Ictus Or Rebound? the Experience of Behind-The-Beat Playing in Orchestral Conducting
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Waltz from the Sleeping Beauty
Teacher Workbook TABLE OF CONTENTS Letter from Jessica Nalbone .................................................................................2 Director of Education, North Carolina Symphony Information about the 2012/13 Education Concert Program ............................3 North Carolina Symphony Education Programs .................................................4 Author Biographies ..............................................................................................6 Carl Nielsen (1865-1931) .......................................................................................7 Oriental Festival March from Aladdin Suite, Op. 34 Wolfgang Amadeus Mozart (1756-1791) ..........................................................15 Symphony No. 39 in E-flat Major, K.543, Mvt. I or III (Movements will alternate throughout season) Claude Debussy (1862-1918) ..............................................................................28 “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra Piotr Ilyich Tchaikovsky (1840-1893) ..................................................................33 Waltz from The Sleeping Beauty Igor Stravinsky (1882-1971) ...............................................................................44 “Dance of the Young Girls” from The Rite of Spring Loonis McGlohon (1921-2002) & Charles Kuralt (1924-1997) ..........................52 “North Carolina Is My Home” Richard Wagner (1813-1883) ..............................................................................61 Overture to Rienzi -
05-11-2019 Gotter Eve.Indd
Synopsis Prologue Mythical times. At night in the mountains, the three Norns, daughters of Erda, weave the rope of destiny. They tell how Wotan ordered the World Ash Tree, from which his spear was once cut, to be felled and its wood piled around Valhalla. The burning of the pyre will mark the end of the old order. Suddenly, the rope breaks. Their wisdom ended, the Norns descend into the earth. Dawn breaks on the Valkyries’ rock, and Siegfried and Brünnhilde emerge. Having cast protective spells on Siegfried, Brünnhilde sends him into the world to do heroic deeds. As a pledge of his love, Siegfried gives her the ring that he took from the dragon Fafner, and she offers her horse, Grane, in return. Siegfried sets off on his travels. Act I In the hall of the Gibichungs on the banks of the Rhine, Hagen advises his half- siblings, Gunther and Gutrune, to strengthen their rule through marriage. He suggests Brünnhilde as Gunther’s bride and Siegfried as Gutrune’s husband. Since only the strongest hero can pass through the fire on Brünnhilde’s rock, Hagen proposes a plan: A potion will make Siegfried forget Brünnhilde and fall in love with Gutrune. To win her, he will claim Brünnhilde for Gunther. When Siegfried’s horn is heard from the river, Hagen calls him ashore. Gutrune offers him the potion. Siegfried drinks and immediately confesses his love for her.Ð When Gunther describes the perils of winning his chosen bride, Siegfried offers to use the Tarnhelm to transform himself into Gunther. -
What Is Conductorcise® ?
WHAT IS CONDUCTORCISE® ? Place yourself in the sneakers of an orchestra conductor and raise your baton to a mighty Sousa march, an impetuous Strauss polka, or an elegant Tchaikovsky waltz as you enjoy a great musical workout. CONDUCTORCISE® is a combination aerobic workout, symphonic performance, and music history lesson that swings to the sounds of the masters. A unique program recognized internationally by health and fitness experts, CONDUCTORCISE® fosters upper body fitness that can help strengthen your heart and open your ears and mind in a natural, invigorating workout. This low-impact fitness fusion for all ages stimulates the cardio-vascular system, energizes and engages the senses and creates balance, stretching, blood circulation and brain stimulation throughout the workout. Learn basic conducting techniques, improve cognitive and listening skills, and discover the lives and work of great composers, as you keep your body and mind in tune, relieve stress and secure balance, increase circulation, manage diabetes, and build upper body strength. The brain child of clarinetist/Conductor David Dworkin, it’s an exhilarating and unique alternative to “traditional” exercise programs that has successfully traveled the globe. The only program of its kind in the world, Dworkin has brought it to pre-school children, teenagers, healthy seniors, and those in assisted- living facilities, as well as stroke, wheelchair bound, and Alzheimer’s patients and beyond, allowing participants to keep ones “body and mind in tune.” Who Leads CONDUCTORCISE®: Maestro David Dworkin Maestro David Dworkin has led orchestras across America and abroad, and served as conductor and Artistic Consultant of three PBS Television documentaries in the series Grow Old With Me, including “The Poetry of Aging,” featuring Richard Kiley, Julie Harris, and James Earl Jones. -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
