Chronologie Des Compositeurs Et Des
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Mein Sonatenalbum Christoph Förster (1693-1745) Johann Sigismund Weiss (um 1690-1737) Sonata c-Moll · C minor Sonata B-Dur · B flat major 1 [Adagio] 1:33 16 Andante 1:59 2 Allegro 1:13 17 Allegro 2:34 3 [Adagio] 2:29 18 Adagio 2:00 4 Gigue 1:29 19 Vivace 3:49 20 Presto 2:06 William Babell (um 1690-1723) Georg Friedrich Händel (1685-1759) Sonata Nr. 11 g-Moll · G minor 5 Adagio 3:03 Sonata F-Dur HWV 363a 21 Adagio 1:51 6 Vivace 1:20 22 Allegro 1:58 7 Allegro 1:18 23 Adagio 2:22 24 Bourrée angloise 1:02 „Signor Bach“ (Johann Jacob Bach?) 25 Menuet 1:18 Sonata c-Moll · C minor 8 Andante 2:26 William Babell 9 Allegro 2:36 Sonata Nr. 12 c-Moll · C minor 10 Adagio 1:29 26 Adagio 2:04 11 Vivace 3:09 27 Vivace 0:45 Johann Georg Linike (ca. 1680-1762) Gottfried August Homilius (1714-1785) Sonata F-Dur · F major Sonata à Oboe solo col Basso HoWV XI.1 12 Adagio 2:36 28 Adagio 2:03 13 Allegro 2:43 29 Allegro assai 2:37 14 Largo 2:49 30 Amoroso 1:18 15 Allegro 3:25 31 Vivace 1:54 KARLA SCHRÖTER Barockoboe Ensemble CONCERT ROYAL Köln Die Oboensonate im 18. Jahrhundert sowie über Choral-Knaben. Sein kompositorisches Schaffen umfasst zahlreiche Kirchenkantaten, Psalm- und Sanctus- Alle auf dieser CD eingespielten Sonaten für Oboe und Vertonungen, eine Messe und reichlich Instrumentalmusik, Basso continuo dürften in der ersten Hälfte des 18. -
Musiker-Migration Und Musik-Transfer Zwischen Böhmen Und Sachsen Im 18
Musiker-Migration und Musik-Transfer zwischen Böhmen und Sachsen im 18. Jahrhundert Bericht über das Internationale Symposium vom 7. bis 9. November 2008 Herausgegeben von Hans-Günter Ottenberg und Reiner Zimmermann Redaktion: Klaus Burmeister 1 Inhalt Zum vorliegenden Band 3 Programmflyer 2008 6 Grußwort des Schirmherrn 9 Grußwort des Veranstalters 10 Verzeichnis der mit Abkürzungen zitierten Literatur 12 Verzeichnis der benutzen Bibliothekssigel 14 Armin Schmid, Regensburg Johann Christoph Kridel (Rumburg 1672–1733) und seine Kantaten-Sammlung Neu-eröffnetes Blumen-Gärtlein (Bautzen 1706) 15 Michaela Freemanová, Prag Johann Adolf Hasse’s oratorios in the Bohemian Lands 28 Klaus-Peter Koch, Bergisch Gladbach Böhmische Musiker waren im Sachsen des 18. Jahrhunderts nicht nur in Dresden. Anmerkungen zur böhmischen Musiker-Migration 39 Hrosvith Dahmen, Dresden Zur Prager-Dresdner Kirchenmusik unter besonderer Berücksichtigung der Messen von František Xaver Brixi 51 Marc Niubo, Prag The Italian Opera between Prague and Dresden in the Second Half of the Eighteenth Century 58 Daniela Philippi, Frankfurt/Main Zur Überlieferung der Werke Christoph Willibald Glucks in Böhmen, Mähren und Sachsen 74 Hans-Günter Ottenberg, Dresden Instrumentalwerke böhmischer Komponisten in der Dresdner Hofmusik des 18. Jahrhunderts – Repertoireschwerpunkte, Stilistik, Überlieferungswege, Aufführungspraxis 83 Jiří Mikuláš, Prag Der Prager Komponist Vinzenz Maschek (1755–1831) und Sachsen 103 Undine Wagner, Chemnitz Böhmen – Polen – Sachsen – Preußen. Franz Benda und seine Beziehungen zu Mitgliedern der Dresdner Hofkapelle 110 Roland Bienert, Berlin In der Ferne heimatverbunden? Die böhmischen Quellen zu Antonio Rosettis Kirchenmusik 126 2 Zum vorliegenden Band Zu den interessantesten Fragen der Musikgeschichtsschreibung zählen solche nach dem kulturellen Austausch über politische, konfessionelle, Zoll- und Währungsgrenzen hinweg. -
Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering
Lili Boulanger (1893–1918) and World War I France: Mobilizing Motherhood and the Good Suffering By Anya B. Holland-Barry A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 08/24/2012 This dissertation is approved by the following members of the Final Oral Committee: Susan C. Cook, Professor, Music Charles Dill, Professor, Music Lawrence Earp, Professor, Music Nan Enstad, Professor, History Pamela Potter, Professor, Music i Dedication This dissertation is dedicated to my best creations—my son, Owen Frederick and my unborn daughter, Clara Grace. I hope this dissertation and my musicological career inspires them to always pursue their