From the President's Desk Marilyn King
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Nadia Boulanger's Lasting Imprint on Canadian Music
Document généré le 27 sept. 2021 06:24 Intersections Canadian Journal of Music Revue canadienne de musique Providing the Taste of Learning: Nadia Boulanger’s Lasting Imprint on Canadian Music Jean Boivin Musical Perspectives, People, and Places: Essays in Honour of Carl Résumé de l'article Morey Cet article retrace le riche héritage canadien de la grande personnalité de la Volume 33, numéro 2, 2013 musique française du XXe siècle qu’était Nadia Boulanger (1887–1979). À travers son enseignement auprès d’une soixantaine d’élèves canadiens, tant URI : https://id.erudit.org/iderudit/1032696ar francophones qu’anglophones, la célèbre pédagogue française a joué un rôle DOI : https://doi.org/10.7202/1032696ar important dans le développement de la musique de concert au Canada à partir des années 1920, en particulier à Montréal et à Toronto. Ses nombreux étudiants canadiens ont continué de se démarquer en tant que compositeurs, Aller au sommaire du numéro enseignants, artistes, musicologues, théoriciens, administrateurs, et producteurs de radio. En se basant sur une longue recherche dans les archives et les sources de première main, l’auteur démontre l’impact décisif qu’a eu Éditeur(s) Nadia Boulanger sur le développement de styles musicaux et de pratiques compositionnelles au Canada au cours du siècle dernier. Canadian University Music Society / Société de musique des universités canadiennes ISSN 1911-0146 (imprimé) 1918-512X (numérique) Découvrir la revue Citer cet article Boivin, J. (2013). Providing the Taste of Learning: Nadia Boulanger’s Lasting Imprint on Canadian Music. Intersections, 33(2), 71–100. https://doi.org/10.7202/1032696ar Copyright © Canadian University Music Society / Société de musique des Ce document est protégé par la loi sur le droit d’auteur. -
British and Commonwealth Concertos from the Nineteenth Century to the Present
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Composers I-P JOHN IRELAND (1879-1962) Born in Bowdon, Cheshire. He studied at the Royal College of Music with Stanford and simultaneously worked as a professional organist. He continued his career as an organist after graduation and also held a teaching position at the Royal College. Being also an excellent pianist he composed a lot of solo works for this instrument but in addition to the Piano Concerto he is best known for his for his orchestral pieces, especially the London Overture, and several choral works. Piano Concerto in E flat major (1930) Mark Bebbington (piano)/David Curti/Orchestra of the Swan ( + Bax: Piano Concertino) SOMM 093 (2009) Colin Horsley (piano)/Basil Cameron/Royal Philharmonic Orchestra EMI BRITISH COMPOSERS 352279-2 (2 CDs) (2006) (original LP release: HMV CLP1182) (1958) Eileen Joyce (piano)/Sir Adrian Boult/London Philharmonic Orchestra (rec. 1949) ( + The Forgotten Rite and These Things Shall Be) LONDON PHILHARMONIC ORCHESTRA LPO 0041 (2009) Eileen Joyce (piano)/Leslie Heward/Hallé Orchestra (rec. 1942) ( + Moeran: Symphony in G minor) DUTTON LABORATORIES CDBP 9807 (2011) (original LP release: HMV TREASURY EM290462-3 {2 LPs}) (1985) Piers Lane (piano)/David Lloyd-Jones/Ulster Orchestra ( + Legend and Delius: Piano Concerto) HYPERION CDA67296 (2006) John Lenehan (piano)/John Wilson/Royal Liverpool Philharmonic Orchestra ( + Legend, First Rhapsody, Pastoral, Indian Summer, A Sea Idyll and Three Dances) NAXOS 8572598 (2011) MusicWeb International Updated: August 2020 British & Commonwealth Concertos I-P Eric Parkin (piano)/Sir Adrian Boult/London Philharmonic Orchestra ( + These Things Shall Be, Legend, Satyricon Overture and 2 Symphonic Studies) LYRITA SRCD.241 (2007) (original LP release: LYRITA SRCS.36 (1968) Eric Parkin (piano)/Bryden Thomson/London Philharmonic Orchestra ( + Legend and Mai-Dun) CHANDOS CHAN 8461 (1986) Kathryn Stott (piano)/Sir Andrew Davis/BBC Symphony Orchestra (rec. -
Les Pages Sur Les Festivals D'été
