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Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
The Blue Review Literature Drama Art Music
Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr. -
January 1946) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1946 Volume 64, Number 01 (January 1946) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 64, Number 01 (January 1946)." , (1946). https://digitalcommons.gardner-webb.edu/etude/199 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. 7 A . " f ft.S. &. ft. P. deed not Ucende Some Recent Additions Select Your Choruses conceit cuid.iccitzt fotidt&{ to the Catalog of Oliver Ditson Co. NOW PIANO SOLOS—SHEET MUSIC The wide variety of selections listed below, and the complete AND PUBLISHERS in the THE AMERICAN SOCIETY OF COMPOSERS, AUTHORS BMI catalogue of choruses, are especially noted as compo- MYRA ADLER Grade Pr. MAUDE LAFFERTY sitions frequently used by so many nationally famous edu- payment of the performing fee. Christmas Candles .3-4 $0.40 The Ball in the Fountain 4 .40 correspondence below reaffirms its traditional stand regarding ?-3 Happy Summer Day .40 VERNON LANE cators in their Festival Events, Clinics and regular programs. BERENICE BENSON BENTLEY Mexican Poppies 3 .35 The Witching Hour .2-3 .30 CEDRIC W. -
01-Sargeant-PM
CERI OWEN Vaughan Williams’s Early Songs On Singing and Listening in Vaughan Williams’s Early Songs CERI OWEN I begin with a question not posed amid the singer narrates with ardent urgency their sound- recent and unusually liberal scholarly atten- ing and, apparently, their hearing. But precisely tion devoted to a song cycle by Ralph Vaughan who is engaged in these acts at this, the musi- Williams, the Robert Louis Stevenson settings, cal and emotional heart of the cycle? Songs of Travel, composed between 1901 and The recollected songs are first heard on the 1904.1 My question relates to “Youth and Love,” lips of the speaker in “The Vagabond,” an os- the fourth song of the cycle, in which an unex- tensibly archetypal Romantic wayfarer who in- pectedly impassioned climax erupts with pecu- troduces himself at the cycle’s opening in the liar force amid music of otherwise unparalleled lyric first-person, grimly issuing a characteris- serenity. Here, as strains of songs heard earlier tic demand for the solitary life on the open intrude into the piano’s accompaniment, the road. This lyric voice, its eye fixed squarely on the future, is retained in two subsequent songs, “Let Beauty Awake” and “The Roadside Fire” I thank Byron Adams, Daniel M. Grimley, and Julian (in which life with a beloved is contemplated).2 Johnson for their comments on this research, and espe- cially Benedict Taylor, for his invaluable editorial sugges- With “Youth and Love,” however, Vaughan tions. Thanks also to Clive Wilmer for his discussion of Williams rearranges the order of Stevenson’s Rossetti with me. -
Reception of Charles Villiers Stanford and His Music in the American Press Dr Adèle Commins, Auteur(S) Dundalk Institute of Technology, Ireland
Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and his Music in the American Press Dr Adèle Commins, Auteur(s) Dundalk Institute of Technology, Ireland Titre de la revue Imaginaires (ISSN 1270-931X) 22 (2019) : « How Popular Culture Travels: Cultural Numéro Exchanges between Ireland and the United States » Pages 29-59 Directeur(s) Sylvie Mikowski et Yann Philippe du numéro DOI de l’article 10.34929/imaginaires.vi22.5 DOI du numéro 10.34929/imaginaires.vi22 Ce document est mis à disposition selon les termes de la licence Creative Commons attribution / pas d'utilisation commerciale / pas de modification 4.0 international Éditions et presses universitaires de Reims, 2019 Bibliothèque Robert de Sorbon, Campus Croix-Rouge Avenue François-Mauriac, CS 40019, 51726 Reims Cedex www.univ-reims.fr/epure Watchmen on the Walls of Music Across the Atlantic: Reception of Charles Villiers Stanford and How PopularHow Culture Travels his Music in the American Press #22 IMAGINAIRES Dr Adèle Commins Dundalk Institute of Technology, Ireland Introduction Irish born composer Charles Villiers Stanford (1852–1924) is a cen- tral figure in the British Musical Renaissance. Often considered only in the context of his work in England, with occasional references to his Irish birthplace, the reception of Stanford’s music in America provides fresh perspectives on the composer and his music. Such a study also highlights the circulation of culture between Ireland, England and the USA at the start of the twentieth century and the importance of national identity in a cosmopolitan society of many diasporas. Although he never visited America, the reception of Stanford’s music and reviews in the American media highlight the cultural (mis)understanding that existed and the evolving identities in both American and British society at the turn of the twentieth century. -
