DOCSLIB.ORG

557504 Bk Stravinsky US 9X 557504 Bk Stravinsky US 05/07/2018 11:29 Page 12

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
557504 Bk Stravinsky US 9X 557504 Bk Stravinsky US 05/07/2018 11:29 Page 12 557504 bk Stravinsky US_9x_557504 bk Stravinsky US 05/07/2018 11:29 Page 12 Also available in this series: STRAVINSKY Symphony of Psalms Three Russian Sacred Choruses 8.557501 8.557502 Mass • Cantata • Babel So loists Orchestra of St. Luke’s The Simon Joly Chorale The Gregg Smith Singers 8.557503 Philharmonia Orchestra 8.557504 12 Robert Craft 557504 bk Stravinsky US_9x_557504 bk Stravinsky US 05/07/2018 11:29 Page 2 THE ROBERT CRAFT COLLECTION audiences worldwide, and to using new technologies to achieve this. Many millions of people since 1945 have THE MUSIC OF IGOR STRAVINSKY, Vol. 6 enjoyed their first experience of classical music through a Philharmonia recording, and now audiences can engage with the Orchestra through webcasts, podcasts, downloads, computer games and film scores as well as through its Robert Craft, Conductor unique interactive music education website launched in 2005, The Sound Exchange ( www.philharmonia.co.uk/ thesoundexchange ). In 2005 the Philharmonia became the first ever classical music organisation to be shortlisted for 1 Three Russian Sacred Choruses 4:45 a BT Digital Music Award, and in the same year the Orchestra presented both the first ever fully interactive webcast 2 Otche Nash (Pater Noster) (1926) 1:23 and the first podcast by a British orchestra. In September 2005 computer games with Philharmonia scores were at 3 Ave Maria (1934) 1:04 No. 1 and No. 2 in the national charts, while the Orchestra’s scores for the last two Harry Potter computer games Credo (1932) 2:17 have both been nominated for BAFTA Awards. CD recording and live broadcasting both also continue to play a The Gregg Smith Singers significant part in the Orchestra’s activities: since 2003 the Philharmonia has enjoyed a major partnership with Classic FM, as The Classic FM Orchestra on Tour, as well as continuing to broadcast on BBC Radio 3. 4 Mass (1944-48) 17:09 5 Kyrie 2:37 Robert Craft Gloria 3:56 6 Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a 7 Credo 4:25 unique place in world music of today. He is in the process of recording the complete works of Stravinsky, Schoenberg, 8 Sanctus 3:17 and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmark Agnus Dei 2:55 recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American Academy and The Gregg Smith Singers • Orchestra of St. Luke’s National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he was awarded the International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. Cantata for 5 instruments, female chorus, Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conducted 9 mezzo-soprano and tenor (1951-52) 23:46 A Lyke-Wake Dirge (Versus I; Prelude) 1:32 Berg’s Wozzeck and Lulu , and his original Webern album enabled music lovers to become acquainted with this 0 composer’s then little-known music. He led the world premières of Stravinsky’s later masterpieces: In Memoriam: Ricercar I: “The Maidens Came” * 4:04 ! Dylan Thomas , Vom Himmel hoch , Agon , The Flood , Abraham and Isaac , Variations , Introitus , and Requiem A Lyke-Wake Dirge (Versus II; 1st Interlude) 1:35 @ † Canticles . Craft’s historic association with Igor Stravinsky, as his constant companion, co-conductor, and musical # Ricercar II: “Tomorrow Shall Be” 10:42 confidant, over a period of more than twenty years, contributed to his understanding of the composer’s intentions in the $ A Lyke-Wake Dirge (Versus III; 2nd Interlude) 1:33 performance of his music. He remains the primary source for our perspectives on Stravinsky’s life and work. † % Westron Wind * 2:07 In addition to his special command of Stravinsky’s and Schoenberg’s music, Robert Craft is well known for his A Lyke-Wake Dirge (Versus IV; Postlude) 2:14 recordings of works by Monteverdi, Gesualdo, Schütz, Bach, and Mozart. He is also the author of more than two dozen † books on music and the arts, including the highly acclaimed Stravinsky: Chronicle of a Friendship ; The Moment of * Mary Ann Hart, mezzo-soprano • Thomas Bogdan, tenor • Fred Sherry, Cello • Stephen Taylor, Oboe Existence: Music, Literature and the Arts, 1990–1995 ; Places: A Travel Companion for Music and Art Lovers ; Melanie Field, Cor Anglais and Oboe • Michael Parloff and Bart Feller, Flutes • The Gregg Smith Singers An Improbable Life: Memoirs; Memories and Commentaries ; and the forthcoming “ Down a Path of Wonder”: ^ Babel (1944) 4:57 On Schoenberg, Webern, Stravinsky, Eliot, Auden, and Some Others (2005) . He lives in Florida and New York. David Wilson-Johnson, narrator • Simon Joly Chorale • Philharmonia Orchestra & Symphony