festivalsSummer d’été Une pléiade de festivals de musique classique se disputent chaque été les faveurs des mélomanes. Le plaisir des yeux y rejoint celui des oreilles, les sites étant souvent splendides et totalement dépaysants. La Scena en brosse, ce mois-ci, un portrait pastoral. A growing number of festivals appeal to classical music lovers. They aim to please their patrons’ ears, but also they strive to delight their eyes, being located in bucolic pastures. This month, La Scena attempts to capture their unique appeal. 3 2pm. StAC. Ensemble vocal Joseph-François- über die Folie d’Espagne, Wq. 118/9, H.263 JULY Perrault; Oakville Children’s Choir; Academic (1778); Mozart: Fantaisie in C minor, K.V. 475 12 20h. EcLER. $10-22. Chausson: Quatuor; Brahms: Choir of Adam Mickiewicz University; Bach (1785); 9 Variationen über ein Menuett von Quatuor #3 en sol mineur. Quatuor Kandinsky Children’s Chorus of Scarborough; Prince of Duport, K.V. 573 (1789); Haydn: Variations in F 13 20h. ÉNDVis. $10-22. Piazzolla: “Four for Tango”; Wales Collegiate Chamber Choir; Choral Altivoz minor, Hob. xvii/6 (1793); Beethoven: 6 Castonguay-Prévost-Michaud: “Redemptio” 3 8pm. A&CC. Cantare-Cantilena Ensemble; Young Variations, op.34 (1802). Cynthia Millman-Floyd, (poème Serge-Patrice Thibodeau); Dvorak: Voices of Melbourne; Daughter of the Baltic fortepiano “Cypresses” #6 10 5 12; Chostakovich: 2 Pieces 3 8pm. GowC. St. John’s Choir; Scunthorpe Co- 3 8pm. DAC Sir James Dunn Theatre. $20-25. Guy: for String Quartet; Reinberger: Nonet op.139. Operative Junior Choir; Amabile Boys Choir Nasca Lines. Upstream Orchestra; Barry Guy, bass Quatuor Arthur-LeBlanc; Eric Lagacé, contre- 4 8pm. -
JUNE 2020 Holy Cross Catholic Church New York
THE DIAPASON JUNE 2020 Holy Cross Catholic Church New York, New York Cover feature on pages 18–19 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Eleventh Year: No. 6, Digital edition promotion Whole No. 1327 Throughout June, those purchasing a new or renewal one- JUNE 2020 year subscription will receive a free one-year digital subscrip- Established in 1909 tion for a friend. This offer is valid when purchasing a print Stephen Schnurr ISSN 0012-2378 or digital subscription; the free subscription is digital. For 847/954-7989; [email protected] information and to subscribe: toll free, 877/501-7540; local, www.TheDiapason.com An International Monthly Devoted to the Organ, 847/763-4933; for new subscriptions: https://sgc.dragonforms. the Harpsichord, Carillon, -
An Evening of Music and Laughter
An Evening of Music and Laughter featuring the North American debut of baritone diva Marguerita Peeverovich with Professor Johannes Ambrosius Kellermeister and a host of Music Alumni Saturday, September 11, 2004 at 8:00 pm ,T Arts Building ConviKation ® Hall University of Alberta DEPARTMENT OF MUSIC m Program Part One Mistress (?) of Ceremonies Alexandra Munn From The Short-Tempered Clavier P D Q Bach Prelude and Fugue in: (1807-1742?) C Minor C Major G Major G Minor D Minor John Butler/Alexandra Munn, piano Owed To The Mizsteak R. 2004a Jan Randall (World premiere) (b. 1952) William Damur,fl ute Don Ross, clarinet Russell Whitehead, trumpet From Notebook for Betty-Sue Bach P D Q Bach Allemande Left Traumerie Two-Part Contraption Alexandra Munn Three Uncharacteristic Pieces Peter Schickele (For B-Flat Trumpet and Piano) (b. 1935) 1. Dance of Uncertain National Origin 2. Valse Enigmatique 3. Young Man Going West Russell Whitehead, trumpet John Butler, piano The Art of the Ground Round (S. 1.19/lb.) P D Q Bach For Three Baritones and Discontinue Frottola Swingers Rob Clark, Jonathan Ayres and Michael Kurschat, baritones Toscha Turner, double bass Prepared by Leonard Ratzlaff Intermission (Ten minutes) Translations Heidenroslein/Little Heath Rose Part Two Master (?) of Ceremonies (Goethe) Professor Johannes Ambrosius Kellermeister A lad saw a little rose growing. Little red rose on the heath; Four Folk-song Upsettings P D Q Bach It was as young and fair as the moming. (edited, but not gussied-up, by Professor Peter Schickele) He ran quickly to have a close look at it. -
La Création Musicale À Montréal De 1966 À 2006 Vue Par Ses Institutions
