NYP 20-01 RELEASE DATE: September 25, 2019
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
13Th February 2021 Dear All Tomorrow Is One of Those Strangely
13th February 2021 Dear all Tomorrow is one of those strangely named Sundays – the Sunday Next Before Lent. I’m not quite sure why the ‘next’ comes in , but it interesting that both of the penitential seasons in the church calendar have a countdown… 3rd Sunday before Advent, 2nd Sunday before Lent etc.. We often see Advent and Lent as periods leading up to the exciting seasons of Christmas and Easter, but the church calendar requires us to take them seriously in their own right. What will we be doing for Lent? Let’s gear ourselves up… get ready… set… and, go! In a recent letter I suggested a few books or courses you might be interested in. I also invited anyone to request an ash cross stone, to be left on their doorstep. Please let me know by Wednesday, so that I know how many to prepare. Tomorrow’s service details: Readings – 2 Kings 2: 1-12; 2 Corinthians 4: 3-6; Psalm 50: 1-6; Mark 9: 2-9 Hymns: Jesus on the mountain peak; ‘Tis good, Lord, to be here. Lent Course: Next Thursday is the day after Ash Wednesday, and so we will put our study of Mark’s gospel on hold, and instead follow our Lent Course. The details are the same as always: We will meet on Zoom, Thursdays 2.30-3.30ish pm. The Zoom details are: https://us04web.zoom.us/j/8109399155?pwd=STVVTU44RzJxTFFHbTY1MnI0bjJ2Zz09 Meeting ID: 810 939 9155 Passcode: 1w2C9a Please note that, on Thursday 25th February the Lent Course will take place in the morning , at 10.30am. -
Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Leonard Bernstein
chapter one Young American Bernstein at Harvard In 1982, at the age of sixty-four, Leonard Bernstein included in his col- lection of his writings, Findings, some essays from his younger days that prefi gured signifi cant elements of his later adult life and career. The fi rst, “Father’s Books,” written in 1935 when he was seventeen, is about his father and the Talmud. Throughout his life, Bernstein was ever mind- ful that he was a Jew; he composed music on Jewish themes and in later years referred to himself as a “rabbi,” a teacher with a penchant to pass on scholarly learning, wisdom, and lore to orchestral musicians.1 Moreover, Bernstein came to adopt an Old Testament prophetic voice for much of his music, including his fi rst symphony, Jeremiah, and his third, Kaddish. The second essay, “The Occult,” an assignment for a freshman composi- tion class at Harvard that he wrote in 1938 when he was twenty years old, was about meeting Dimitri Mitropoulos, who inspired him to take up conducting. The third, his senior thesis of April 1939, was a virtual man- ifesto calling for an organic, vernacular, rhythmically based, distinctly American music, a music that he later championed from the podium and realized in his compositions for the Broadway stage and operatic and concert halls.2 8 Copyrighted Material Seldes 1st pages.indd 8 9/15/2008 2:48:29 PM Young American / 9 EARLY YEARS: PROPHETIC VOICE Bernstein as an Old Testament prophet? Bernstein’s father, Sam, was born in 1892 in an ultraorthodox Jewish shtetl in Russia. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Classical Music Service Program Report
CLASSICAL MUSIC SERVICE PROGRAM REPORT April 1 through June 30, 2004 April 6 Music@Menlo series is broadcast each Tuesday night in April. The four programs showcase performances from last summer's inaugural season of the Music@Menlo chamber music festival. April 9 Bach: St. John Passion … Monteverdi Choir; English Baroque Solists/John Eliot Gardiner, conductor, and soloists Anthony Rolfe Johnson, Stephen Varcoe, Cornelius Hauptmann, Nancy Argenta and Ruth Holton (Archiv 419324, from the MPR library). April 24 Metropolitan Opera final season performance. May 5 Dale Warland Singers Farewell Series: 30th Anniversary Concert. Recorded April 2003. Each Wednesday evening in May, we present special programs by the Dale Warland Singers in honor of the 30 years of music they've brought to the community. May12 Dale Warland Singers Farewell Series: 2003 Cathedral Classics May 19 Dale Warland Singers Farewell Series: 2004 Cathedral Classics May 26 Dale Warland Singers Farewell Series: A River Journey May 28 Final Broadcast of the Minnesota Orchestra season May 30 Dale Warland Singers: live broadcast of their final concert (repeated on June 20) May 30 Minnesota Opera: Verdi’s Rigoletto (Recorded and produced by MPR) June 2 VocalEssence: broadcast of 35th