DOCSLIB.ORG

H Dur C HAHAH DOOR C (Key of B Major, German Designation) H Moll

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
H Dur C HAHAH DOOR C (Key of B Major, German Designation) H Moll H dur C HAHAH DOOR C (key of B major, German designation) H moll C h moll C HAHAH MAWL C (key of b minor, German designation) Ha fortune C Ha, fortune C ah, fawr-tün C (anonymous composition) Ha lachma anya C Ha Lachma Anya C hah lahh-MAHAH-nee-ah C (a song sung in Aramaic [a-ruh-MAY-ick] at Passover) Ha wie will ich triumphieren C Ha! Wie will ich triumphieren C HAH! VEE vill ihh tree-ôôm- FEE-runn C (aria from the opera Die Entführung aus dem Serail [dee ennt-FÜ-rôông ahoowss daym zay-RAHIHL] — The Abduction from the Harem; music by Wolfgang Amadeus Mozart [VAWLF-gahng ah-mah-DAY-ôôss MO-tsart]; libretto by Johann Gottlieb Stephanie [YO- hahn GAWT-leep SHTEH-fah-nee] after Christoph Friedrich Bretzner [KRIH-stawf FREET- rihh BRETTSS-nur]) Haage C Peter Haage C PAY-tur HAHAH-guh Haan C Willem de Haan C WILL-lumm duh HAHAHN Haanshus C Arne Haanshus C AR-nuh HAWNSS-hewss Haapanen C Toivo Haapanen C TAWIH-vaw HAHAH-pah-nenn C (known also as Toivo Elias [EH-lih-ahss] Haapanen) Haar C James Haar C JAYMZ HAR Haarklou C Johannes Haarklou C yoo-HAHN-nuss HAWR-klo Haas C Joseph Haas C YOHOH-zeff HAHAHSS Haas C Karl Haas C KARL HAHAHSS C (known also as Karl Wilhelm Jacob [VILL-hellm YAHAH-kawp] Haas) Haas C Monique Haas C maw-neek hahss Haas C Pavel Haas C PAH-vell HAHAHSS Haas C Robert Haas C ROHOH-bert HAHAHSS C (known also as Robert Maria [mah-REE- ah] Haas) Haas C Werner Haas C VEHR-nur HAHAHSS Haase C Hans Haase C HAHNSS HAHAH-zuh Haaser C Hans Richter-Haaser C HAHNSS RIHH-tur-HAHAH-zur Haba C Alois Hába C AH-law-iss HAHAH-bah Haba C Karel Hába C KAH-rell HAHAH-bah Habanera C ah-bah-NAY-rah C (a dance) C (excerpt from the opera Carmen [KAR-m’n]; music by Georges Bizet [zhawrzh bee-zay]; libretto by Henri Meilhac [ah6-ree meh-yack] and Ludovic Halévy [lü-daw-veek ah-lay-vee]) Habeneck C François-Antoine Habeneck C frah6-swah ah6-twahn ah-buh-neck Haberbier C Ernst Haberbier C EHRNST HAH-ber-peer Haberl C Franz Xaver Haberl C FRAHNTSS KSAH-ver HAH-berl Habert C Johannes Evangelista Habert C yo-HAHN-ness ay-vahn-gay-LEESS-tah HAH-bert Habich C Eduard Habich C AY-dooart HAH-bihh Hac in anni ianua C HAHK inn AHN-nih IHAH-nôôuh C (In This, the Doorway to the Year) C (anonymous composition) Hac valle florida C In hac valle florida C inn hahk VAHL-lay FLO-rih-duh C (poem by Benedictheuem [beh-neh-DEEK-toy-emm] set to music by John Playford [JAHN PLAY-furd]) Hacar C Carlos Hacar C KAR-lawss ah-KAR Hackh C Otto Hackh C AHT-toh HAHK C (known also as Otto Christoph [KRISS-tawf] Hackh) Had i jubals lyre C O Had I Jubal's Lyre C (O had I) JOO-b'lz L¦R C (excerpt from the oratorio Joshua [JAH-shuh-wuh]; music by George Frideric Handel [JAW-urj FRIH-duh-rick HANN-d’l] and libretto by Thomas Morell(?) [TAH-muss maw-RELL]) Hadjidakis C Manos Hadjidakis C MAH-nuss hahth-zee-TH¦-kiss C (known also as Manos Hadzidakis [hahth-zee-TH¦-kiss]) Hadow C Sir William Henry Hadow C (Sir) WILL-lihumm HENN-ree HA-doh Hadrianus C Emanuel Hadrianus C eh-MAH-nüell hahd-rihAH-nôôss C (the first name is also spelled