DOCSLIB.ORG

Jach 2006 Dr

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jach 2006 Dr 'Otbe Qeantata ~inger~ of QEimira Gratefully acknowledge the support of. .. GD ~be ~antata ~ingers BENEFACTOR Will Wickham, Musical Director Patrick & Robin Fitzgerald John & Dorothy Hoos present PATRONS Joseph R Amisano, Esq. Loueda Bleiler :festival (]Jach 2006 Dr. & Mrs. Richard Castor George L Howell Michael & Patricia Wald HopeS. Welliver SPONSORS DONORS Ruth Bruning Joseph & Martha Buck Mrs. William H. Bruning Jean & Bruce Campbell Helen P. Clark Tony & Pat Ciccariello Edward Clute Catherine S. Craig Natalie Denton Carol A. Holland Dan Dimon Merrill & Lydia T. Lynn Gwen Egan Bob & Louise Paul Lois & Charles Grund Jean Schauffler Saturday, May 6th Mr. & Mrs. Harry A. Hillman Judith E. Sheasley Sunday, May 7th In Memory of Edmund Kerber Ann M. Thorner Dr. Denis C. Kingsley Dick & Judy Wardell In Memory of Lou Sand Olin E. Jr. & Thelma C. West SATURDAY PROGRAM Marc & Kathy Lovell John & Frances McLaren FRIENDS (rs "for Two with Sweets Stephen & Susan Nagle Eleanor McKay Emery Alan & Jean Parsons Dr. Edward J. & Mrs. Irene Stein Grandt Martha Pfeifer Pierce Elsie Brooks Lintz Featuring Dr. & Mrs Erving R. Mix Douglas D. McKane, M.D. Loralyn Light, Soprano Mount Savior Monastery Marian A. Rutty Lauren & Paul Schweizer Mary Monroe Smith Fran Shumway,.Alto Steven Shumway, Tenor IN MEMORY OF LOU SAND David Neal, Bass Robert Sand Dr. William Cowdery, Lecturer & Harpsichordist This program is made possible, in part, with public funds from the New York State Council on the Arts Decentralization Christ episcopal Church Program administered locally by the ARTS of the Southern Finger Lakes. 33 fast :first Street, Corning, 21}3 SATURDAY, MAY 6TH PROGRAM TEXT & TRANSLATIONS Jesu, der du meine Seele (BWV 78#2) Jesus, Who is my Soul "B" for Two with Sweets Wir eilen mit schwachen, doch emsi- We hasten with failing but diligent A recital ofprimarily duet arias, with solo and gen Schritten, paces, choral numbers thrown in for good measure! 0 Jesu, o Meister, zu helfen zu dir. 0 Jesus, 0 master, to thee for thy help. Du suchest die Kranken und Irrenden Thou seekest the ailing and erring most Dr. William Cowdery- Lecturer & Harpsichordist treulich. faithful, Ach hore, wie wir Ah, hearken, as we Jesu, der du meine Seele ........................................... (BWV 78, #2 ) Die Stimmen erheben, urn Hiilfe zu Our voices are raising to beg thee for Loralyn Light, Soprano bitten! succor! Fran Neal, Alto Es sei uns dein gnadiges Antlitz er- Let on us thy countenance smile ever freulich! gracious! - Erforsche mich, Gott, und erfahre mein Herz .......... (BWV 136, #5) Steven Shumway, Tenor Er{Orsche mich, Gott, und er{ahre mein Examine me, God, and know my heart David Neal, Bass Herz (BWV 136, #5) We feel in truth the marks of error Uns treffen zwar der Siinden Flecken, Which Adam's fall on us have placed. Es ist das Heil uns kommen her ................................... (BWV 9, #5) So Adams Fall aufuns gebracht. But yet, who hath in Jesus' wounding, Loralyn Light, Soprano Allein, wer sich zu Jesu Wunden, That mighty stream of blood, found Fran Neal, Alto Dem groBen Strom voll Blut gefunden, refuge, Wird dadurch wieder rein gemacht. - Alles mit Gott und nichts ohn' ihn ................................. (BWV 1127) Is by it purified anew. Loralyn Light, Soprano Es ist das Heil uns kommen her (BWV It is the salvation that comes to us Ich lasse d~ch nicht, du segnest mich denn! ............. (BWV 157, #1) 9, #5) Steven Shumway, Tenor Herr, du siehst start guter Werke Lord, thou look'st past our good labors David Neal, Bass Auf des Herzens Glaubensstarke, To the heart's believing power, Nur den Glauben nimmst du an. Nought but faith dost thou accept. Erfreut euch, ihr Herzen ..................... 