education and maintain a love for music. ii Acknowledgements This dissertation grew out of a seminar I took with Susan C. Cook during my first semester at the University of Wisconsin. Her enthusiasm for music written during the First World War and her passion for research on gender and music were contagious and inspired me to continue in a similar direction. I thank my dissertation advisor, Susan C. Cook, for her endless inspiration, encouragement, editing, patience, and humor throughout my graduate career and the dissertation process. In addition, I thank my dissertation committee—Charles Dill, Lawrence Earp, Nan Enstad, and Pamela Potter—for their guidance, editing, and conversations that also helped produce this dissertation over the years. My undergraduate advisor, Susan Pickett, originally inspired me to pursue research on women composers and if it were not for her, I would not have continued on to my PhD in musicology. -
Contents Price Code an Introduction to Chandos
CONTENTS AN INTRODUCTION TO CHANDOS RECORDS An Introduction to Chandos Records ... ...2 Harpsichord ... ......................................................... .269 A-Z CD listing by composer ... .5 Guitar ... ..........................................................................271 Chandos Records was founded in 1979 and quickly established itself as one of the world’s leading independent classical labels. The company records all over Collections: Woodwind ... ............................................................ .273 the world and markets its recordings from offices and studios in Colchester, Military ... ...208 Violin ... ...........................................................................277 England. It is distributed worldwide to over forty countries as well as online from Brass ... ..212 Christmas... ........................................................ ..279 its own website and other online suppliers. Concert Band... ..229 Light Music... ..................................................... ...281 Opera in English ... ...231 Various Popular Light... ......................................... ..283 The company has championed rare and neglected repertoire, filling in many Orchestral ... .239 Compilations ... ...................................................... ...287 gaps in the record catalogues. Initially focussing on British composers (Alwyn, Bax, Bliss, Dyson, Moeran, Rubbra et al.), it subsequently embraced a much Chamber ... ...245 Conductor Index ... ............................................... .296 -
CUL Keller Archive Catalogue
HANS KELLER ARCHIVE: working copy A1: Unpublished manuscripts, 1940-49 A1/1: Unpublished manuscripts, 1940-49: independent work This section contains all Keller’s unpublished manuscripts dating from the 1940s, apart from those connected with his collaboration with Margaret Phillips (see A1/2 below). With the exception of one pocket diary from 1938, the Archive contains no material prior to his arrival in Britain at the end of that year. After his release from internment in 1941, Keller divided himself between musical and psychoanalytical studies. As a violinist, he gained the LRAM teacher’s diploma in April 1943, and was relatively active as an orchestral and chamber-music player. As a writer, however, his principal concern in the first half of the decade was not music, but psychoanalysis. Although the majority of the musical writings listed below are undated, those which are probably from this earlier period are all concerned with the psychology of music. Similarly, the short stories, poems and aphorisms show their author’s interest in psychology. Keller’s notes and reading-lists from this period indicate an exhaustive study of Freudian literature and, from his correspondence with Margaret Phillips, it appears that he did have thoughts of becoming a professional analyst. At he beginning of 1946, however, there was a decisive change in the focus of his work, when music began to replace psychology as his principal subject. It is possible that his first (accidental) hearing of Britten’s Peter Grimes played an important part in this change, and Britten’s music is the subject of several early articles. -