A Survivor from Warsaw' Op. 46
„We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Karolin Schmitt A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of a Master of Arts in the Department of Music. Chapel Hill 2011 Approved by Prof. Severine Neff, Chair Prof. Annegret Fauser Prof. Konrad H. Jarausch © 2011 Karolin Schmitt ALL RIGHTS RESERVED ii ABSTRACT KAROLIN SCHMITT: „We should never forget this.“ Holocausterinnerungen am Beispiel von Arnold Schönbergs ‚A Survivor from Warsaw’ op. 46 im zeitgeschichtlichen Kontext. Die vorliegende Masterarbeit interpretiert das Werk ‚A Survivor from Warsaw‘ von Arnold Schönberg auf der Grundlage der von dem Historiker Konrad H. Jarausch beschriebenen Holocaust-Erinnerungskategorien „Survival Stories“, „Figures of Remembrance“ und „Public Memory Culture“. Eine Analyse des Librettos zeigt, dass dieses Werk einzelne „Survival Stories“ künstlerisch zu einer „Figure of Remembrance“ transformiert und beleuchtet die musikalische und kulturelle Aussage dieser trilingualen Textvertonung im Hinblick auf den Ausdruck von kultureller Identität. In meiner Betrachtung des Beitrages dieses Werkes zu einer „Public Memory Culture“ steht vor allem die Kulturpolitik der Siegermächte in beiden Teilen Deutschlands im Mittelpunkt, welche Aufführungen dieses Werkes im Rahmen von Umerziehungsmaßnahmen initiierten und somit ihre eigenen ideologischen Konzepte im öffentlichen Bewusstsein zu stärken versuchten. Dabei werden bislang unberücksichtigte Quellen herangezogen. Eine Betrachtung der Rezeption von ‚A Survivor from Warsaw’ im 20. und 21. Jahrhundert zeigt außerdem die Position dieses Werkes innerhalb eines kontinuierlichen Erinnerungsprozesses, welcher bestrebt ist, reflektiertes Handeln zu fördern. iii This thesis interprets Arnold Schoenberg’s A Survivor from Warsaw, op. -
Dante Anzolini
Music at MIT Oral History Project Dante Anzolini Interviewed by Forrest Larson March 28, 2005 Interview no. 1 Massachusetts Institute of Technology Lewis Music Library Transcribed by: Mediascribe, Clifton Park, NY. From the audio recording. Transcript Proof Reader: Lois Beattie, Jennifer Peterson Transcript Editor: Forrest Larson ©2011 Massachusetts Institute of Technology Lewis Music Library, Cambridge, MA ii Table of Contents 1. Family background (00:25—CD1 00:25) ......................................................................1 Berisso, Argentina—on languages and dialects—paternal grandfather’s passion for music— early aptitude for piano—music and soccer—on learning Italian and Chilean music 2. Early musical experiences and training (19:26—CD1 19:26) ............................................. 7 Argentina’s National Radio—self-guided study in contemporary music—decision to become a conductor—piano lessons in Berisso—Gilardo Gilardi Conservatory of Music in La Plata, Argentina—Martha Argerich—María Rosa Oubiña “Cucucha” Castro—Nikita Magaloff— Carmen Scalcione—Gerardo Gandini 3. Interest in contemporary music (38:42—CD2 00:00) .................................................14 Enrique Girardi—Pierre Boulez—Anton Webern—Charles Ives—Carl Ruggles’ Men and Mountains—Joseph Machlis—piano training at Gilardo Gilardi Conservatory of Music—private conductor training with Mariano Drago Sijanec—Hermann Scherchen—Carlos Kleiber— importance of gesture in conducting—São Paolo municipal library 4. Undergraduate education (1:05:34–CD2 26:55) -
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Conducting from the Piano: a Tradition Worth Reviving? a Study in Performance
CONDUCTING FROM THE PIANO: A TRADITION WORTH REVIVING? A STUDY IN PERFORMANCE PRACTICE: MOZART’S PIANO CONCERTO IN C MINOR, K. 491 Eldred Colonel Marshall IV, B.A., M.M., M.M, M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2018 APPROVED: Pamela Mia Paul, Major Professor David Itkin, Committee Member Jesse Eschbach, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Marshall IV, Eldred Colonel. Conducting from the Piano: A Tradition Worth Reviving? A Study in Performance Practice: Mozart’s Piano Concerto in C minor, K. 491. Doctor of Musical Arts (Performance), May 2018, 74 pp., bibliography, 43 titles. Is conducting from the piano "real conducting?" Does one need formal orchestral conducting training in order to conduct classical-era piano concertos from the piano? Do Mozart piano concertos need a conductor? These are all questions this paper attempts to answer. Copyright 2018 by Eldred Colonel Marshall IV ii TABLE OF CONTENTS Page CHAPTER 1. INTRODUCTION: A BRIEF HISTORY OF CONDUCTING FROM THE KEYBOARD ............ 