1••••••••••••••••••••••• (BWV 66, #5) Nur der Glaube macht gerecht, Nought but faith shall justify, Fran Shumway, Alto Alles andre scheint zu schlecht, Ev'ry labor seems too slight Steven Shumway, Tenor Als class es uns helfen kann. E'er to bring us any help. Wachet auf, ruft uns die Stimme ............................... (BWV 140, #6) Alles mit Gott und nichts ohn' ihn All things with God, without him Loralyn Light, Soprano (BWV 1127) nought David Neal, Bass 1. Alles mit Gott und nichts ohn' ihn I. All things with God, without him nought 0 Jesu Christ, mein Lebens Licht .................................. (BWV 118) wird einher Wundersegen ziehn. will hither Wondrous blessing bring. Denn Gott, der Wunder tut im Himmel For God hath wonders wrought in The Cantata Singers und auf Erden, heaven and on earth and will denen Frommen, selbst, zum would for the just himself become a Wundersegen werden. wondrous blessing. Der Mensch bemiihet sich, will Mankind is striving much, would won­ Wunder viel verrichten, ders many fashion, und voller Unruh ist sein Sinnen, Den­ and ever restless in its senses, thoughts, ken, Dichten. intentions. Soli einher Wundersegen ziehn. Should hither Wondrous blessing come, alles mit Gott und nichts ohn' ihn. all things with God, without him nought. 2. Alles mit Gott und nichts ohn' ihn 2. "All things with God, without him 0 Jesu Christ, mein s Lebens Licht Last. wird einher Jesus' Segen ziehn. nought" (BWV 118) 0 Jesus Christ, my life's true light Der gro~e Segensherr kann rechten will hither Jesus' blessing bring. 0 Jesu Christ, mein's Lebens Licht Segen bringen, The mighty Lord of grace can truly Mein Hort, mein Trost, mein' Zuver­ 0 Jesus Christ, my life's true light, tritt er nur in das Schiff, so mu~ es blessing bring us; sicht, My prize, my strength, hope to my wohl gelingen. if he but board the ship, most surely shall AufErden bin ich nur ein Gast sight, War' aller Segen gleich vorhero weit we prosper. Und driickt mich sehr der Siinden On earth here am I but a guest entfernet, Though every blessing may at first seem W ohl dem, der dieses wohl bei seiner all so distant, Translations© Z. Philip Ambrose, translator, Web publication: Arbeit lernet: blest he who learns this well amidst his http://www. uvm. edu/~classics/faculty/bach Soll einher Jesus' Segeq. ziehn, labors: alles mit Gott und nichts ohn' ihn. "Should hither Jesus' blessing come, About today's performers: all things with God, without him Loralyn Light, soprano: A native of Traverse City, Michigan, Loralyn Light nought." holds a Bachelor of Music Education degree from Central Michigan Univer­ sity and master's degrees from the University of Michigan School of Music. Ich lasse dich nicht, du segnest mich I'll not let thee go, thou must bless me While living in Williamsburg, Virginia, Ms. Light specialized as an early mu­ denn! (BWV 157, #1) first. sic soloist, performing with the Williamsburg Choral Guild, as recitalist in the historic Bruton Parish Church, and with Colonial Williamsburg's Company of Er(reut euch, ihr Herzen (BWV 66, #5) Fear and Hope Colonial Players. In the Ithaca area, Ms. Light has sung as a member of En­ semble Sine Nomine and the Cayuga Vocal Ensemble, often for concerts of Ich fiirchte {zwar, nicht} des Grabes I {feared in truth/feared no whit} the NYS Baroque, and with the Rochester-based Publick Musick. In January she Finsternissen grave and all its darkness performed Bach's Christmas Oratorio with the Ithaca Community Chorus, her Und {klagete, hoffete} mein Heil sei And {made complaint/kept my hope} fifth solo appearance with that ensemble, and in March made her solo debut {nun, nicht} entrissen.beide my rescue was {now/not} stolen. with the Cayuga Chamber Orchestra, singing Bach's Cantata No. 29. Other Nun ist mein Herze voller Trost, Now is my heart made full of hope, solo performance credits include the St. John's Bach Society (Detroit), the Und wenn sich auch ein Feind erbost, And though a foe should show his wrath, Traverse City Handel Festival, the Fairbanks Summer Arts Festival, and the Will ich in Gott zu siegen wissen. I'll find in God victorious triumph. Elmira Cantata Singers' annual Bach Festival. By day, Loralyn is the events manager for the Department of Music at Cornell University. Wachet au(, ru(t uns die Stimme (BWV Wake up, raise your voices 140, #6) Seele (S), Jesus (B) Soul (S), Jesus (B) Fran Shumway (mezzo-soprano) is becoming well-known in the Central New Sop ran (Sou() York/Northern Pennsylvania region for her frequent performances with area Wenn kommst du, mein Heil? When com'st thou, my Savior?(7) orchestras and choral ensembles. Ms. Shumway is a graduate of Mansfield Bass (Jesus) University and a long-time member of the Cayuga Vocal Ensemble, a sixteen­ Ich komme, dein Teil. I'm coming, thy share. voice, professional choral group based in Ithaca, NY. She has also performed Sopran (Sou() chorally with The Publick Musick (Rochester, NY), NYS Baroque, and the Ich warte mit brennendem Ole. I'm waiting with my burning oil.(8) Chorus/Orchestra of the Southern Finger Lakes (Elmira, NY). As a featured {Sopran, Bass} (Soul, Jesus) soloist, Ms. Shumway has appeared with NYS Baroque, the Cayuga Chamber {Er6ffne, Ich offne} den Saal (Now open, I open) the hall Orchestra (Ithaca, NY), the Hamilton College/Community Oratorio Society, (Beide) (Both) the Colgate University Concert Choir/Orchestra, the Mansfield University Zum himmlischen Mahl For heaven's rich meal. Concert Choir/Orchestra, the Chorale and Sage Chapel Choir at Cornell Uni­ Sop ran (Sou() versity, the Cantata Singers (Elmira, NY), the Ithaca Community Chorus, and Komm, Jesu! Come, Jesus! the Orchestra of the Southern Finger Lakes. Solo credits include Bach's Mass Bass (Jesus) in B Minor, Mozart's Requiem and Mass in C Minor, Handel's Messiah, Komm, liebliche Seele! Come, 0 lovely soul! Esther, and Judas Maccabeas, Purcell's Ode to St.
Load more

Recommended publications
  • Joshua Bynum, Trombone Anatoly Sheludyakov, Piano Joshua Bynum
    Presents a Presents a Faculty Recital Faculty Recital Joshua Bynum, trombone Joshua Bynum, trombone Anatoly Sheludyakov, piano Anatoly Sheludyakov, piano October 16, 2019 6:00 pm, Edge Recital Hall October 16, 2019 6:00 pm, Edge Recital Hall Radiant Spheres David Biedenbender Radiant Spheres David Biedenbender I. Fluttering, Fast, Precise (b. 1984) I. Fluttering, Fast, Precise (b. 1984) II. for me, time moves both more slowly and more quickly II. for me, time moves both more slowly and more quickly III. Radiant Spheres III. Radiant Spheres Someone to Watch Over Me George Gershwin Someone to Watch Over Me George Gershwin (1898-1937) (1898-1937) Arr. Joseph Turrin Arr. Joseph Turrin Simple Song Leonard Bernstein Simple Song Leonard Bernstein (1918-1990) (1918-1990) Zion’s Walls Aaron Copland Zion’s Walls Aaron Copland (1900-1990) (1900-1990) -intermission- -intermission- I Was Like Wow! JacobTV I Was Like Wow! JacobTV (b. 1951) (b. 1951) Red Sky Anthony Barfield Red Sky Anthony Barfield (b. 1981) (b. 1981) **Out of respect for the performer, please silence all electronic devices throughout the performance. **Out of respect for the performer, please silence all electronic devices throughout the performance. Thank you for your cooperation. Thank you for your cooperation. ** For information on upcoming concerts, please see our website: music.uga.edu. Join ** For information on upcoming concerts, please see our website: music.uga.edu. Join our mailing list to receive information on all concerts and our mailing list to receive information on all concerts and recitals, music.uga.edu/enewsletter recitals, music.uga.edu/enewsletter Dr. Joshua Bynum is Associate Professor of Trombone at the University of Georgia and trombonist Dr.