of Psalms (1930, rev. 1948) 22:25 * Psalm 38, verses 13 and 14 3:35 ( Psalm 39, verses 1 to 5 7:12 Psalm 150 (entire) 11:38 Simon Joly Chorale • Philharmonia Orchestra 8.557504 2 11 8.557504 557504 bk Stravinsky US_9x_557504 bk Stravinsky US 05/07/2018 11:29 Page 10 Simon Joly Chorale Igor Stravinsky (1882-1971) Three Russian Sacred Choruses • Mass • Cantata • Babel • Symphony of Psalms Handpicked by Simon Joly from the finest professional singers in London, the Simon Joly Chorale is one of three select choral groups formed by him for the specific purpose needed by each event. Simon Joly has used each group The texts of the three Russian Sacred Choruses , Pater He signally failed in this aim in these two movements, to provide the choral element in many of Robert Craft’s recordings, from the chamber forces of Schoenberg’s Die noster, Ave Maria and Credo , are in Slavonic. They are but in the solo parts, especially in the Gloria, composed glückliche Hand , through Stravinsky’s Symphony of Psalms , to the huge chorus for Schoenberg’s Gurrelieder . He intended to be used in the liturgy of the Russian the work’s most beautiful music. has also trained choruses for several other eminent musicians who have included Pierre Boulez, for his recordings of Orthodox Church, which forbids the participation of The centrepiece of the work, the Credo , is the one Webern’s Cantatas and a cappella music of Schoenberg (the BBC Singers), Leonard Bernstein’s prize-winning musical instruments. The first piece is a chant, the non-antiphonal, non-polyphonic movement. Here the recording of Candide and several recordings and concerts for Claudio Abbado with the London Symphony Chorus. second a melody in the Phrygian mode, the third a chant text determined the musical scheme. The piece is a in falso bordone; in 1964 Stravinsky recomposed the chant, falso bordone, and here alone the rôle of the Orchestra of St. Luke’s music of the Credo, parsing the rhythms into barred instruments is traditionally accompanimental. It units. For a 1929 Latin version he first heard the music provides pitches, rhythms, brief passages of The Orchestra of St. Luke’s is America’s foremost and most versatile chamber orchestra. Formed at the Caramoor in Paris in 1934 in a memorial service for Samuel counterpoint, and brief moments of respiration. International Music Festival in the summer of 1979, the orchestra evolved from the St. Luke’s Chamber Ensemble, Dushkin’s patron, Blair Fairchild. Nevertheless, and despite the built-in monotony of the which was established in 1974, with Ensemble members forming the orchestra’s artistic core as principal players. Stravinsky’s Mass is the most perfectly sustained in rhythm, Stravinsky manages to endow the music with The Ensemble and the Orchestra still co-exist today, and the collaborative chamber aesthetic that is the St. Luke’s its musical emotion of the creations from his first form. Toward the end the quiet chanting becomes louder hallmark has resulted in consistent critical acclaim, both for mastery of a diverse repertoire spanning the Baroque to decade in America, even though he interrupted work on and expands upward in range to a climax which is the contemporary, and for vibrant music-making of the highest order. In addition to the three-concert series it for four years between the initial two movements and prolonged by a forte fermata. The next bar returns presented by Carnegie Hall in the Isaac Stern Auditorium, the Orchestra of St. Luke’s participates in such Carnegie the final three. Part of the explanation for this could be briefly to the beginning, a stunning effect comparable to Hall events as the Choral Workshop and Carnegie Family Concerts. The orchestra is engaged throughout the year in that unlike all of his other music of the period it is an the return of the first theme in a sonata movement. The a number of artistic collaborations with other New York City cultural organizations, and serves each summer as the ancient ritual, sung in Latin, deeply rooted in medieval Amen which concludes the piece is detached from it by a Orchestra-in-Residence at the Caramoor Festival. The orchestra has an extensive discography that includes three chant and Byzantine design, and free of any American slower tempo, a return to a cappella polyphony and to Grammy Award winning recordings. influence. In other respects, sonority, harmony, and pianissimo. Througout the Mass, the word takes priority rhythm, completely new. over the music. Here one feels truly that “In the Philharmonia Orchestra The division of the instrumental accompaniment beginning was the Word.” into a quintet of oboes and bassoons and a quintet of This architectural guide to a musical masterpiece The Philharmonia Orchestra is one of the world’s great orchestras.