Emmanuel [emm-MAH-nüell], and the surname is also spelled as Adriaensen, Adrianssen, Adriansen, and Adriaenssen, all pronounced ah-DREEN-sunn) Hadzhiev C Parashken Hadzhiev C pah-rash-KENN hahd-JEE-eff Hadzidakis C Manos Hadzidakis C MAH-nuss hahth-zee-TH¦-kiss C (known also as Manos Hadjidakis [MAH-nuss hahth-zee-TH¦-kiss]) Haebler C Ingrid Haebler C IHNG-gritt HEPP-lur Haec dies C HAYK DIH-ayss C (This Is the Day) C (sacred music, Latin title used by various composers) Haec est quae nescavit C HAYK esst kooay NAYSS-kuh-vitt C (antiphon [ANN-tuh-funn] by Giacomo Finetti [JAH-ko-mo fee-NAYT-tee]) Haeffner C Johann Christian Friedrich Haeffner C YO-hahn KRIH-stihahn FREET-rihh HEFF-nur Haefliger C Ernst Haefliger C EHRNST HEFF-lih-gur Haenchen C Hartmut Haenchen C HART-môôt HENN-hunn Haendel C Georg Friedrich Haendel C [GAY-awrk FREET-rihh HENN-tull] C (a German spelling and pronunciation of Handel’s original German name; see also Händel and Handel) Haendel C Ida Haendel C {¦-duh HENN-dull} EE-dah HENN-dell Haene C Rafaël D’Haene C rah-fah-ell dah-nuh Haesche C William Edwin Haesche C WILL-lihumm EDD-wunn HEHSH Hafez C Abdel Halim Hafez C AHB-duhl hah-LEEM HAH-fezz C (known also as Abdel Halim Hafez Shabana [AHB-duhl hah-LEEM HAH-fezz shah-BAH-nah]) Haffner C Carl Haffner C KARL HAHF-nur Haffner and genee C Haffner & Genée C (Carl Haffner [KARL HAHF-nur] and Richard Genée [RIH-hart zhuh-nay]) Hafgren C Lily Hafgren C LEE-lü HAHF-grenn C (known also as Lily Johana Maria [yoo- HAH-nah mah-REE-ah] Hafgren) Hagegard C Håkan Hagegård C HAW-kahn HAH-gay-gawrd Hagel C Richard Hagel C RIH-hart HAH-gull Hageman C Maurits Hageman C MO-rittss AH-kuh-mahn C (known also as Maurits Leonard [LAY-o-nart] Hageman) Hageman C Richard Hageman C {RIH-churd HAY-guh-munn} ree-shar AH-kuh-mahn Hagen C Clemens Hagen C KLAY-mennss HAH-gunn Hagen C Francis Florentine Hagen C FRANN-suss FLAW-runn-teen HAY-gunn Hagen C Friedrich Heinrich von der Hagen C FREET-rihh H¦N-rihh fawn der HAH-gunn Hagen C HAH-gunn C (character in the opera Götterdämmerung [GÖT-tur-temm-muh- rôông] — Twilight of the Gods; music and libretto by Richard Wagner [RIH-hart VAHG-nur]; libretto after Siegfrieds Tod [ZEEK-freetss TOHT] — Siegfried’s Death) Hagen C Lukas Hagen C LOO-kahss HAH-gunn Hagen C Peter Albrecht Van Hagen C {PEE-tur AHL-breckt vann HAY-gunn} PAY-tur AHL-brehht funn HAH-kunn Hagen C Theodor Hagen C TAY-o-dohohr HAH-gunn Hagen C Veronika Hagen C fay-RO-nih-kah HAH-gunn Hagen C Werner Hagen C VEHR-nur HAH-gunn Hagen groll C Walter Hagen-Groll C VAHL-tur HAH-gunn-GRAWL Hagen quartett C Hagen Quartett C HAH-gunn {kôôawr-TETT} k’var-TETT Hager C Leopold Hager C LAY-o-pawlt HAH-gur Hagerup bull C Edvard Hagerup Bull C EDD-var HAH-guh-rewp BEWL Hagg C Gustaf Wilhelm Hägg C GÜSS-tahf VEEL-hellm HEGG C (known also as Gustaf Wilhelm Hägg Peterson [PEH-ter-sawn]) Hagg C Jakob Adolf Hägg C YAHAH-kôôb AH-dôôlf HEGG Haggander C Mari Anne Häggander C MAH-rih AHN-nay HAG-gahn-dayr Haggin C Bernard H. Haggin C BUR-nurd H. HAG-gunn Hahn C Reynaldo Hahn C ray-NAHL-doh HAHN Hahn C Ulrich Hahn C ÔÔL-rihh HAHN C (the last name is also spelled Han [HAHN]; known also as Udalricus Gallus [oo-DAHL-rih-kôôss GAHL-lôôss]) Hai ben