE PLEASURE’ THE GUARDIAN | BBC MUSIC MAGAZINE THE INDEPENDENT | THE TIMES INSPIRING AUDIENCES WITH PASSIONATE PERFORMANCES www.armonico.org.uk Registered charity no. 1103159 These recordings were made possible by generous support from the Weston Culture Fund and the Arts Council / DCMS Culture Recovery Fund Streaming VICTORIA REQUIEM on Demand The final work by Tomas Luis de Victoria, and his greatest and final polyphonic work, his requiem or ‘Officium Defunctoum’ is an intensely expressive masterpiece. The mass in six parts was written in 1605 for the funeral of the daughter of Spanish Emperor Charles V and represents the pinnacle BRAND NEW of both Victoria’s art and Spanish Renaissance polyphony. Possibly the STREAMING ON DEMAND most human of all musical settings of the Requiem Mass, the emotional RELEASE DATE: 08 MARCH 21 | £7.50 While we’re waiting in the wings to return to the concert hall, gravitas of the text is communicated www.armonico.org.uk/ondemand Armonico Consort is bringing the music to you and crucially, with profound sensitivity. keeping our musicians in work. Streaming We are launching a brand new series of performances which will be available to on Demand stream on demand for you to enjoy from your own living room. The concerts NAKED BYRD I & II have been beautifully filmed and feature some of the choir’s favourite early music Armonico Consort presents an repertoire, starting on Monday 8 March with the glorious Renaissance masterpiece atmospheric performance of the music Victoria’s Requiem and our hugely successful Naked Byrd I programme. -
The Ethics of Orchestral Conducting
Theory of Conducting – Chapter 1 The Ethics of Orchestral Conducting In a changing culture and a society that adopts and discards values (or anti-values) with a speed similar to that of fashion as related to dressing or speech, each profession must find out the roots and principles that provide an unchanging point of reference, those principles to which we are obliged to go back again and again in order to maintain an adequate direction and, by carrying them out, allow oneself to be fulfilled. Orchestral Conducting is not an exception. For that reason, some ideas arise once and again all along this work. Since their immutability guarantees their continuance. It is known that Music, as an art of performance, causally interlinks three persons: first and closely interlocked: the composer and the performer; then, eventually, the listener. The composer and his piece of work require the performer and make him come into existence. When the performer plays the piece, that is to say when he makes it real, perceptive existence is granted and offers it to the comprehension and even gives the listener the possibility of enjoying it. The composer needs the performer so that, by executing the piece, his work means something for the listener. Therefore, the performer has no self-existence but he is performer due to the previous existence of the piece and the composer, to whom he owes to be a performer. There exist a communication process between the composer and the performer that, as all those processes involves a sender, a message and a receiver. -
GéZa Von Bolvã¡Ry ̘͙” ˪…˶€ (Ìž'í'ˆìœ¼ë¡Œ)
Géza von Bolváry ì˜í ™” 명부 (작품으로) The Prisoners of Shanghai https://ko.listvote.com/lists/film/movies/the-prisoners-of-shanghai-19840598/actors The Way to the Light https://ko.listvote.com/lists/film/movies/the-way-to-the-light-55635624/actors The Royal Grenadiers https://ko.listvote.com/lists/film/movies/the-royal-grenadiers-56064216/actors The Princess of the Riviera https://ko.listvote.com/lists/film/movies/the-princess-of-the-riviera-28130371/actors Farewell Waltz https://ko.listvote.com/lists/film/movies/farewell-waltz-107210116/actors Die Fledermaus https://ko.listvote.com/lists/film/movies/die-fledermaus-1212466/actors Schwarzwaldmelodie https://ko.listvote.com/lists/film/movies/schwarzwaldmelodie-1238382/actors A Song