anniversary concert, and of the world premiere of Tina Davidson’s Hymn of the Universe June 3 and 4 Live broadcast of the final concerto round of the International Piano-e-Competition from Orchestra Hall, Minneapolis June 4 The series of three Schubert Club Performances begins, replacing the Friday evening Minnesota Orchestra broadcasts during June. June 6 Minnesota Opera: Donizetti’s Lucrezia Borgia (Recorded and produced by MPR) June 13 Minnesota Opera: Stephen Sondheim’s Passion (Recorded and produced by MPR) June 27 Minnesota Opera: Mozart’s The Magic Flute (Recorded and produced by MPR) CLASSICAL MUSIC SERVICE PROGRAM REPORT January 1 through March 31, 2004 January 12 The St Paul’s Cathedral Choir, London, concert at the Cathedral of St Paul, MN, recorded by Minnesota Public Radio in October 2003. -
JANUARY 5, 7 & 10, 2012 Thursday, January 5, 2012, 7
01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 19 JANUARY 5, 7 & 10, 2012 Thursday , January 5 , 2012, 7:3 0 p.m. 15,2 93rd Concert Open rehearsal at 9:45 a.m. Saturday , January 7 , 2012, 8:00 p.m. 15,295 th Concert Tuesday, January 10 , 2012, 7:3 0 p.m. 15,296 th Concert Alan Gilbert , Conductor Global Sponsor Alan Gilbert, Music Director, holds The Yoko Nagae Ceschina Chair . This concert will last approximately two hours, which includes Major support provided by the Francis one intermission . Goelet Fund . Avery Fisher Hall at Lincoln Center Home of the New York Philharmonic Exclusive Timepiece of the New York Philharmonic January 2012 19 01-05 Gilbert:Layout 1 12/28/11 11:09 AM Page 20 New York Philharmonic Alan Gilbert, Conductor Thomas ADÈS Polaris: Voyage for Orchestra (2010–11; New York (b. 1971) Premiere, Co-Commissioned by the New York Philharmonic and Miami’s New World Symphony, Amsterdam’s Royal Concertgebouw Orchestra, Lisbon’s Calouste Gulbenkian Foundation, London’s Barbican Centre, the Los Angeles Philharmonic, and the San Francisco Symphony) Intermission MAHLER Symphony No. 9 (1908–10) (1860–1911) Andante comodo In the tempo of a comfortable ländler, somewhat clumsy and very coarse Allegro assai, very insolent Very slow and even holding back Classical 105.9 FM WQXR is the Radio The New York Philharmonic’s concert -recording Station of the New York Philharmonic. series, Alan Gilbert and the New York Phil - harmonic: 2011–12 Season, is now available for download at all major online music stores. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von -
25 Recommended Recordings of Negro
25 Recommended Recordings of Negro Spirituals for Solo Vocalist Compiled by Randye Jones This is a sample of recordings recommended for enhancing library collections of Spirituals and, thus, is limited (with one exception) to recordings available on compact disc. This list includes a variety of voice types, time periods, interpretative styles, and accompaniment. Selections were compiled from The Spirituals Database, a resource referencing more than 450 recordings of Negro Spiritual art songs. Marian Anderson, Contralto He’s Got the Whole World in His Hands (1994) RCA Victor 09026-61960-2 CD, with piano Songs by Hall Johnson, Harry T. Burleigh, Lawrence Brown, J. Rosamond Johnson, Hamilton Forrest, Florence Price, Edward Boatner, Roland Hayes Spirituals (1999) RCA Victor Red Seal 09026-63306-2 CD, recorded between 1936 and 1952, with piano Songs by Hall Johnson, John C. Payne, Harry T. Burleigh, Lawrence Brown, Hamilton Forrest, Robert MacGimsey, Roland Hayes, Florence Price, Edward Boatner, R. Nathaniel Dett Angela Brown, Soprano Mosiac: a collection of African-American spirituals with piano and guitar (2004) Albany Records TROY721 CD, variously with piano, guitar Songs by Angela Brown, Undine Smith Moore, Moses Hogan, Evelyn Simpson- Curenton, Margaret Bonds, Florence Price, Betty Jackson King, Roland Hayes, Joseph Joubert Todd Duncan, Baritone Negro Spirituals (1952) Allegro ALG3022 LP, with piano Songs by J. Rosamond Johnson, Harry T. Burleigh, Lawrence Brown, William C. Hellman, Edward Boatner Denyce Graves, Mezzo-soprano Angels Watching Over Me (1997) NPR Classics CD 0006 CD, variously with piano, chorus, a cappella Songs by Hall Johnson, Harry T. Burleigh, Marvin Mills, Evelyn Simpson- Curenton, Shelton Becton, Roland Hayes, Robert MacGimsey Roland Hayes, Tenor Favorite Spirituals (1995) Vanguard Classics OVC 6022 CD, with piano Songs by Roland Hayes Barbara Hendricks, Soprano Give Me Jesus (1998) EMI Classics 7243 5 56788 2 9 CD, variously with chorus, a cappella Songs by Moses Hogan, Roland Hayes, Edward Boatner, Harry T.