Benjamin Britten: Text Setting As Cultural Custodian in Art Song
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Symposium Programme
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. -
V. L. 0. Chittick ANGRY YOUNG POET of the THIRTIES
V. L. 0. Chittick ANGRY YOUNG POET OF THE THIRTIES THE coMPLETION OF JoHN LEHMANN's autobiography with I Am My Brother (1960), begun with The Whispering Gallery (1955), brings back to mind, among a score of other largely forgotten matters, the fact that there were angry young poets in England long before those of last year-or was it year before last? The most outspoken of the much earlier dissident young verse writers were probably the three who made up the so-called "Oxford group", W. ·H. Auden, Stephen Spender, and C. Day Lewis. (Properly speaking they were never a group in col lege, though they knew one ariother as undergraduates and were interested in one another's work.) Whether taken together or singly, .they differed markedly from the young poets who have recently been given the label "angry". What these latter day "angries" are angry about is difficult to determine, unless indeed it is merely for the sake of being angry. Moreover, they seem to have nothing con structive to suggest in cure of whatever it is that disturbs them. In sharp contrast, those whom they have displaced (briefly) were angry about various conditions and situations that they were ready and eager to name specifically. And, as we shall see in a moment, they were prepared to do something about them. What the angry young poets of Lehmann's generation were angry about was the heritage of the first World War: the economic crisis, industrial collapse, chronic unemployment, and the increasing tP,reat of a second World War. -
Information to Users
INFORMATION TO USERS The most advanced technology has been used to photograph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9111803 Childhood memory and the imagination in the poetry of Jorge Teillier Stojkov, Teresa Rose, Ph.D. -
Download PDF Booklet
THE CALL INTRODUCING THE NEXT GENERATION OF CLASSICAL SINGERS Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau piano our future, now Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick THE CALL Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau THE CALL FRANZ SCHUBERT (1797-1828) 1 Fischerweise (Franz von Schlechta) f 2’53 2 Im Frühling (Ernst Schulze) a 4’32 ROBERT SCHUMANN (1810-1856) 3 Mein schöner Stern (Friedrich Rückert) d 2’39 JOHANNES BRAHMS (1833-1897) 4 An eine Äolsharfe (Eduard Mörike) f 3’52 ROBERT SCHUMANN 5 Aufträge (Christian L’Egru) b 2’30 GABRIEL FAURÉ (1845-1924) 6 Le papillon et la fleur (Victor Marie Hugo) e 2’08 CLAUDE ACHILLE DEBUSSY (1862-1918) 7 La flûte de Pan (Pierre-Félix Louis) b 2’45 REYNALDO HAHN (1874-1947) 8 L’heure exquise (Paul Verlaine) c 2’27 CLAUDE ACHILLE DEBUSSY 9 C’est l’extase (Paul Verlaine) a 2’54 FRANCIS POULENC (1899-1963) Deux poèmes de Louis Aragon (Louis Aragon) d 10 i C 2’44 11 ii Fêtes galantes 0’57 GABRIEL FAURÉ 12 Notre amour (Armand Silvestre) e 1’58 MEIRION WILLIAMS (1901-1976) 13 Gwynfyd (Crwys) c 3’25 HERBERT HOWELLS (1892-1983) 14 King David (Walter de la Mare) b 4’51 RALPH VAUGHAN WILLIAMS (1872-1958) 15 The Call (George Herbert) f 2’12 16 Silent Noon (Dante Gabriel Rossetti) c 4’03 BENJAMIN BRITTEN (1913-1976) 17 The Choirmaster’s Burial (Thomas Hardy) d 4’08 IVOR GURNEY (1890-1937) 18 Sleep (John Fletcher) e 2’55 BENJAMIN -
5099943343256.Pdf