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
The Kapralova Society Journal Winter 2020
Volume 18, Issue 1 The Kapralova Society Journal Winter 2020 A Journal of Women in Music Emerging from the Shadows: Maude Valérie White, a Significant Figure in the History of English Song Eugene Gates Writing in 1903, Arthur Elson reported, England before she had reached her first “Maude Valérie White takes rank among the birthday. She spent her childhood in Eng- very best of English song writers.” 1 Although land, Heidelberg and Paris, and it was she is unaccountably neglected today, probably this cosmopolitan upbringing that White played a significant role in the history awakened her lifelong interest in foreign of English vocal music. When she came to travel and nurtured her exceptional gift for the fore as a composer around 1880, the languages. She was fluent in French, Ger- English vocal scene was dominated by the man, Italian, Spanish and English, and Victorian drawing room ballad, aptly de- chose poems in those languages as texts for scribed in Grove’s Dictionary of Music and her songs. Musicians as “a composition of the slightest White’s musical education began at an degree of musical value nearly always set to early age with piano lessons from her Ger- Special points of interest: three verses (neither more nor less) of con- man governess. She loved the lessons, 6 and ventional doggerel.” 2 Through her extraordi- continued to study piano throughout her nary musical talent, and her impeccable school years with a succession of teachers. Maude Valérie White taste in literature, as reflected in the poems Although she had yet to begin the study of she chose to set, White helped to raise the music theory, she composed her first song Kaprálová: Dance for Piano artistic standard of late nineteenth-century in 1873, at the age of seventeen—a setting English song. -
Looking Back at CHARM
Annual newsletter Issue 5 (April 2009) We set up CHARM because we thought that musicology was skewed towards the study of Looking back scores, that there was enormous untapped potential in the last century's heritage of recordings, and that bringing recordings to the forefront of the at CHARM discipline could help to transform it—not least in terms of overcoming the mismatch between a discipline focussed on written documents and a public for whom music means performed sound. Although reception theory and history had a major influence on post-war musicology, the focus remained on the written document. And although the 'performative turn' that swept through cultural studies in the last decades of the twentieth century also had an effect on musicology, it perversely served only to reinforce the conception of music as a form of writing. The historically informed performance movement brought documentary and other period evidence to bear upon performance practice, in effect subordinating playing to writing. Analytical approaches to performance did much the same by mapping score-based analysis onto performances. While ethnomusicology and popular music studies were more successful in adopting a performative approach, we felt that in the area of Western 'art' music there was the potential for a major transformative intervention. That was where we hoped CHARM might make a critical contribution. Although we saw CHARM as in essence a vehicle The CHARM website is undergoing a major for the development of a performative approach to redevelopment. Our new site will be hosted by King’s musicology, we saw significant advantages in College London, and will bring together the on-line focussing it specifically on recordings. -
JAVS 32.3.Pdf
Viola V33 N1.indd 302 5/8/17 10:10 PM Journal of the American Viola Society A publication of the American Viola Society Spring 2017: Volume 33, Number 1 p. 3 From the Editor p. 5 From the President News & Notes p. 7 Announcements p. 8 The Lionel ertis-JohnT White Collection p. 11 In Memoriam: Bernie Zaslav Feature Articles p. 13 The Genesis of BenjaminYusupov’s Viola Tango Rock Concerto: Dalton Competition Winner Andrea Carolina del Pilar Sánchez Ruiz presents her research on one of the first viola concertos to be premiered in the twenty-first century. p. 27 Grigori Frid and the Viola: In Conversation with the Composer: Elena Artamonova introduces a composer whose work is little known amongst violists, providing fascinating