Collection dirigée par Sophie Stévance La collection Recherches en musique souhaite rassembler la diversité de la recherche en musique – nous sommes tous et toutes des chercheurs ayant comme objet d’étude la musique, quelles que soient les disciplines et les approches adoptées pour mieux la comprendre : musicologie, pédagogie musicale, éducation musicale, histoire de la musique, ethnomusicologie, sociologie de la musique, philosophie de la musique, psychologie, etc. Comité scientifique Serge Lacasse, Francis Dubé, Jean-Philippe Desprès, Ariane Couture, Nicolas Darbon, Valerie Peters, Paul-André Dubois, Monique Desroches Titre paru : Stévance, Sophie (dir.), Serge Lacasse (dir.), Martin Desjardins (dir.), Pour une éthique partagée de la recherche-création en milieu universitaire, 2018. La création musicale à Montréal de 1966 à 2006 vue par ses institutions III La création musicale à Montréal de 1966 à 2006 vue par ses institutions ARIANE COUTURE Nous remercions le Conseil des arts du Canada de son soutien. We acknowledge the support of the Canada Council for the Arts. Les Presses de l’Université Laval reçoivent chaque année du Conseil des Arts du Canada et de la Société de développement des entreprises culturelles du Québec une aide financière pour l’ensemble de leur programme de publication. Illustration de couverture : Odile Côté-Rousseau, Désir, 2016, acrylique sur toile, 30 × 40 pouces, Québec, https://www.odile-rousseau-artiste.com/ Maquette de couverture : Laurie Patry Mise en pages : Danielle Motard ISBN papier : 978-2-7637-4656-2 ISBN pdf : 9782763746579 © Les Presses de l’Université Laval Tous droits réservés. Imprimé au Canada Dépôt légal 4e trimestre 2019 Les Presses de l’Université Laval www.pulaval.com Toute reproduction ou diffusion en tout ou en partie de ce livre par quelque moyen que ce soit est interdite sans l’autorisation écrite des Presses de l’Université Laval. -
Orchestral Music of the Canadian Centennial
! ! ORCHESTRAL MUSIC OF THE! CANADIAN CENTENNIAL ! ! ! ! ! ! Isaac !Page ! ! ! ! ! ! ! ! Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF! MUSIC May 2020 ! Committee: Emily Freeman Brown, Advisor Per Broman ! !ii ! ABSTRACT ! Emily Freeman Brown, Advisor ! In 1967, Canada celebrated its centennial anniversary of confederation. Celebrations were marked with many significant events in the decade leading up to the centennial, notably the adoption of a new Canadian flag, the construction of many cultural landmarks across the country, and Expo 67 in Montreal. In addition to these major cultural celebrations, there was a noticeable push to create and promote Canadian art. Approximately 130 compositions were written for the centennial year, with many commissions coming from Centennial Commission grants as well as the Canadian Broadcasting Corporation (CBC). Of those works, 51 were orchestral compositions that were intended to be performed by orchestras across the country. These works form an important collection that is ripe for study into compositional trends of the time. I believe that composers, writing for such a significant cultural event in Canada, attempted, consciously or not, to codify a Canadian musical identity. I will look into whether shared compositional traits could be considered signifiers of a general Canadian style by looking at previous scholarship on Canadian identity and how it can relate to music. Specific works will be analyzed by Applebaum, Eckhardt-Gramatté, Freedman, Glick, Hétu, Morel, Surdin, and Weinzweig. !iii ! ACKNOWLEDGMENTS ! Thank you to my parents, Carolyn Ricketts and Steven Page. I am very aware that I would likely not be where I am, and able to write a document like this, if both of my parents had not been musicians and had not continued to encourage me through my education. -
2012 Donors in Action 2012 Donors