Benjamin Britten 1913 –1976 Winter Words Op.52 (Hardy ) 1 At Day-close in November 1.33 2 Midnight on the Great Western (or The Journeying Boy) 4.35 3 Wagtail and Baby (A Satire) 1.59 4 The Little Old Table 1.21 5 The Choirmaster’s Burial (or The Tenor Man’s Story) 3.59 6 Proud Songsters (Thrushes, Finches and Nightingales) 1.00 7 At the Railway Station, Upway (or The Convict and Boy with the Violin) 2.51 8 Before Life and After 3.15 Michelangelo Sonnets Op.22 9 Sonnet XVI: Si come nella penna e nell’inchiostro 1.49 10 Sonnet XXXI: A che piu debb’io mai l’intensa voglia 1.21 11 Sonnet XXX: Veggio co’ bei vostri occhi un dolce lume 3.18 12 Sonnet LV: Tu sa’ ch’io so, signior mie, che tu sai 1.40 13 Sonnet XXXVIII: Rendete a gli occhi miei, o fonte o fiume 1.58 14 Sonnet XXXII: S’un casto amor, s’una pieta superna 1.22 15 Sonnet XXIV: Spirto ben nato, in cui so specchia e vede 4.26 Six Hölderlin Fragments Op.61 16 Menschenbeifall 1.26 17 Die Heimat 2.02 18 Sokrates und Alcibiades 1.55 19 Die Jugend 1.51 20 Hälfte des Lebens 2.23 21 Die Linien des Lebens 2.56 2 Who are these Children? Op.84 (Soutar ) (Four English Songs) 22 No.3 Nightmare 2.52 23 No.6 Slaughter 1.43 24 No.9 Who are these Children? 2.12 25 No. -
Lent Term 2013 Cover Image Man of Sorrows by Greg Longford, Acrylic on Sandpaper
Clare College , C ambridge Chapel ServiCeS lent term 2013 Cover image Man of Sorrows by Greg Longford, acrylic on sandpaper. Private collection: used by permission. ServiCeS HOLY COMMUNION is celebrated every Sunday morning at 9.30 a.m. – a service with hymns and a homily, followed by breakfast in E3. On 10 February we will be joining members of Trinity Hall for Holy Communion in their Chapel at 9 a.m. and returning to Clare afterwards for breakfast. MORNING PRAYER is said every Monday–Thursday at 8.15 a.m. On Friday, it is said at 8.00 a.m. and is followed by breakfast in Buttery. EVENING PRAYER is said every Monday and Friday at 6.15 p.m. and Wednesday at 5.00 p.m. MIDDAY PRAYER is said every Wednesday at 12.45 p.m. Silence for meditation and private prayer is kept in Chapel every day from noon until 1.00 p.m. Choral ServiCeS Tuesdays Evensong, 6.15 p.m. Wednesdays Compline, 10.00 p.m. on 27 February Thursday Evensong, 6.15 p.m. Sundays Evensong, 6.00 p.m. Members of College are warmly encouraged to wear gowns to Sunday evening services. This service is followed by drinks and supper in Hall, to which all who attend Chapel are warmly invited (subject to places available). Cost: £4.25 members of College; £7 others. SpeCial ServiCeS Sunday 3 February Corporate Communion for The Presentation of Christ in the Temple (or Candlemas), 6.00 p.m. Wednesday 13 February Said Holy Communion (with Imposition of Ashes) for Ash Wednesday, 8.00 a.m. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
Newsletter 25
An Appeal for Expertise in Accountancy The Society would be very grateful to hear from any member living in the UK who has some knowledge of accountancy, and who would be willing to donate perhaps two hours of his or her time, once a year, in order to prepare a simple account of the Society's income and outgo. Ideally this would be someone living in or relatively near The London. If you fit this description, could you kindly get in touch with the Society at the postal address listed elsewhere on this page? W. H. Auden Society Memberships and Subscriptions Newsletter Annual memberships include a subscription to the Newsletter: Individual members £ 9 $15 ● Students £ 5 $8 Number 25 January 2005 Institutions £ 18 $30 New members of the Society and members wishing to renew should send sterling cheques or checks in US dollars payable to “The W. H. Auden Society” to Katherine Bucknell, 78 Clarendon Road, London W11 2HW. Receipts available on request. Payment may also be made by credit card through the Society’s web site at: http://audensociety.org/membership.html The W. H. Auden Society is registered with the Charity Commission for England and Wales as Charity No. 1104496. Submissions to the Newsletter may be sent in care of Katherine Bucknell, 78 Clarendon Road, London W11 2HW, or by e-mail to: [email protected] All writings by W. H. Auden in this issue are copyright 2005 by The Estate of W. H. Auden. 