ragione C hahee bayn rah-JO-nay C (trio from the opera Il tabarro [eel tah-BAR-ro] — The Cloak; music by Giacomo Puccini [JAH-ko-mo poo-CHEE-nee]; libretto by Giuseppe Adami [joo-ZAYP-pay ah-DAH-mee] after Didier Gold [dee-deeay gawld]) Hai gia vinta la causa C Hai già vinta la causa! C HAHEE jah VEEN-tah lah KAHOO-zah! C (The Count’s aria from the opera Le nozze di Figaro [lay NOHT-tsay dee FEE-gah-ro] — The Marriage of Figaro; music by Wolfgang Amadeus Mozart [VAWLF-gahng ah-mah-DAY-ôôss MO-tsart]; libretto by Lorenzo da Ponte [lo-RAYN-tso dah POHN-tay] after Pierre-Augustin Caron de Beaumarchais [peeehr-o-güss-teh6 kah-raw6 duh bo-mar-sheh]) Haibel C Jakob Haibel C YAHAH-kawp HAHEE-buhl C (known also as Johann Petrus [YO- hahn PEH-trôôss] Jakob Haibel) Haiden C Hans Haiden C HAHNSS HAHEE-dunn C (the last name is also spelled Heyden [H¦-dunn] and Heiden [H¦-dunn]) Haiden C Sebald Haiden C ZAY-bahlt HAHEE-dunn C (the last name is also spelled Heyden [H¦-dunn] and Heiden [H¦-dunn]) Haieff C Alexei Haieff C {ah-LECK-say HAHEE-uff} ah-lyick-SAYEE HAHIH-eff C (known also as Alexei Vasilievich [vah-SEE-liheh-vihch] Haieff) Hail bright cecilia C Hail! Bright Cecilia C (Hail! Bright) suh-SEE-leeuh C (ode by Henry Purcell [HENN-ree PUR-s'l]) Haile C Eugen Haile C {yôô-JEEN HAYL} oy-GAYN HAHIH-luh Hailstork C Adolphus Hailstork C ah-DAWL-fuss HAYL-stawrk C (known also as Adolphus Cunningham [KUNN-nihng-umm] Hailstork) Haim C Nicola Francesco Haim C nee-KO-lah frahn-CHAY-sko AHEEM C (the last name is also spelled Haym [¦M]) Haim C Paul Ben-Haim C PAWL BENN-HAYM Hainl C François Hainl C frah6-swah ahee-n’l Haitink C Bernard Haitink C BEHR-nart HAHIH-tihngk C (known also as Bernard Johann Herman [YO-hahn HEHR-mahn] Haitink) Haitzinger C Anton Haitzinger C AHN-tohohn HAHEET-tsihng-ur C (the last name is also spelled Haizinger [HAHEE-tsihng-ur]) Haizinger C Anton Haizinger AHN-tohohn HAHEE-tsihng-ur C (the last name is also spelled Haitzinger [HAHEET-tsihng-ur]) Hajdu C Andre Hajdu C ahn-DRAY HAH-djoo C (Hebrew pronunciation) Hajdu C André Hajdu C AHN-dray H¦-dôô C (Hungarian pronunciation) Hajdu C Lóránt Hajdú C LOHOH-rahahnt H¦-doo Hajdu C Mihály Hajdu C mih-HAHAH-yee H¦-dôô Hajek C Horst Hajek C HAWRST HAH-yeck Hajossyova C Magdalena Hajossyova C MAHG-dah-leh-nah HAH-yohsh-sheeo-vah Hakansson C Knut Håkansson C k’NÜT HAW-kahn-sawn C (known also as Knut Algot [AL- gawt] Håkansson) Haken C Eduard Haken C EH-dôôart HAH-kenn Hakim C Talib Rasul Hakim C tah-LEEB rah-SOOL hah-KEEM Haladyna C Jeremy Haladyna C JEH-ruh-mee hah-lah-DEE-nah Halasz C László Halász C {LAHSS-lo HAH-lahss} LAHAHSS-lohoh HAH-lahahss Hale C Adan de la Hale C ah-dah6 duh lah ahl C (known also as Adam de la Halle [ah-dah6 duh lah ahl], Adan le Bossu [ah-dah6 luh bawss-sü], Adan le Boscu d’Arras [ah-dah6 luh bawss-kü dar-rah], and Adan d’Arras [ah-dah6 dar-rah]) Haleluya pelo tsa rona C Haleluya! Pelo tsa rona C hah-lay-LOO-yah! PAY-lo tsah RO-nah C (traditional South African hymn) Halem C Victor von Halem C FICK-tawr fawn HAH-lumm Halevy C Fromental Halévy C fraw-mah6-tahl ah-lay-vee C (known also as Jacques- François-Fromental-Elie Halévy [zhack-frah6-swah-fraw-mah6-tahl-eh-lee ah-lay-vee]) Halevy C Ludovic Halévy C lü-daw-veek ah-lay-vee Halewijn C Herman Halewijn C HEHR-mahn HAHAH-leh-wayn Halffter C Cristóbal Halffter C kreess-TOH-vahl