    [Show full text]
  • Bach Cantatas Piano Transcriptions
    Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR.
    [Show full text]
  • What Handel Taught the Viennese About the Trombone
    291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios.
    [Show full text]
  • J. S. Bach's Use of Trombones
    J. S. Bach’s Use of Trombones Utilization and Chronology prepared by Thomas Braatz © 2010 J. S. Bach used trombones almost exclusively for cantatas scheduled to be performed on specific Sundays and feast days of the liturgical year beginning with his Estomihi Leipzig audition cantata, BWV 23, performed on February 7, 1723 and ending with BWV 28 for the Sunday after Christmas on December 30, 1725. There are only a few unusual, rather late exceptions to Bach’s usage of trombones, beginning with 1.) a copy (made 1727-1731) of the Kyrie from F. Durante’s Mass in C minor with an indication for 3 trombones (no record of any performance exists); 2.) a transcription of the Kyrie and Gloria of Palestrina’s Missa sine nomine scored for 4 trombones and dated c. 1742 (no record of any performance exists); and including finally 3. a Trauermusik = BWV 118, a single- movement funeral motet composed in 1736/37, originally scored for 2 litui, 1 cornetto, and 3 trombones, but revised later in 1746/47 for a repeat performance but without the trombones, etc. The evidence from the following chronological list of extant cantata materials suggests that there was a limited time-frame of almost three years during which Bach actively utilized trombones for performances of his ‘well-ordered church music’.1 The list includes some well-known cantatas from the pre-Leipzig period, cantatas which originally were not scored for trombones but subsequently were added for performances in Leipzig during this three-year period. The dates listed are for the documented instances when these cantatas using trombones were performed in Leipzig.
    [Show full text]
  • Rejoice in the Lamb Benjamin Britten (1913-1976) This 'Festival Cantata
    Rejoice in the Lamb Benjamin Britten (1913-1976) This 'Festival Cantata' for soloists, choir and organ, written in 1943 for the fiftieth anniversary of the consecration of St. Matthew's Church, Northampton, was the first in a celebrated series of commissions by the Rev. Walter Hussey for the church's annual patronal festivals; the series later included, in music, Finzi's Lo, the Full Final Sacrifice and, in other fields of the arts, works by Henry Moore, Graham Sutherland and W.H.Auden. At the 1943 celebrations Britten himself conducted the church choir in his new work, sharing the limelight with the Band of the Northamptonshire Regiment performing another festival commission by Michael Tippett. The cantata is a setting of lines selected by Britten from a long poem, Jubilate Agno (over 1200 lines long, in fact – and unfinished) by the ultimately tragic figure of Christopher ('Kitty') Smart (1722-1771), who also wrote as 'Mrs. Midnight' and 'Ebenezer Pentweazle', and was a deeply religious man but, as Hussey himself puts it, "of a strange and unbalanced mind". The poem was in fact written while Smart was confined in an asylum for alleged 'religious mania', and has been seen on the one hand as a vast hymn of praise to God and all his works, and on the other as no more than the ravings of a madman. Published only in 1939, with the subtitle A Song from Bedlam, it was brought to Britten's attention by W.H.Auden. Such a choice of text might seem odd for a jubilee, but there is in the product of such a mind a kind of childlike innocence which in the poet Peter Porter's words "shows the rest of us that heaven does indeed lie about us".
    [Show full text]
  • Christmas Oratorio
    Reflections on Bach’s “Christmas Oratorio” by John Harbison Composer John Harbison, whose ties to Boston’s cultural and educational communities are longstanding, celebrates his 80th birthday on December 20, 2018. To mark this birthday, the BSO will perform his Symphony No. 2 on January 10, 11, and 12 at Symphony Hall, and the Boston Symphony Chamber Players perform music of Harbison and J.S. Bach on Sunday afternoon, January 13, at Jordan Hall. The author of a new book entitled “What Do We Make of Bach?–Portraits, Essays, Notes,” Mr. Harbison here offers thoughts on Bach’s “Christmas Oratorio.” Andris Nelsons’ 2018 performances of Bach’s Christmas Oratorio are the Boston Symphony’s first since 1950, when Charles Munch was the orchestra’s music director. Munch may have been the last BSO conductor for whom Bach’s music remained a natural and substantial part of any season. In the 1950s the influence of Historically Informed Practice (HIP) was beginning to be felt. Large orchestras and their conductors began to draw away from 18th-century repertoire, feeling themselves too large, too unschooled in stylistic issues. For Charles Munch, Bach was life-blood. I remember hearing his generous, spacious performance of Cantata 4, his monumental reading of the double-chorus, single-movement Cantata 50. Arriving at Tanglewood as a Fellow in 1958, opening night in the Theatre-Concert Hall, there was Munch’s own transcription for string orchestra of Bach’s complete Art of Fugue! This was a weird and glorious experience, a two-hour journey through Bach’s fugue cycle that seemed a stream of sublime, often very unusual harmony, seldom articulated as to line or sectional contrast.