28 Foster’s recordings has been released in the Windyridge Variety series (www.musichallcds.com) and a brief excerpt may be heard at www.audensociety.org/vivianfoster.html on the Society’s website. -
Intertextuality, Intermediality and Mediality in Benjamin Britten's
Intertextuality, Intermediality and Mediality in Benjamin Britten’s Nocturne, Op. 60 Von der Falkutät für Geistes- und Erziehungswissenschaften der Technischen Universität Carolo-Wilhelmina zu Braunschweig zur Erlangung des Grades Doktor der Philosophie (Dr. phil.) genehmigte Dissertation von Kenton Emery Barnes aus Toledo, Ohio, USA Eingereicht am 11.06.2012 Mündliche Prüfung am 28.08.2012 Referent: Prof. Dr. Rüdiger Heinze Korreferent: Prof. Dr. Hero Janßen Druckjahr 2017 Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op. 60 Benjamin Britten ist nicht nur einer der am meisten verehrten Komponisten Großbritanniens, sondern zugleich auch einer der Komponisten, über die äußerst kontrovers diskutiert wird. Kritiker bewerten seine Musik auf sehr unterschiedliche Art und Weise. Einige halten seine Musik für zu altmodisch und zu sehr den Traditionen der Tonalität verbunden, andere bewerten sie als zu modern und schwer zugänglich, an Atonalität grenzend. Aber wie soll man Brittens Musik betrachten? Setzt sie die Traditionen der romantischen Komponisten des 19. Jahrhunderts fort? Ja, dies ist der Fall, jedoch bringt Britten diese Konventionen an ihre Grenzen. Ist Brittens Musik atonal? Obwohl manche Kritiker der Ansicht sind, dass seine Kompositionen abstrakt sind, bleibt er den etablierten Konventionen der Musik doch treu. Nicht zu bestreiten ist, dass Brittens gesangliche Kompositionen in ihrer Poesie nur schwer zu übertreffen sind. Er vertonte Gedichte von bedeutenden Dichtern wie Arthur Rimbaud, Victor Hugo, Paul Verlaine, Henry Longfellow, William Shakespare, Edith Sitwell, Emily Brontë und William Blake. Alles in allem vertonte Britten mehr als 300 Gedichte von nicht weniger als neunzig Dichtern. Die vorliegende Arbeit Intertextualität, Intermedialität und Medialität in Benjamin Brittens Nocturne, Op. -
Programme Artikulationen 2017
Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research. -
The Congo and Other Poems
The Congo and Other Poems Vachel Lindsay Project Gutenberg's Etext of The Congo & Other Poems, by Lindsay #3 in our series by Vachel Lindsay Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. The Congo and Other Poems, by Vachel Lindsay August, 1997 [Etext #1021] Project Gutenberg's Etext of The Congo & Other Poems, by Lindsay *****This file should be named cngop10.txt or cngop10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, cngop11.txt. VERSIONS based on separate sources get new LETTER, cngop10a.txt. This etext was prepared by Alan R. Light ([email protected]). The original text was entered (manually) twice, and electronically compared to ensure as clean a copy as practicable. We are now trying to release all our books one month in advance of the official release dates, for time for better editing. Please note: neither this list nor its contents are final till midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month. -
Sharpe, Tony, 1952– Editor of Compilation
more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.