1 CHAPTER 2. WHAT IS “REAL CONDUCTING?” ................................................................................. 6 CHAPTER 3. ARE CONDUCTORS NECESSARY IN MOZART PIANO CONCERTOS? ........................... 13 Piano Concerto No. 9 in E-flat major, K. 271 “Jeunehomme” (1777) ............................... 13 Piano Concerto No. 13 in C major, K. 415 (1782) ............................................................. 23 Piano Concerto No. 20 in D minor, K. 466 (1785) ............................................................. 25 Piano Concerto No. 24 in C minor, K. -
Boston Symphony Orchestra Concert Programs, Summer, 1974, Tanglewood
Artistic Directors SEIII OZAWA Berkshire Festival GUNTHER SCHILLER Berkshire Music Center LEONARD BERNSTEIN Adviser Ian ewood 1974 BERKSHIRE FESTIVAL ' » I. \ 3£ tA fi!tWtJ-3mA~%^-u my*9^V r 1 t '," ' r ' ' T nfii , rum'*' / -'^ ])Jiit»~ }fil<'fj>it >'W BOSTON SYMPHONY ORCHESTRA SEIJI OZAWA Music Director 3 ***** M , * <• v * > •« 3H a place to think An established, planned community designed to preserve the ecostruc- ture of the original forest-dirt roads, hiking paths, lakes and ponds, clean air, 4 to 6 acres all by yourself, neigh- boring on a 15,000 acre forest. Strong protective covenants. Restricted to 180 lots. ' J RECENT RECORD RELEASES BY THE BOSTON SYMPHONY ORCHESTRA conducted by SEIJI OZAWA BERLIOZ Symphonie fantastique DG/2530 358 THE GREAT STRAVINSKY BALLETS album includes Petrushka and Suite from The firebird RCA VCS 7099 i ) conducted by EUGEN JOCHUM MOZART & SCHUBERT (October release) Symphony no. 41 in C K. 551 'Jupiter' Symphony no. 8 in B minor 'Unfinished' DG/2530 357 conducted by WILLIAM STEINBERG HINDEMITH Symphony 'Mathis der Maler' ) DG/2530 246 Concert music for strings and brass S conducted by MICHAEL TILSON THOMAS \ STRAVINSKY Le sacre du printemps Le roi d'etoiles DG/2530 252 conducted by CHARLES MUNCH THE WORLD'S FAVORITE CONCERTOS album includes Mendelssohn's Violin concerto with Jascha Heifetz RCA LSC 3304 THE WORLD'S FAVORITE CONCERTOS album includes Beethoven's Violin concerto with Jascha Heifetz RCA LSC 3317 conducted by ERICH LEINSDORF V THE WORLD'S FAVORITE CONCERTOS album includes Tchaikovsky's Piano concerto no. 1 with Artur Rubinstein RCA LSC 3305 conducted by ARTHUR FIEDLER THE WORLD'S FAVORITE SYMPHONIES album includes the 'New World' symphony of Dvorak RCA LSC 3315 THE BOSTON SYMPHONY ORCHESTRA ON and DUCBZJD Variations on a Theme by Palaset. -
Program: Major: Conducting Degree: Master of Music (M.M.) Dept: Music
University of Central Oklahoma Graduate Catalog 2021-2022 Program: Music Dept: Music Major: Conducting College: Fine Arts & Design Degree: Master of Music (M.M.) Major Code: 1613 Music - Conducting, M.M. The Conducting major will help prepare students in the field of conducting to develop a higher level of proficiency in conducting music for instrumentalists and/or vocalists in a variety of contexts, culminating in a recital and/or special project. This major also allows individuals to pursue areas of special and related interest through elective studies. The University of Central Oklahoma is accredited by the National Association of Schools of Music (NASM). Graduate Coordinator: Dr. Sam Magrill program advisor before it can be considered official. Email: [email protected] • Academic Standards. Meet the following course work Office: MUS 220 standards: Phone: 405 - 974 - 5684 ◦ Overall GPA of 3.00 or higher. ◦ No more than 6 hours of “C”. Admission Requirements ◦ No more than six advisor-approved hours from traditional correspondence courses. Submit the following items to: • Culminating Project. Candidates in each major must Jackson College of Graduate Studies successfully complete a culminating project. Conducting 100 N. University Drive, NUC 404 majors must, under supervised preparation, conduct a Edmond, OK 73034 major work for large ensemble (band, orchestra, choir, vocal production), which will be evaluated by a committee of three • Online application for admission (www.uco.edu/graduate/). relevant members of the graduate faculty. • Official copies of undergraduate and graduate transcripts from • Comprehensive Examination. The degree candidate must at each institution attended with all degrees posted. Completion the end of study pass a comprehensive examination based of an appropriate undergraduate program (or equivalent on all previous instruction and relevant general knowledge of for international students) and demonstration of at least music.