background and connections to twentieth-century Soviet Russian music. Departments p. 37 Outreach: Carol Rodland writes about her very practical and creative “If Music Be the Food…” program, for which volunteers and musicians donate their time to help raise monetary and non-perishable food donations for Foodlink, the Feeding America Hub of Western New York. p. 39 Health and Wellness: Our new Health and Wellness Editor, Jessica Ray King, introduces her new column with some of her more recent research. On the Cover: Joyce Lin Viola 24 x 36 inches Watercolor, graphite Joyce Lin is an artist and designer studying Furniture Design at the Rhode Island School of Design and Geology at Brown University as part of the Brown/RISD Dual Degree program. Her drawing is a full-scale technical rendering of her friend’s beloved viola, first drawn on a computer-aided design (CAD) program and then traced onto paper, as an exercise in measurement and detail. -
In the World of Music and Musicians
In the World of Music and Musicians The Late Camille Saiiit-Saens And His Visit to United States Programs of the Week of German and Sunday Tuesday Missions French Coniposcrg; Strauss Acolian Hall, 3 p. m. Concert by the Aeolian Hall, 3 p. m. Song recital and Failure in lneidents of icw York Symphony Societ;, : Margueritc d'Alvarez, contralto: Propagandism; Saint- ¦'.. Dleu.A. Nleolau ymphony No. 3.Rrahmi .Glock Saens's Sojourn Here; His Genius and Career A Comefly Ovorture".Oardlnei chanta .Ramaau oncerto ln C mlnor., .i>. ;ms ,. .Easthope Martin Percy ()r»ingor. .Franic Hrl«»ro Ilghf. Ruaalan Folk songs.I.iadow i' ' .. .Q. Btratffefe M I'-1 H. E. Krehbicl legree upon him, and the trifles Carnegie Hall. 3 p. m. Song rccitai I.nd . Rraumon-. By | already >y Emma Calve: t. uuy .Tachalkowaky have been to mentioncd. The other numbors of the UsnCes ^n Kti le n -...,- .Dargomysaky y!e reccntly permitted Sapho.Gounod .1 .."' Nl'ltli Maiden .narK-.n.yzaW program were his "Le Rouet d'Om- 'hreo old French Song*.Anonymoua .Tschatkowaky look upon the greatest of Gcrmany's Echoos des montagnes idc .k Chaoaaon phalc," Gcorg Schumann's "Liebes- La Rol Kenaud. ia.B. I'timiamri living composers and one of thc fore- frilhling" and Beethoven's "Eroica." (Chanson de Geates de Troubadours) !.¦¦ Solr .C. Dabuaay I.a Llsotte. l ..H»tnn most reprcsentatives, if not the fore- At the repetition of the program on jamen/o d'Arlane.Montev. d Tus OJ08 '.. .Alvarfz riades haleines ¦.' ¦.- the next Mr. Damrosch (XV Century).. Carisalml '.. .' Toroa..Alvara -. -
Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip
INFANTRY HALL • PROVIDENCE Thirty-second Season, J9J2—X9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, DECEMBER 31 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 9J a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A. -
Performing National Identity During the English Musical Renaissance in A
Making an English Voice: Performing National Identity during the English Musical Renaissance In a 1925 article for Music & Letters entitled ‘On the Composition of English Songs’, the British musicologist Edward J. Dent urged the ‘modern English composer’ to turn serious attention to the development of ‘a real technique of song-writing’.1 As Dent underlined, ‘song-writing affects the whole style of English musical composition’, for we English are by natural temperament singers rather than instrumentalists […] If there is an English style in music it is founded firmly on vocal principles, and, indeed, I have heard Continental observers remark that our whole system of training composers is conspicuously vocal as compared with that of other countries. The man who was born with a fiddle under his chin, so conspicuous in the music of Central and Eastern Europe, hardly exists for us. Our instinct, like that of the Italians, is to sing.2 Yet, as he quickly qualified: ‘not to sing like the Italians, for climactic conditions have given us a different type of language and apparently a different type of larynx’.3 1 I am grateful to Byron Adams, Daniel M. Grimley, Alain Frogley, and Laura Tunbridge for their comments on this research. E. J. Dent, ‘On the Composition of English Songs’, Music & Letters, 6.3 (July, 1925). 2 Dent, ‘On the Composition of English Songs’, 225. 3 Dent, ‘On the Composition of English Songs’, 225. 1 With this in mind, Dent outlined a ‘style of true English singing’ to which the English song composer might turn for his ‘primary inspiration’: a voice determined essentially by ‘the rhythms and the pace of ideal English speech – that is, of poetry’, but also, a voice that told of the instinctive ‘English temperament’.