Table of Contents of the South New Orleans for the New Orleans Consortium: Articles Loyola University Stephen's Passage Through the Wilderness/F
the new oRLeans Review LOYOLA UNIVERSITY A Journal Of Literature Vol. 1. No. 2/Winter 1969 & Culture Published By Loyola University table of contents of the South New Orleans for the New Orleans Consortium: articles Loyola University Stephen's Passage Through the Wilderness/F. E. Abernethy ....... 162 St. Mary's Medicine 1969: The Concept of the Whole Man/Shea Halle. M.D ... 137 Dominican College The Day the Juice Ran Dry on Big George/John Little . 149 Xavier University lgnazio Silane's Political Trilogy/Benjamin M. Nyce .............. 152 The Intentional? Fallacy?/Morse Peckham ...................... 116 Editor: No Place To Blow But Up: New York's East Village/Shane Stevens 165 Miller Williams Managing Editor: fiction Tom Bell In Praise of Solitary Constructs/Peter Israel .................... 125 The Bummer/Gerald Locklin ................................. 169 Assoc. Editor: Zhenia and the Wicked One/Natalie Petesch .................... 156 Thomas Preston interview Art Director: Nelson Algren Talks with NOR's Editor-at-Large ................ 130 Leonard White photography Advisory Editors: Hodding Carter Funeral/Leonard Louis White ................................. 133 John Ciardi David Daiches poetry James Dickey On the Banks of Phlegethon/Paul Anderson .................... 174 Thomas Parkinson History is What A Man Does/John Ciardi ...................... 128 Walker Percy Quickly/Ruth Dawson ...................................... 184 L. J. Twomey, SJ Great Northern/David Etter .................................. 190 Generations/Chana Faerstein ................................ 143 Editor-at-Large: Flight 70/Edsel Ford ........................................ 190 John William Jean lngres' Le Bain TurcjRichard Frost ....................... 160 Corrington Supper at O'Henry's Country Bar-B-Que/Gene Frumkin ........... 186 To An Old New Year/Lloyd Goldman .......................... 172 Editorial Assistant: The Lake (for Truedge)/ Joe Gould ............................ 168 Gayle Gagliano Intrusions of the Sea/Samuel Hazo ........................... -
Les Fondations D'une Scène Musicale Pérenne À Lyon Au Xxe Siècle
Les fondations d’une scène musicale pérenne à Lyon au XXe siècle La dynastie Witkowski à la tête de la musique lyonnaise Lyon, au début du XXe siècle, malgré sa taille, ne dispose toujours pas d’orchestre professionnel. C’est à l’initiative d’un musicien passionné, alors militaire de carrière, que va s’inventer toute l’infrastructure de production et de diffusion de la musique classique à Lyon. Georges-Martin Witkowski va endosser avec panache le rôle d’entrepreneur de la musique Lyonnaise…où tout ou presque reste à créer. Compositeur et musicien reconnu, il va surtout savoir parfaitement exploiter les caractéristiques socioéconomiques de la ville pour mener à bien son dessein. La bourgeoisie industrielle, avide de culture et de divertissements, est prête à investir dans la musique et à suivre les plans de Witkowski. En l’espace de cinq ans, Lyon va se doter d’une chorale, d’un orchestre professionnel et d’une salle de concerts, le tout d’excellente renommée. Le mécénat et les cercles de sociabilité associés au professionnalisme et à l’enthousiasme de Witkowski vont engendrer un mélange particulièrement efficace. Le système a su émerger en complète autonomie, sans houlette municipale ni parisienne, pourtant lieu hégémonique de la création musicale en France. Witkowski père et fils règneront sur le monde musical lyonnais quasiment un demi-siècle. Cette stabilité a certainement nui à la reconnaissance nationale des œuvres du compositeur, les carrières se faisant à Paris. D’un autre côté, il a pu mener son entreprise à sa guise, ayant la confiance de notables d’envergure comme Aynard, Gillet, Lumière… Prétendre qu’un « modèle musical » lyonnais est inventé est un peu exagéré. -
The Musical Legacy of Wartime France California Studies in 20Th-Century Music Richard Taruskin, General Editor