Load more

Recommended publications
  • Mozartin Figaron Häät – Maailman Paras Oopperako?
    Marjut Haussila MOZARTIN FIGARON HÄÄT: MAAILMAN PARAS OOPPERAKO? Savonlinnan kirjastossa to 16.7.2015 Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Riitta-Liisa Lempinen-Vesa kommentoi oopperajuhlia Itä-Savossa 3.7.2015: Sama kunnianhimo ja laadun ajatus saattaa levitä myös ympäröivään toimintaan. Luovuuden ilmapiiri ja korkean tason sisäinen vaatimus leviävät arkielämäänkin kuin huomaamatta. Niistä saa eväitä, joilla kaupunki voi pärjätä ympäri vuoden, lamankin keskellä. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Matti Salminen Musorgski-projektista Savonlinna Opera Festival 2015 -julkaisussa: Tämä on valtava draama, se pitää uskaltaa tehdä kunnolla eikä säämiskähansikkain. Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Laadun kriteerejä, jotka liittyvät eri tavoin teokseen: •kokemus ja viisaus •tuore näkökulma ja osaaminen -> erilaisuus -> kriittisyys, luova ote ja tiimityö Luovuus -> luova teko, tuotos tai teos -> uusi idea, esine tai palvelu tai toimintatapa •design •immateriaalinen luovuus •rikkoa, hämmentää, sekoittaa, ‘jazzin’n’jammin’ Le Nozze di Figaro M. Haussila Savonlinnan kirjasto 16.7.2015 Aivotutkija Riitta Hari kirjassa Kaikki evoluutiosta (2009): •homo sapiens syntyi 100 000- 200 000 vuotta sitten •aivojen koko jo pitkään vastaava kuin nykyihmisillä lajin levitessä Afrikasta 60 000 vuotta sitten •kognitiivinen kapasiteetti alkoi kehittyä nopeasti noin 10 000 vuotta sitten •maanviljelys alkoi tuolloin ja esineet ja materiaalit tärkeämmiksi Hari kysyy, oliko syynä geenimutaatio
    [Show full text]
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Pace Final 26.11.15
    Positions, Methodologies and Aesthetics in the Published Discourse about Brian Ferneyhough: A Critical Study Ian Pace1 Since Brian Ferneyhough achieved a degree of public recognition following the premiere of his Transit (1972-75) in March 1975 at the Royan Festival, a range of writings on and reviews of his work have appeared on a relatively regular basis. The nature, scope, style, and associated methodologies of these have expanded or changed quite considerably over the course of Ferneyhough's career––in part in line with changes in the music and its realization in performance––but nonetheless one can discern common features and wider boundaries. In this article, I will present a critical analysis of the large body of scholarly or extended journalistic reception of Ferneyhough's work, identifying key thematic concerns in such writing, and contextualizing it within wider discourses concerning new music. Several key methodological issues will be considered, in particular relating to intentionality and sketch study, from which I will draw a variety of conclusions that apply not only to Ferneyhough, but to wider contemporary musical study as well. Early Writings on Ferneyhough The first extended piece of writing about Ferneyhough's work was an early 1973 article by Elke Schaaf2 (who would become Ferneyhough's second wife),3 which deals with Epicycle (1968), Missa Brevis (1969), Cassandra's Dream Song (1970), Sieben Sterne (1970), Firecyle Beta (1969-71), and the then not-yet-complete Transit. Schaaf’s piece already exhibits one of the most