    [Show full text]
  • The Social and Religious Designs of J.S. Bach's Brandenburg Concertos
    Swarthmore College Works Music Faculty Works Music 1995 The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos Michael Marissen Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-music Part of the Music Commons Recommended Citation Michael Marissen. (1995). "The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos". The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos. https://works.swarthmore.edu/fac-music/10 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. ✜ INTRODUCTION ✜ Bach’s Musical Contexts Tubby the Tuba, at a rehearsal, sitting forlornly in the back row of the orchestra: “Oh, what lovely music.” (Sighs.) Peepo the Piccolo, rushing to Tubby’s side: “Here, what’s the matter?” Tubby: “Oh, every time we do a new piece, you all get such pretty melodies to play. And I? Never, never a pretty melody.” Peepo, arms stretched out: “But people don’t write pretty melodies for tubas. It just isn’t done.” Paul Tripp, Tubby the Tuba ubby the Tuba captures powerfully the enculturated notion Tof the orchestral hierarchy. As Tubby’s story goes on to show, there is, of course, no inherent technical reason why tubas should not be highlighted with pretty melodies in orchestral music; it just “isn’t done.” Further explanation is hardly needed. J. S. Bach would apparently not have been moved by an appeal to tradition.
    [Show full text]
  • Hans Werner Henze 1
    21ST CENTURY MUSIC DECEMBER 2012 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2012 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal.
    [Show full text]
  • Gustav Mahler
    EN 6 Composer and conductor Born on July 7, 1860, in Kaliště u Humpolce Died on May 18, 1911, in Vienna Parents: Bernard Mahler and Maria, nee Herrmann wife: Alma, nee Schindler (1879–1964) children: Maria Anna (1902–1907), 7 Anna Justine (1904–1988) October 22 1860 Bernard Mahler and his family moved from Kaliště to Jihlava, where they lived in lodgings at Znojemská Street No. 4 1869 –1875 regular study at Jihlava gymnasium October 13 1870 first public concert in Town Theatre 1875 –1878 student at the Vienna Conservatoire September 12 1877 graduation examination Gustav at Jihlava gymnasium 1879 –1883 several concerts at Town Germany Theatre in Jihlava Christmas 1889 or 1890 probably his last visit to Jihlava Poland Mahler May –June 1880 Bad Hall, season spa orchestra Prague September 3, 1881 –April 1, 1882 Ljubljana, Regional Theatre January 10 –March 17, 1883 Olomouc, Royal Town Theatre August 21, 1883 –June 29, 1885 Kassel, Royal Theatre Czech Republic Jihlava August 1, 1885 –July 15, 1886 Prague, German Royal Land Theatre Brno August 1, 1886 –May 17, 1888 Leipzig, Town Theatre October 1, 1888 –March 22, 1891 Budapest, director of Royal Hungarian Opera Austria Slovak Republic March 26, 1891 –April 24, 1897 Hamburg, Town Theatre April 26, 1897 –December 9, 1907 Vienna, art director of the Court Gustav Mahler House Opera Znojemská 4, 586 01 Jihlava December 21, 1907 –April 8, 1911 New York, guest appearance at Tel.: +420 565 591 849 the Metropolitan Opera, conduc- E-mail: [email protected] ting the Philharmonic Society open: October–March: Tue–Sat 9–12, 12.30–17 April–September: Tue–Sun 9–12, 12.30–17 Issued by the Statutory Town of Jihlava in 2018, 500 copies printed.