The Musical Legacy of Wartime France california studies in 20th-century music Richard Taruskin, General Editor 1. Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Music Theater, by W. Anthony Sheppard 2. Russian Opera and the Symbolist Movement, by Simon Morrison 3. German Modernism: Music and the Arts, by Walter Frisch 4. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification, by Amy Beal 5. Bartók, Hungary, and the Renewal of Tradition: Case Studies in the Intersection of Modernity and Nationality, by David E. Schneider 6. Classic Chic: Music, Fashion, and Modernism, by Mary E. Davis 7. Music Divided: Bartók’s Legacy in Cold War Culture, by Danielle Fosler-Lussier 8. Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Art Music, by Klára Móricz 9. Brecht at the Opera, by Joy H. Calico 10. Beautiful Monsters: Imagining the Classic in Musical Media, by Michael Long 11. Experimentalism Otherwise: The New York Avant-Garde and Its Limits, by Benjamin Piekut 12. Music and the Elusive Revolution: Cultural Politics and Political Culture in France, 1968–1981, by Eric Drott 13. Music and Politics in San Francisco: From the 1906 Quake to the Second World War, by Leta E. Miller 14. Frontier Figures: American Music and the Mythology of the American West, by Beth E. Levy 15. In Search of a Concrete Music, by Pierre Schaeffer, translated by Christine North and John Dack 16. The Musical Legacy of Wartime France, by Leslie A. Sprout The Musical Legacy of Wartime France leslie a. sprout University of California Press berkeley los angeles london University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. -
Marta Feuchtwanger Papers 0206
http://oac.cdlib.org/findaid/ark:/13030/kt10003750 No online items Finding Aid for Marta Feuchtwanger papers 0206 Finding aid prepared by Michaela Ullmann USC Libraries Special Collections Doheny Memorial Library 206 3550 Trousdale Parkway Los Angeles, California 90089-0189 [email protected] URL: http://libraries.usc.edu/locations/special-collections Finding Aid for Marta 02061223 1 Feuchtwanger papers 0206 Language of Material: English Contributing Institution: USC Libraries Special Collections Title: Marta Feuchtwanger papers creator: Franklin, Carl M. (Carl Mason) creator: Waldo, Hilde creator: Feuchtwanger, Marta Identifier/Call Number: 0206 Identifier/Call Number: 1223 Physical Description: 98.57 Linear Feet173 boxes Date (inclusive): 1940-1987 Abstract: This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life to promoting the work of her husband. The collection contains Marta Feuchtwanger's personal correspondence, texts and manuscripts by her and others, royalty statements received for the works of her husband, correspondence with publishers, and newspaper clippings mentioning Lion and Marta Feuchtwanger and other exiles. The collection also includes correspondence regarding the establishment and administration of the Feuchtwanger Memorial Library and Villa Aurora. Storage Unit: 91g Storage Unit: 91h Scope and Content This archive contains the correspondence of Marta Feuchtwanger, wife of German-Jewish writer Lion Feuchtwanger, who survived her husband by almost thirty years. Marta Feuchtwanger remained an important figure in the exile community and devoted the remainder of her life after his death to promoting the work of her husband. -
Chronologie Des Compositeurs Et Des
1808-1869 : Albert Grisar CHRONOLOGIE DES COMPOSITEURS 1801-1854 : Albert Guillon ET DES PRINCIPAUX ÉCRIVAINS 1883-1946 : Albert Gumble ARTISTES SAVANTS LIBRETTISTES 1885-1978 : Albert Laurent 1897-1985 : Albert Moeschinger 1869-1937 : Albert Roussel 1875-1965 : Albert Schweitzer Classement alphabétique 1846-1918 : Albert Soubies 1941-____ : Albert Stephen 1807-1864 : A. de Rovray (Pier Angelo Fiorentino) 1841-1906 : Albert Vizentini 1764-1821 : A.F. Eler 1875-1959 : Albert William Ketelbey 1976-____ : Aaron Cassidy 1916-1996 : Alberto Bruni-Tedeschi 1900-1990 : Aaron Copland 1916-1983 : Alberto Ginastera 1960-____ : Aaron Jay Kernis 1897-1975 : Alberto Hemsi 1893-1958 : Aarre Merikanto 1813-1877 : Alberto Mazuccato 1749-1814 : abbé Georg Joseph Vogler 1864-1920 : Alberto Nepomuceno 1915-2003 : Abel Ehrlich 1967-____ : Alberto Posadas 1612-1686 : Abraham Calov 1471-1528 : Albrecht Dürer 1791-1868 : Achille d'Artois (Charles A. d'Artois de Bournonville) 735- 804 : Alcuin 1805-1868 : Adalbert Stifter 1940-____ : Alden Jenks 1220-1270 : Adam de Givenchy 1960-____ : Aldo Brizzi 1230-1286 : Adam de La Halle 1925-____ : Aldo Clementi 1445-1505 : Adam von Fulda 1951-____ : Alejandro Vinão 1843-1919 : Adelina Patti 1951-____ : Aleksander Lason 1814-1889 : Adolf von Henselt 1906-1995 : Alessandro Cicognini 1954-____ : Adolfo Nunez 1770-1834 : Alessandro Grazidi 1897-1980 : Adolph Deutsch 1669-1747 : Alessandro Marcello 1891-1971 : Adolph Weiss 1951-____ : Alessandro Melchiorre 1803-1856 : Adolphe Adam 1566-1638 : Alessandro Piccinini 1871-1955 -
Maurice Ravel Chronology
Maurice Ravel Chronology by Manuel Cornejo 2018 English Translation by Frank Daykin Last modified date: 10 June 2021 With the kind permission of Le Passeur Éditeur, this PDF, with some corrections and additions by Dr Manuel Cornejo, is a translation of: Maurice Ravel : L’intégrale : Correspondance (1895-1937), écrits et entretiens, édition établie, présentée et annotée par Manuel Cornejo, Paris, Le Passeur Éditeur, 2018, p. 27-62. https://www.le-passeur-editeur.com/les-livres/documents/l-int%C3%A9grale In order to assist the reader in the mass of correspondence, writings, and interviews by Maurice Ravel, we offer here some chronology which may be useful. This chronology attempts not only to complete, but correct, the existent knowledge, notably relying on the documents published herein1. 1 The most recent, reliable, and complete chronology is that of Roger Nichols (Roger Nichols, Ravel: A Life, New Haven, Yale University, 2011, p. 390-398). We have attempted to note only verifiable events with documentary sources. Consultation of many primary sources was necessary. Note also the account of the travels of Maurice Ravel made by John Spiers on the website http://www.Maurice Ravel.net/travels.htm, which closed down on 31 December 2017. We thank in advance any reader who may be able to furnish us with any missing information, for correction in the next edition. Maurice Ravel Chronology by Manuel Cornejo English translation by Frank Daykin 1832 19 September: birth of Pierre-Joseph Ravel in Versoix (Switzerland). 1840 24 March: birth of Marie Delouart in Ciboure. 1857 Pierre-Joseph Ravel obtains a French passport. -
Dresdner Hofmusik ” Jochen Baier Flöte Menge Seiner Arbeiten, Sondern Auch Wegen Ihrer Güte Ines Then-Bergh Violine Angepriesen Zu Werden
Johann Joachim Quantz (1697 – 1773) "Mit nur drei Talern in der Tasche" reiste er 1759 nach London, wo er zum Gambisten der deutschstämmigen Triosonate e-moll Königin Charlotte ernannt wurde. Durch Abel gelangte Quantz-Colegium e. V für Flöte, Violine und Basso continuo auch J.Chr. Bach nach London was nicht ohne Auswirkung Adagio – Allegro – Affetuoso – Allegro bleiben sollte. Die beiden Musiker gründeten eine Konzertreihe, die " Bach – Abelschen Subscriptions- ........................................................................................................................................................ konzerte " , mit der sie großen Erfolg hatten. Ab 1781 Johann Georg Neruda (1711 - 1776) allerdings verblasste der Ruhm und als J. Chr.Bach 1782 53. Sommer 2009 Sonate a tre starb, war das Unternehmen definitiv beendet. für 2 Violinen und B.c. »Friedemann, wollen wir nicht einmal wieder die schönen Festliche Serenaden Adagio – Allegro moderato - Allegretto Dresdner Liederchen hören?« Mit dieser Frage kündigte Johann Sebastian Bach laut ........................................................................................................................................................ Schloss Favorite Johann Christian Hertel (1699 – 1754) Johann Nikolaus Forkel (1749-1802), dem ersten Bach- Biografen, die Ausflüge zur Dresdner Oper an, die er mit Triosonate G-Dur seinem Sohn Wilhelm Friedemann Bach (1710 - 1784) Künstlerische Leitung: Jochen Baier gerne unternahm. Johann Sebastian Bach konzertierte aber für Flöte, Viola da Gamba