Load more

Recommended publications
  • All Strings Considered a Subjective List of Classical Works
    All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there.
    [Show full text]
  • Pacific Southern Chapter the COLLEGE MUSIC SOCIETY
    Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY 20th Regional Conference March 17–18, 2006 California State University – Los Angeles Los Angeles, California Pacific Southern Chapter THE COLLEGE MUSIC SOCIETY ACKNOWLEDGEMENTS The CMS Pacific Southern Chapter gratefully acknowledges all of those who have worked tirelessly to make this conference such a tremendous success: David Connors, Chair, Cal State L.A. Department of Music John M. Kennedy, Director, Cal State L.A. New Music Ensemble and Program co-chair Cathy Benedict, Program co-chair CMS Pacific Southern Chapter Executive Board President: Jeffrey Benedict (California State University - Los Angeles) Vice-President: Cathy Benedict (New York University) Treasurer: William Belan (California State University - Los Angeles) Secretary: Elizabeth Sellers (California State University - Northridge) CMS Pacific Southern Chapter Conference Committee John Kennedy Cathy Kassell Benedict Jeff Benedict March 17, 2006 Dear CMS Colleagues: On behalf of my colleagues at the California State University, Los Angeles, I would like to welcome you to the 2006 College Music Society Southern Pacific Chapter Conference. As always, we have an exciting slate of performances and presentations, and I am sure it will prove to be an intellectually stimulating event for all of us. I look forward to the free exchange of ideas that has become the hallmark of our chapter conferences. I would especially like to welcome Dr. Andrew Meade, who has graciously accepted our invitation to be the keynote speaker. Again, welcome, and I hope that you all have a fabulous conference her at Cal State L.A. Jeff Benedict CMS Pacific-Southern Chapter President 2006 Conference Host S TEINWAY IS THE OFFICIAL PIANO of THE COLLEGE MUSIC SOCIETY’S NATIONAL CONFERENCE New from2 Forthcoming! BEYOND TALENT RESEARCHING THE SONG Creating a Successful Career in Music A Lexicon ANGELA MYLES BEECHING SHIRLEE EMMONS and WILBUR WATKINS LEWIS, Jr.
    [Show full text]
  • American Academy of Arts and Letters
    NEWS RELEASE American Academy of Arts and Letters Contact: Ardith Holmgrain 633 WEST 155 STREET, NEW YORK, NY 10032 [email protected] www.artsandletters.org (212) 368-5900 http://www.artsandletters.org/press_releases/2010music.php THE AMERICAN ACADEMY OF ARTS AND LETTERS ANNOUNCES 2010 MUSIC AWARD WINNERS Sixteen Composers Receive Awards Totaling $170,000 New York, March 4, 2010—The American Academy of Arts and Letters announced today the sixteen recipients of this year's awards in music, which total $170,000. The winners were selected by a committee of Academy members: Robert Beaser (chairman), Bernard Rands, Gunther Schuller, Steven Stucky, and Yehudi Wyner. The awards will be presented at the Academy's annual Ceremonial in May. Candidates for music awards are nominated by the 250 members of the Academy. ACADEMY AWARDS IN MUSIC Four composers will each receive a $7500 Academy Award in Music, which honors outstanding artistic achievement and acknowledges the composer who has arrived at his or her own voice. Each will receive an additional $7500 toward the recording of one work. The winners are Daniel Asia, David Felder, Pierre Jalbert, and James Primosch. WLADIMIR AND RHODA LAKOND AWARD The Wladimir and Rhoda Lakond award of $10,000 is given to a promising mid-career composer. This year the award will go to James Lee III. GODDARD LIEBERSON FELLOWSHIPS Two Goddard Lieberson fellowships of $15,000, endowed in 1978 by the CBS Foundation, are given to mid-career composers of exceptional gifts. This year they will go to Philippe Bodin and Aaron J. Travers. WALTER HINRICHSEN AWARD Paula Matthusen will receive the Walter Hinrichsen Award for the publication of a work by a gifted composer.