    [Show full text]
  • Core Reading List for M.A. in German Period Author Genre Examples
    Core Reading List for M.A. in German Period Author Genre Examples Mittelalter (1150- Wolfram von Eschenbach Epik Parzival (1200/1210) 1450) Gottfried von Straßburg Tristan (ca. 1210) Hartmann von Aue Der arme Heinrich (ca. 1195) Johannes von Tepl Der Ackermann aus Böhmen (ca. 1400) Walther von der Vogelweide Lieder, Oskar von Wolkenstein Minnelyrik, Spruchdichtung Gedichte Renaissance Martin Luther Prosa Sendbrief vom Dolmetschen (1530) (1400-1600) Von der Freyheit eynis Christen Menschen (1521) Historia von D. Johann Fausten (1587) Das Volksbuch vom Eulenspiegel (1515) Der ewige Jude (1602) Sebastian Brant Das Narrenschiff (1494) Barock (1600- H.J.C. von Grimmelshausen Prosa Der abenteuerliche Simplizissimus Teutsch (1669) 1720) Schelmenroman Martin Opitz Lyrik Andreas Gryphius Paul Fleming Sonett Christian v. Hofmannswaldau Paul Gerhard Aufklärung (1720- Gotthold Ephraim Lessing Prosa Fabeln 1785) Christian Fürchtegott Gellert Gotthold Ephraim Lessing Drama Nathan der Weise (1779) Bürgerliches Emilia Galotti (1772) Trauerspiel Miss Sara Samson (1755) Lustspiel Minna von Barnhelm oder das Soldatenglück (1767) 2 Sturm und Drang Johann Wolfgang Goethe Prosa Die Leiden des jungen Werthers (1774) (1767-1785) Johann Gottfried Herder Von deutscher Art und Kunst (selections; 1773) Karl Philipp Moritz Anton Reiser (selections; 1785-90) Sophie von Laroche Geschichte des Fräuleins von Sternheim (1771/72) Johann Wolfgang Goethe Drama Götz von Berlichingen (1773) Jakob Michael Reinhold Lenz Der Hofmeister oder die Vorteile der Privaterziehung (1774)
    [Show full text]
  • Staging Memory: the Drama Inside the Language of Elfriede Jelinek
    Studies in 20th & 21st Century Literature Volume 31 Issue 1 Austrian Literature: Gender, History, and Article 13 Memory 1-1-2007 Staging Memory: The Drama Inside the Language of Elfriede Jelinek Gita Honegger Arizona State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Honegger, Gita (2007) "Staging Memory: The Drama Inside the Language of Elfriede Jelinek," Studies in 20th & 21st Century Literature: Vol. 31: Iss. 1, Article 13. https://doi.org/10.4148/2334-4415.1653 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Staging Memory: The Drama Inside the Language of Elfriede Jelinek Abstract This essay focuses on Jelinek's problematic relationship to her native Austria, as it is reflected in some of her most recent plays: Ein Sportstück (A Piece About Sports), In den Alpen (In the Alps) and Das Werk (The Plant). Taking her acceptance speech for the 2004 Nobel Prize for Literature as a starting point, my essay explores Jelinek's unique approach to her native language, which carries both the burden of historic guilt and the challenge of a distinguished, if tortured literary legacy. Furthermore, I examine the performative force of her language. Jelinek's "Dramas" do not unfold in action and dialogue, rather, they are embedded in the grammar itself.