Goes Round the World https://ko.listvote.com/lists/film/movies/a-song-goes-round-the-world-1304847/actors Once I Will Return https://ko.listvote.com/lists/film/movies/once-i-will-return-1308385/actors Flower of the Tisza https://ko.listvote.com/lists/film/movies/flower-of-the-tisza-1321620/actors Zauber der Bohème https://ko.listvote.com/lists/film/movies/zauber-der-boh%C3%A8me-148379/actors Yes, Yes, Love in Tyrol https://ko.listvote.com/lists/film/movies/yes%2C-yes%2C-love-in-tyrol-1544574/actors The Irresistible Man https://ko.listvote.com/lists/film/movies/the-irresistible-man-15805216/actors Premiere https://ko.listvote.com/lists/film/movies/premiere-1591914/actors Roses in Tyrol https://ko.listvote.com/lists/film/movies/roses-in-tyrol-1609985/actors Schrammeln https://ko.listvote.com/lists/film/movies/schrammeln-1643798/actors -
Piotr Anderszewski Piano
PIOTR ANDERSZEWSKI PIANO Biography Piotr Anderszewski is regarded as one of the most prominent pianists of his generation and appears regularly in all of the world's major concert halls. His collaborations with orchestra have included appearances with the Berlin Philharmonic, the London and Chicago Symphony Orchestras, the Royal Concertgebouw Orchestra and the Deutsche Kammerphilharmonie Bremen, which he also conducted from the piano. Recitals have taken him to the Barbican Center in London and the Royal Festival Hall, the Konzerthaus in Vienna, Carnegie Hall and the Elbphilharmonie in Hamburg. His recordings include Beethoven's Diabelli Variations, which received the Choc du Monde de la Musique; the Grammy nominated Bach Partitas 1, 3 and 6 as well as a recording with works by his countryman Szymanowski. His album with solo works by Schumann received two BBC Music Magazine Awards in 2012, including the Recording of the Year. His recording of Bach's English Suites 1, 3 and 5 received the Gramophone Award for best instrumental album in 2015. After the solo album "Fantaisies" with works by Mozart and Schumann in February 2017, the Mozart Piano Concertos No. 25 & 27 with the Chamber Orchestra of Europe was recorded in January 2018. Recognised for the intensity and originality of his interpretations, Piotr Anderszewski has been a recipient of several high-profile awards over the course of his career, including the prestigious Gilmore Award, which is presented every four years to a pianist of exceptional talent. The director Bruno Monsaingeon shot two award-winning documentaries about him for ARTE. The first, from 2001, sheds light on Anderszewski's special relationship to the Diabelli Variations, while the second, “Piotr Anderszewski, Traveler Without Rest” (2008) is an artist portrait and reflects Anderszewski's thoughts on music, concert activities and his Polish-Hungarian roots. -
Rachel Podger
Rachel Podger “Rachel Podger, the unsurpassed British glory of the baroque violin,” (The Times) has established herself as a leading interpreter of the Baroque and Classical. She was the first woman to be awarded the prestigious Royal Academy of Music/Kohn Foundation Bach Prize in October 2015, Gramophone Artist of the Year 2018, and the Ambassador for REMA’s Early Music Day 2020. A creative programmer, Rachel is the founder and Artistic Director of Brecon Baroque Festival and her ensemble Brecon Baroque. As a director and soloist, Rachel has enjoyed countless collaborations including with Robert Levin, Jordi Savall, Masaaki Suzuki, Kristian Bezuidenhout, VOCES8, Robert Hollingworth and I Fagiolini, European Union Baroque Orchestra, English Concert, Orchestra of the Age of Enlightenment, Academy of Ancient Music, Holland Baroque Society, Tafelmusik (Toronto), the Handel and Haydn Society, Berkeley Early Music, and Oregon Bach Festival. Rachel has won numerous awards including two Baroque Instrumental Gramophone Awards for La Stravaganza (2003) and Biber Rosary Sonatas (2016), the Diapason d’Or de l’année in the Baroque Ensemble category for her recording of the La Cetra Vivaldi concertos (2012), two BBC Music Magazine awards in the instrumental category for Guardian Angel (2014) and the concerto category for the complete Vivaldi L’Estro Armonico concertos (2016). A dedicated educator, she holds the Micaela Comberti Chair for Baroque Violin (founded in 2008) at the Royal Academy of Music and the Jane Hodge Foundation International Chair in Baroque Violin at the Royal Welsh College of Music and Drama. Rachel has a relationship with The Juilliard School in New York where she visits regularly. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
Le Monde Galant
The Juilliard School presents Le Monde Galant Juilliard415 Nicholas McGegan, Director Recorded on May 1, 2021 | Peter Jay Sharp Theater FRANCE ANDRÉ CAMPRA Ouverture from L’Europe Galante (1660–1744) SOUTHERN EUROPE: ITALY AND SPAIN JEAN-MARIE LECLAIR Forlane from Scylla et Glaucus (1697–1764) Sicilienne from Scylla et Glaucus CHRISTOPH WILLIBALD GLUCK Menuet from Don Juan (1714–87) MICHEL RICHARD DE LALANDE Chaconne légère des Maures from Les Folies (1657–1726) de Cardenio CHARLES AVISON Con Furia from Concerto No. 6 in D Major, (1709-70) after Domenico Scarlatti CELTIC LANDS: SCOTLAND AND IRELAND GEORG PHILIPP TELEMANN L’Eccossoise from Overture in D Major, TWV55:D19 (1681–1767) NATHANIEL GOW Largo’s Fairy Dance: The Fairies Advancing and (1763–1831) Fairies Dance Cullen O’Neil, Solo Cello TELEMANN L’Irlandoise from Overture in D Minor, TVW55:d2 EASTERN EUROPE: POLAND, BOHEMIA, AND HUNGARY ARR. TELEMANN Danse de Polonie No. 4, TWV45 Polonaise from Concerto Polonois, TWV43:G7 Danse de Polonie No. 1, TWV45 La Hanaquoise, TWV55:D3 TRADITIONAL Three 18th-century Hanák folk tunes RUSSIA TELEMANN Les Moscovites from Overture in B-flat Major, TWV55:B5 Program continues 1 EUROPE DREAMS OF THE EAST: THE OTTOMAN EMPIRE TELEMANN Les Janissaries from Overture in D Major, TWV55:D17 Mezzetin en turc from Overture-Burlesque in B-flat Major, TWV55:B8 PERSIA AND CHINA JEAN-PHILIPPE RAMEAU Air pour Borée from Les Indes galantes (1683–1764) Premier Air pour Zéphire from Les Indes galantes Seconde Air pour Zéphire from Les Indes galantes Entrée des Chinois -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Zimmermann Shostakovich Violin Concertos 1 & 2
FRANK PETER ZIMMERMANN SHOSTAKOVICH VIOLIN CONCERTOS 1 & 2 NDR ELBPHILHARMONIE ORCHESTER ALAN GILBERT NDR ELBPHILHARMONIE ORCHESTER BIS-2247 BIS-2247 booklet cover.indd 1 2016-05-16 16:23 SHOSTAKOVICH, Dmitri (1906–75) Violin Concerto No.1 in A minor 31'28 Op.77 (1947–48, rev. 1955) (Sikorski) 1 I. Nocturne. Moderato 9'07 2 II. Scherzo. Allegro 6'17 3 III. Passacaglia. Andante – Cadenza – attacca – 11'05 4 IV. Burlesque. Allegro con brio – Presto 4'42 Violin Concerto No.2 in C sharp minor 29'23 Op.129 (1967) (Sikorski) 5 I. Moderato 12'36 6 II. Adagio – attacca – 9'02 7 III. Adagio – Allegro 7'37 TT: 61'41 Frank Peter Zimmermann violin NDR Elbphilharmonie Orchester Alan Gilbert conductor In Violin Concerto No.1, Frank Peter Zimmermann has based his performance of the solo part on the autograph manuscript (with the composer’s own metronome markings and bowing instructions), and not on the usually-heard version edited by David Oistrakh. Instrumentarium: Violin Concerto No.1: Stradivarius: ‘Lady Inchiquin 1711’ Violin Concerto No.2: Stradivarius: ‘ex Rodewalt 1713’ 2 Violin Concerto No.1 in A minor, Op.77 Both in the musical and thematic conception of its individual movements and also because of its delayed première, Dmitri Shostakovich’s First Violin Concerto speaks volumes about the lack of creative freedom endured by Soviet composers in the Stalin era. Initially Shostakovich composed the piece with no prospect of an actual performance: in 1948, when he finished it, he had just been placed – for the second time – on a black list because his music was perceived as too modernist, manifesting formalistic distortions, and alien to the people.