    [Show full text]
  • Via Issuelab
    ROCKEFELLER ARCHIVE CENTER RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation by Michael Uy Harvard University © 2021 by Michael Uy Abstract The Rockefeller Foundation had originally left out much grantmaking to the arts during the first decades of its operations, instead devoting greater resources to efforts such as the alleviation of global hunger, the expansion of access to public libraries, or the eradication of hookworm. Its support of music prior to the 1950s had totaled less than $200,000 over four decades. After the Second World War, however, it began giving substantial funds to the arts and humanities. The Rockefeller Foundation funded projects in new music, like commissions made by the Louisville Orchestra, operas and ballets at New York’s City Center, and the work of the “creative associates” at the State University of New York at Buffalo. In total, between 1953 and 1976, the Rockefeller Foundation granted more than $40 million ($300 million in 2017) to the field of music alone. 2 RAC RESEARCH REPORTS The Music and Performing Arts Programs of the Rockefeller Foundation In 1976, the Rockefeller Foundation (RF) celebrated the United States Bicentennial with a 100-record collection known as the Recorded Anthology of American Music. The editorial committee of the anthology noted that any attempt to memorialize the music of the United States, including its many different racial and ethnic communities, as well as its vast geographical diversity, would be an impossible task. Thus, the aim for the anthology was to be “comprehensive,” but not “exhaustive.” I take a similar approach with this report.
    [Show full text]
  • Elements of Traditional Folk Music and Serialism in the Piano Music of Cornel Țăranu
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of 12-2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Vlad University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Vlad, Cristina, "ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU" (2013). Student Research, Creative Activity, and Performance - School of Music. 65. https://digitalcommons.unl.edu/musicstudent/65 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU by Cristina Ana Vlad A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska December, 2013 ELEMENTS OF TRADITIONAL FOLK MUSIC AND SERIALISM IN THE PIANO MUSIC OF CORNEL ȚĂRANU Cristina Ana Vlad, DMA University of Nebraska, 2013 Adviser: Mark Clinton The socio-political environment in the aftermath of World War II has greatly influenced Romanian music. During the Communist era, the government imposed regulations on musical composition dictating that music should be accessible to all members of society.
    [Show full text]
  • The John and Anna Gillespie Papers an Inventory of Holdings at the American Music Research Center
    The John and Anna Gillespie papers An inventory of holdings at the American Music Research Center American Music Research Center, University of Colorado at Boulder The John and Anna Gillespie papers Descriptive summary ID COU-AMRC-37 Title John and Anna Gillespie papers Date(s) Creator(s) Repository The American Music Research Center University of Colorado at Boulder 288 UCB Boulder, CO 80309 Location Housed in the American Music Research Center Physical Description 48 linear feet Scope and Contents Papers of John E. "Jack" Gillespie (1921—2003), Professor of music, University of California at Santa Barbara, author, musicologist and organist, including more than five thousand pieces of photocopied sheet music collected by Dr. Gillespie and his wife Anna Gillespie, used for researching their Bibliography of Nineteenth Century American Piano Music. Administrative Information Arrangement Sheet music arranged alphabetically by composer and then by title Access Open Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the American Music Research Center. Preferred Citation [Identification of item], John and Anna Gillespie papers, University of Colorado, Boulder Index Terms Access points related to this collection: Corporate names American Music Research Center - Page 2 - The John and Anna Gillespie papers Detailed Description Bibliography of Nineteenth-Century American Piano Music Music for Solo Piano Box Folder 1 1 Alden-Ambrose 1 2 Anderson-Ayers 1 3 Baerman-Barnes 2 1 Homer N. Bartlett 2 2 Homer N. Bartlett 2 3 W.K. Bassford 2 4 H.H. Amy Beach 3 1 John Beach-Arthur Bergh 3 2 Blind Tom 3 3 Arthur Bird-Henry R.
    [Show full text]
  • Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum
    Performance Practice Review Volume 1 Article 6 Number 1 Spring/Fall Stravinsky, Tempo, and Le Sacre Erica Heisler Buxbaum Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Buxbaum, Erica Heisler (1988) "Stravinsky, Tempo, and Le Sacre," Performance Practice Review: Vol. 1: No. 1, Article 6. DOI: 10.5642/ perfpr.198801.01.6 Available at: http://scholarship.claremont.edu/ppr/vol1/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Stravinsky, Tempo, and Le sacre Erica Heisler Buxbaum Performing the works of Igor Stravinsky precisely as he intended would appear to be an uncomplicated matter: Stravinsky notated his scores in great detail, conducted recorded performances of many of his works, and wrote commentaries that contain a great deal of specific performance information. Stravinsky's recordings and published statements, however, raise as many questions as they answer about the determination of tempo and the documentary value of recordings. Like Wagner, Stravinsky believed that the establishment of the proper tempo for a work was crucial and declared that "a piece of mine can survive almost anything but wrong or uncertain tempo." Stravinsky notated his tempi precisely with both Italian words and metronome markings and asserted on many occasions that the primary value of his recordings was that they demonstrated the proper tempi for his works.