    [Show full text]
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
    University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.
    [Show full text]
  • Chronology 1916-1937 (Vienna Years)
    Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere
    [Show full text]
  • Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
    DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development.
    [Show full text]
  • LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography
    LOS ANGELES PHILHARMONIC and ESA-PEKKA SALONEN Discography DEUTSCHE GRAMMOPHON SALONEN: Piano Concerto; Helix; Dichotomie (Yefim Bronfman, piano) STRAVINSKY: The Rite of Spring; MUSSORGSKY: Night on Bald Mountain (original version); BARTÓK: The Miraculous Mandarin Suite NONESUCH ADAMS: Naive and Sentimental Music ONDINE SAARIAHO: Du cristal ... à la fumée (Petri Alanko, alto flute; Anssi Karttunen, cello) PHILIPS CLASSICS BARTÓK: Violin Concerto No. 2; STRAVINSKY: Violin Concerto (Viktoria Mullova, violin) SONY CLASSICAL BACH: Transcriptions for Orchestra (by Elgar, Mahler, Schoenberg, Stokowski, Webern) BARTÓK: Concerto for Orchestra; Music for Strings, Percussion, and Celesta BARTÓK: Piano Concertos Nos. 1, 2, and 3 (Yefim Bronfman, piano) BRUCKNER: Symphony No. 4, “Romantic” DEBUSSY: Prélude à l’après-midi d’un faune; La mer; Images pour orchestre DEBUSSY: Trois nocturnes (Women of the Los Angeles Master Chorale); Le martyre de St. Sébastien (Fragments symphoniques); La damoiselle élue (Dawn Upshaw, soprano; Paula Rasmussen, mezzo-soprano; Women of the Los Angeles Master Chorale) HERRMANN: Suites from Psycho, Marnie, Vertigo, Fahrenheit 451, and Taxi Driver; Prelude to The Man Who Knew Too Much; Overture to North by Northwest; excerpts from Torn Curtain HINDEMITH: Mathis der Maler Symphony; Symphonic Metamorphosis on Themes by Carl Maria von Weber; Four Temperaments (Emanuel Ax, piano) LUTOSLAWSKI: Symphony No. 2; Piano Concerto (Paul Crossley, piano); Chantefleurs et Chantefables (Dawn Upshaw, soprano); Fanfare for Los Angeles Philharmonic LUTOSLAWSKI: Symphony No. 3; Les espaces du sommeil (John Shirley-Quirk, baritone); Symphony No. 4 MAHLER: Symphony No. 3 (Anna Larsson, contralto; Paulist Boy Choristers of California) MAHLER: Symphony No. 4 (Barbara Hendricks, soprano) MAHLER: Das Lied von der Erde (Plácido Domingo, tenor; Bo Skovhus, baritone) MARSALIS: All Rise (Wynton Marsalis, trumpet; Lincoln Center Jazz Orchestra; singers) PROKOFIEV: Violin Concertos Nos.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 80, 1960-1961, Subscription
    V^ V \ ^h- >J r B OSTON SYMPHONY ORCH E STRA FOUNDED IN 1881 BY A -^_7^ EIGHTIETH SEASON 1 960 - 1961 I •aNnuA Ante BAYARD TUCKERMAN, JR. ARTHUR J. ANDERSON ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON, JR. HERBERT S. TUCKERMAN J. DEANE SOMERVILLE We blueprint the basic structure for the insurance of our clients and build their protection on a sound foundation. Only by a complete survey of needs, followed by intelligent counsel, can a proper insur- ance program be constructed. Without obligation on your part, we would be happy to act as your insurance architects. Please call us at any time. CHARLES H. WATKINS & CO. RICHARD P. NYQUIST in association with OBRION, RUSSELL & CO. When You Think of Insurance . Think of us! 141 Milk Street Boston 6, Massachusetts HU bbard 2-6200 EIGHTIETH SEASON, 1960-1961 Boston Symphony Orchestra CHARLES MUNCH, Music Director Richard Burgin, Associate Conductor CONCERT BULLETIN with historical and descriptive notes by John N. Burk Copyright, I960, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot • President Talcott M. Banks • Vice-President Richard C. Paine • Treasurer Theodore P. Ferris John T. Noonan Francis W. Hatch Palfrey Perkins Harold D. Hodgkinson Sidney R. Rabb C. D. Jackson Charles H. Stockton E. Morton Jennings, Jr. John L. Thorndike Henry A. Laughlin Raymond S. Wilkins Oliver Wolcott TRUSTEES EMERITUS Philip R. Allen M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Edward A. Taft Thomas D. Perry, Jr., Manager S. Shirk Norman James J. Brosnahan Assistant Manager Business Administrator Leonard Burkat Rosario Mazzeo Music Administrator Personnel Manager SYMPHONY HALL BOSTON 15 [259] .