    [Show full text]
  • Composing After the Italian Manner: the English Cantata 1700-1710
    University of Richmond UR Scholarship Repository Music Faculty Publications Music 2014 Composing after the Italian Manner: The nE glish Cantata 1700-1710 Jennifer Cable University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/music-faculty-publications Part of the Composition Commons Recommended Citation Cable, Jennifer. "Composing after the Italian Manner: The nE glish Cantata 1700-1710." In The Lively Arts of the London Stage: 1675-1725, edited by Kathryn Lowerre, 63-83. Farnham: Ashgate, 2014. This Book Chapter is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Chapter 4 Composing after the Italian Manner: The English Cantata 1700-1710 Jennifer Cable Charles Gildon, in addressing the state of the arts in his 1710 publication The Life of Mr. Thomas Betterton, the Late Eminent Tragedian, offered the following observation concerning contemporary music and, in particular, the music of Henry Purcell: Music, as well as Verse, is subject to that Rule of Horace; He that would have Spectators share his Grief, Must write not only well, but movingly. 1 According to Gildon, the best judges of music were the 'Masters ofComposition', and he called on them to be the arbiters of whether the taste in music had been improved since Purcell's day.2 However, Gildon's English 'masters of composition' were otherwise occupied, as they were just beginning to come to terms with what was surely a concerning, if not outright frustrating, situation.
    [Show full text]
  • Hans Werner Henze Le Miracle De La Rose
    “If music were a part of man's everyday life, as it should be, there would certainly be less aggression Language becomes music – music becomes language! and much more equality and love on Earth; for music is a means of communication and understanding, Hans Werner Henze has written two pieces with the subtitle ”Imaginary theatre“: ”El Rey de Harlem“ in 13th of February 2013 a means of reconciliation.” (Hans Werner Henze) 1979, after a text by Federico Garcia Lorca, and two years later ”Le Miracle de la Rose“, a musical evoca- presentation 6:30 pm tion of the autobiography of the same name written by the French poet and playwright Jean Genet in prison concert 8 pm Born in the German City Gütersloh on the 1st of July 1926, Henze received his earliest musical train- in 1943. Both works take outsiders in society as their subject, characters who are both victims and wrong- Malak Gabr, American University, New Cairo ing at the Braunschweig Staatsmusikschule. As a child, he witnessed the branding of modern music, doers at one and the same time. While the Lorca piece uses a voice to convey the content of the text, the art and literature by the Nazis. After having worked as a répétiteur at the Bielefeld Theatre Henze piece entitled ”Imaginary theatre II“ (”Miracle“) goes one step further: the poetic content is transposed White Roses - a Hans Werner Henze Portrait began to study with Wolfgang Fortner at the Heidelberg Institute for Church Music in 1946. In the late entirely into instrumental terms, with the solo clarinet being identified with the principal character, the 1940s he came across serialism and began to attend the Darmstadt Summer Courses for New Music.
    [Show full text]
  • Rachel Rubin C'17, ” Barbara Strozzi's Feminine Influence on the Cantata
    Barbara Strozzi’s Feminine Influence on the Cantata in 17th-Century Venice Rachel Rubin (CLA 2017) Abstract In this paper, I will be discussing how Venetian composer Barbara Strozzi (1619-1677) achieved success in the seventeenth century through publication. She is recognized today as one of the earliest composers to write and publish cantatas in such high quantities, though her accomplishments were not met without difficulty. Attaining recognition in the male-dominated musical culture of the Baroque era was a massive undertaking for a woman and required Strozzi to manipulate resources granted to her by her father’s social status. However, it was her own relentless ambition that ultimately propelled her to fame. As such, she paved the way for female composers and continues to inspire with her legacy. Analysis of her piece, Lagrime mie from Diporti di Euterpe, published in 1659, reveals a highly refined use of expressive techniques to convey the powers of song and sorrow. Her affinity for emotional expression combined with her sophisticated understanding of the human voice create a powerful yet sensitive tone in this piece. Given the physical evidence, Strozzi’s success through publication is undeniable, though it was her bold pursuit for recognition that allowed her to break gender stereotypes, making her feats all the more impressive. 187 Introduction Barbara Strozzi (1619-1677) was both a highly praised composer and vocal performer of the seventeenth century. She made significant contributions to Venetian arias and ariettas but is most widely recognized as one of the earliest composers, male or female, to write cantatas in such high numbers (Timms).
    [Show full text]