2012 DONORS IN ACTION 2012 DONORS Wanda Costuros & Francis & Muriel Walter & $1,000,000+ Douglas Whitehead Dunnigan $5,000 - Germaine Walchuk Anonymous William George Daly Gifford Edmonds $9,999 Glenn Walmsley & Lois Love Family Service Edmonton and Edmonton Chinese Anonymous Foundation Area Land Trust Lions Club Joseph & Alberta Legacy Wadona Walsh John & Barbara Edmonton Folk Music Edmonton Development Society Poole Family Festival Society Symphony Society Genevieve (Jean) Sharon & Mary Whiting Edmonton Opera Audrey Eikeland Douglas Barbour Association Pam Wight $500,000 - Film & Video Arts Ross Brierton & Rod Eidem Society of Alberta Daniel Stavert Ronald & Donna $999,999 Worthington Dentistry Canada Fund Martin Garber-Conrad Chatelaine Pension John Douglas McGavin Dolores Dilkie Government of the & Mortgage Corp. Linda M. Youell Earle Kitchener Province of Alberta Rene & Lisa Cloutier $100,000 - Hawkesworth L. Neil Gower Robert Croteau & $1,000 - John & Leni Honsaker Jim & Diana Greer Teresa Dizon-Croteau $4,999 $499,999 Robert E. Hood Margaret Hiller John & Ann Dea Anonymous Jazz City International Audrey Holmes Anne Marie Decore Anonymous Larry & Janet Anderson Festival Society Don Howden & Terena Delaney & A & B Concrete Sam Chapple Pumping (2007) Ltd. Andromeda William & Shirley Lakey Jane Squire Howden Investments Ltd. Maclab Enterprises Garnet Ireland Randy Diamond Sharon Abbott David & Janet Bentley John & Maggie Mitchell Jerome N. Slavik Joe Dolan & AJH Securities Ltd. Maureen Barnes Georges R. Brosseau Moffat Family Fund Professional -
Kadmtim ( J CONVOCATION
m ^kadmtim (_J CONVOCATION May 12® 2012 %VEAR5 OF GRANTNG DEGREES WELCOME Em HISTORY ACADEMIC DRESS Academic regalia dates back to the twelfth century. While originally it may have been worn as protection against the cold of unheated buildings, it has come to symbolize The Board of Governors, students, faculty, and staff of Concordia University College of levels of academic scholarship with variations in sleeves Alberta extend a warm welcome to all who join us as we confer degrees upon our and decorations representing degree levels, along with the twenty-fifth university graduating class in Concordia's 91 st academic year. We celebrate the regional preferences of individual universities. Those with achievements of this graduating class and give thanks as they join the ranks of Concordia doctoral-level degrees wear the distinct academic gown, alumni who are using the academic and leadership skills they have attained to serve others. hood, and cap of the institution from which they graduated. Concordia is a university that fulfills its calling to be the kind of institution that nourishes Concordia's hoods are lined with blue and white. The color the life of the mind, where students learn who they are, what their gifts are, and how of the velvet edging indicates the academic discipline in they can serve God and their neighbor through their calling. Our faculty is dedicated which the degree has been earned. The color for arts is to learning and is made up of individuals who want their students to learn well. For white, for management is drab, for science is gold, for this reason Concordia is ranked by our students to be among the best universities in the education is blue, and for environmental health is salmon. -
Quatuor Molinari Jean Papineau-Couture
JEAN PAPINEAu-COUTURE Quatuors à cordes nos 1-4 | Trio Slanò Quatuor Molinari QUATUOR À CORDES N° 1 (1953) 1 u I. Grave [4:47] 2 u II. Presto [4:27] QUATUOR À CORDES N° 2 (1967) 3 u I. [sans titre] [4:19] 4 u II. Énergique [2:51] 5 u III. Andante [5:48] 6 u IV. Assez rapide [2:27] 7 u QUATUOR À CORDES N° 3 [10:45] (1996) 8 u QUATUOR À CORDES N° 4 [7:50] (inachevé, posthume) 9 u SLANÒ, TRIO D’ARCHETS [16:16] JEAN PAPINEAu-COUTURE (1975) (1916-2000) QUATUOR MOLINARI Olga Ranzenhofer premier violon / first violin Frédéric Bednarz second violon / second violin et / and Slanò Frédéric Lambert alto / viola Pierre-Alain Bouvrette violoncelle / cello QUELQUES MOTS AU SUJET DE JEAN PAPINEAU-COUTURE À l’instar de plusieurs de ses contemporains, Jean Papineau-Couture (1916-2000) a mené une carrière aux multiples facettes. Débutant sa formation musicale à un tout jeune âge, à titre de pianiste, il aborde dans un premier temps la musique sous la tutelle de Gabriel Cusson (écriture) et de Léo-Pol Morin (piano), avant de se détourner de l’interprétation au profit de la composition. En 1940, grâce à une bourse que lui octroie le gouvernement du Québec, Papineau-Couture se rend aux États-Unis dans l’objectif d’y poursuivre sa formation dans le domaine de la création. Il étudie d’abord auprès de Quincy Porter (composition) et de Beveridge Webster (piano), au New England Conservatory of Music de Boston, avant de rejoindre, l’année suivante, la classe de la réputée pédagogue française Nadia Boulanger, à la Longy School of Music de la même ville. -