    [Show full text]
  • A Hero's Work of Peace: Richard Strauss's FRIEDENSTAG
    A HERO’S WORK OF PEACE: RICHARD STRAUSS’S FRIEDENSTAG BY RYAN MICHAEL PRENDERGAST THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Music in Music with a concentration in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2015 Urbana, Illinois Adviser: Associate Professor Katherine R. Syer ABSTRACT Richard Strauss’s one-act opera Friedenstag (Day of Peace) has received staunch criticism regarding its overt militaristic content and compositional merits. The opera is one of several works that Strauss composed between 1933 and 1945, when the National Socialists were in power in Germany. Owing to Strauss’s formal involvement with the Third Reich, his artistic and political activities during this period have invited much scrutiny. The context of the opera’s premiere in 1938, just as Germany’s aggressive stance in Europe intensified, has encouraged a range of assessments regarding its preoccupation with war and peace. The opera’s defenders read its dramatic and musical components via lenses of pacifism and resistance to Nazi ideology. Others simply dismiss the opera as platitudinous. Eschewing a strict political stance as an interpretive guide, this thesis instead explores the means by which Strauss pursued more ambiguous and multidimensional levels of meaning in the opera. Specifically, I highlight the ways he infused the dramaturgical and musical landscapes of Friedenstag with burlesque elements. These malleable instances of irony open the opera up to a variety of fresh and fascinating interpretations, illustrating how Friedenstag remains a lynchpin for judiciously appraising Strauss’s artistic and political legacy.
    [Show full text]
  • Concerts Conducted by Carl Schuricht Including Music of Anton Bruckner (1912-1965) Original Source
    Concerts conducted by Carl Schuricht including music of Anton Bruckner (1912-1965) Original source : http://carlschuricht.com/concert.htm Important Dates 3 July 1880 : Carl Adolph Schuricht was born at Danzig (Gdansk) into a family of organ-builders. His father, Carl Conrad Schuricht was born on 27 January 1856. He was an organ-builder and worked at his father's factory. He died on 9 June 1880 (3 weeks before his son was born !) when he tried to help an employee fallen into the sea, in the bay of Danzig. His mother, Amanda Ludowika Alwine Wusinowska was a well-known Polish Oratorio singer (1847-1935) . She didn't re-marry after her husband's death. 1886 : Began piano and violin lessons at the age of 6. Studied at the « Friedrichs Realgymnasium » in Berlin. 1891 : Began to compose at the age of 11. 1892 : Studied at the « Königliches Realgymnasium » in Wiesbaden. Written the music and the librettos for 2 Operas. 1895 : Started conducting at the age of 15. 1901-1902 : 1st professional job as « Korrepetitor » at the « Stadttheater » of Mainz. 1902 : Won a composition prize from the Kuszynski Foundation, and awarded a scholarship by Franz von Mendelssohn. Allowed him to continue his studies at the « Berliner Musikhochschule » (« der Königlichten Hochschule für Musik ») under Ernst Rudorff, piano ; Heinrich van Eyken (and not Engelbert Humperdink) , composition ; and, later, Max Reger in Leipzig. His musical compositions were published mostly by Drei-Lilien-Verlag, Berlin. Opus 1 : Piano Sonata in F minor. Opus 2 : « Herbst-Stücke » (Opuscules for autumn) for piano and orchestra. Opus 3 : « Fünf Lieder » (5 Songs) .
    [Show full text]