    [Show full text]
  • STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
    STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A
    Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19.
    [Show full text]
  • David Justin CV 2014 Pennsylvania Ballet
    David Justin 4603 Charles Ave Austin TX 787846 Tel: 512-576-2609 Email: [email protected] Web site: http://www.davidjustin.net CURRICULUM VITAE ACADEMIC EDUCATION • University of Birmingham, United Kingdom, Master of Arts in Dance in Education and the Community, May 2000. Thesis: Exploring the collaboration of imagination, creativity, technique and people across art forms, Advisor: Tansin Benn • Royal Academy of Dramatic Arts, Edward Kemp, Artistic Director, London, United Kingdom, 2003. Certificate, 285 hours training, ‘Acting Shakespeare.’ • International Dance Course for Professional Choreographers and Composers, Robert Cohen, Director, Bretton College, United Kingdom, 1996, full scholarship DANCE EDUCATION • School of American Ballet, 1987, full scholarship • San Francisco Ballet School, 1986, full scholarship • Ballet West Summer Program, 1985, full scholarship • Dallas Metropolitan Ballet School, 1975 – 1985, full scholarship PROFESSIONAL EXPERIENCE Choreographer, 1991 to present See full list of choreographic works beginning on page 6. Artistic Director, American Repertory Ensemble, Founder and Artistic Director, 2005 to present $125,000 annual budget, 21 contract employees, 9 board members11 principal dancers from the major companies in the US, 7 chamber musicians, 16 performances a year. McCullough Theater, Austin, TX; Florence Gould Hall, New York, NY; Demarco Roxy Art House, Edinburgh, Scotland; Montenegrin National Theatre, Podgorica, Montenegro; Miller Outdoor Theatre, Houston, TX, Long Center for the Performing Arts,
    [Show full text]
  • ANTON WEBERN Vol
    WEBERN Vocal and Chamber Works Songs • String Quartet • Schoenberg/Webern Op. 9 • Cantata No. 1 Tony Arnold • Claire Booth • Jacob Greenberg • Orion Weiss Sooyun Kim • Charles Neidich • Leila Josefowicz • Simon Joly Chorale Fred Sherry String Quartet • Philharmonia Orchestra Robert Craft THE ROBERT CRAFT COLLECTION Four Songs for Voice and Piano, Op. 12 (1915-17) 5:28 THE MUSIC OF ANTON WEBERN Vol. 3 & I. Der Tag ist vergangen (Day is gone) Text: Folk-song 1:32 Recordings supervised by Robert Craft * II. Die Geheimnisvolle Flöte (The Mysterious Flute) Text by Li T’ai-Po (c.700-762), from Hans Bethge’s ‘Chinese Flute’ 1:32 Five Songs from Der siebente Ring (The Seventh Ring), Op. 3 (1908-09) 5:35 ( III. Schien mir’s, als ich sah die Sonne (It seemed to me, as I saw the sun) Texts by Stefan George (1868-1933) Text from ‘Ghost Sonata’ by August Strindberg (1849-1912) 1:32 1 I. Dies ist ein Lied für dich allein (This is a song for you alone) 1:19 ) IV. Gleich und gleich (Like and Like) 2 II. Im Windesweben (In the weaving of the wind) 0:36 Text by Johann Wolfgang von Goethe (1749-1832) 0:52 3 III. An Bachesranft (On the brook’s edge) 1:00 Tony Arnold, Soprano • Jacob Greenberg, Piano 4 IV. Im Morgentaun (In the morning dew) 1:04 5 V. Kahl reckt der Baum (Bare stretches the tree) 1:36 Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Producer: Philip Traugott • Engineer: Tim Martyn • Editor: Jacob Greenberg • Assistant engineer: Brian Losch Tony Arnold, Soprano • Jacob Greenberg, Piano Recorded at the American Academy of Arts and Letters, New York, on 28th September, 2011 Three Songs from Viae inviae, Op.
    [Show full text]