Winter 2020 the President’S Message Joanne Lougheed [email protected]
W in te r - J a Progressions n u a r y 2 0 2 0 Inside this issue: • BC Piano Competition Rules • BCRMTA Student Composer Guidelines And so much more..... B.C. Registered Music Teachers’ Association Provincial Magazine START YOUR CAREER WITH MUSIC MUSIC DIPLOMA | TWO-YEAR PROGRAM Graduates have WHY STUDY AT CAPU? pursued careers in • Benefit from small classes with innovative and creative teaching elementary, secondary that integrate theoretical, historical and performance studies and post-secondary • Choose a concentration and receive private lessons in composition, education, private music voice, or an instrument (brass, erhu, guitar, harp, oud, percussions, instruction, conducting, piano, santur, strings or woodwind) composition, musicology, • Develop confidence and self-expression in performance performance, music through recitals and master classes therapy, music criticism • Transfer credit to many four-year music degree programs, and music publishing. including Music Therapy CALL FOR AN AUDITION: 604 984 4911 CAPILANOU.CA/MUSIC [email protected] President Joanne Lougheed 812 Grover Ave Contents . Coquitlam, BC V3J 3C8 4 President’s Message 604-813-8377 [email protected] 5 Hello from the Editor, Webmaster ® Secretary 7 Canada Music Week Reports Anita Perry 13409 Hermiston Drive 17 Committee Updates Summerland, BC V0H 1Z8 19 BCRMTA Student Composer Competition 250-494-0871 [email protected] • Adjudicator - Dr John Burge • Provincial and Canadian national Regulations Registrar • Categories Joyce Janzen #128 PO Box 8000 23 -
À Quelle France Rêvent Les Musiciens Québécois Durant La Première Moitié Du Xxe Siècle1 ?
Document généré le 24 sept. 2021 19:43 Les Cahiers de la Société québécoise de recherche en musique À quelle France rêvent les musiciens québécois durant la e première moitié du xx siècle ? Which France Did Quebec Musicians Dream of during the First Half of the 20th Century? Marie-Thérèse Lefebvre Transferts culturels et autres enjeux stylistiques Résumé de l'article Volume 16, numéro 1-2, printemps–automne 2015 L’histoire des relations politiques et culturelles entre le Québec et la France a fait l’objet de nombreuses études et plusieurs d’entre elles ont été consacrées à URI : https://id.erudit.org/iderudit/1039615ar l’analyse des discours qui ont imprimé dans l’esprit des Québécois une certaine DOI : https://doi.org/10.7202/1039615ar image de la France : celle de l’Ancien Régime, une France monarchique, catholique et conservatrice admirée par la majorité des intellectuels de cette e Aller au sommaire du numéro première moitié du xx siècle ; ou celle de la Troisième République, une France républicaine, laïque, libérale et moderne, à laquelle se sont identifiés une minorité de Québécois de la même époque. On est en général assez bien renseigné sur l’allégeance des uns et des autres à travers leurs écrits. Éditeur(s) On connaît cependant beaucoup moins le point de vue de la France sur le Société québécoise de recherche en musique Québec. Les réflexions des intellectuels et artistes français au sujet du Québec semblent, à tout le moins, plus discrètes. Au-delà des observations générales ISSN publiées par les artistes français suite à leurs rencontres avec les Québécois installés en France ou suite à leur retour de tournées en Amérique, que 1480-1132 (imprimé) pensaient réellement les musiciens français des Québécois croisés en France 1929-7394 (numérique) ou au Québec ? En a-t-il déjà été question dans leur correspondance ? On souhaite donc explorer ici la nature des échanges dans les milieux Découvrir la revue musicaux, français et québécois, liens qui nous semblent teintés de quelques méprises.