DOCSLIB.ORG

Four Passionate Song Cycles at Cadogan Hall

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Four Passionate Song Cycles at Cadogan Hall Respighi, Berlioz, Vaughan Williams, and the world première of Michael Pringsheim’s Eichendorff Liederkreis Four passionate song cycles at Cadogan Hall CyclesTuesday 16th September 7.30pm London Lyric Opera Cycles at Cadogan Hall Tuesday 16 September at 7.30pm Madeleine Lovell: Conductor St George’s Chamber Orchestra Katherine Broderick: Soprano Julietta Demetriades: Soprano Anando Mukerjee: Tenor James Hancock: Baritone Programme: Mendelssohn: Die schöne Melusine Overture, op. 32 Respighi: Deità silvane, P.147 Berlioz: Les nuits d’été, Op.7 Michael Pringsheim: Eichendorff Liederkreis (world première) Ravel: Pavane pour une infante défunte Vaughan Williams: Songs of Travel (orch. RVW and Roy Douglas) Sponsored by Wardour London Lyric Opera A message from our Patron by Isla Baring Welcome to London Lyric Opera’s Cycles. Our next concert is Richard Wagner’s I would like to personally thank the The idea for tonight’s concert came from masterpiece, The flying Dutchman, at the following for their contributions: Madeleine Michael Pringsheim, composer of the Barbican on Thursday 27th November at Lovell, for her informative notes on the Eichendorff Liederkreis. As he says later in 7.00pm. Our principal conductor, one of music; Dr Leo Mellor for his fascinating this programme, he was inspired to write the UK’s most distinguished Wagnerians, exploration of the poetry that inspired his music by the works for soprano and Lionel Friend, will conduct the Royal tonight’s composers; David Cairns CBE, We orchestra written by Richard Strauss. His Philharmonic Orchestra, the Philharmonia a world authority on Berlioz, for his article muse has been the young Greek soprano Chorus of 100 voices and a stunning cast about Les nuits d’été; Dr William Wootten Julietta Demetriades, who will be singing of international soloists including the rising for his engaging article about the Songs celebrate tonight, and of course the Eichendorff star soprano Gweneth-Ann Jeffers making of Travel and Michael Pringsheim for poems. To complement the world première her role debut as Senta, James Hancock his delightful note about his work and of his new cycle, we will explore the rich singing the Holländer and Jeffrey Lloyd- life. Renowned critic and broadcaster, Romanticism of Berlioz’s Les nuits d’été, Roberts as the spurned lover, Erik. Uncut John Amis will entertain you before the life through the mystical sincerity of Vaughan Williams’ and in the original keys, this is a must-see performance with a pre-performance Songs of Travel and the evanescent for any admirer of this great composer. talk that should put you in the mood for colours of Respighi’s Deità silvane. On February 17th 2009, LLO is back at an evening of orchestral song. music Conducted by the brilliant Madeleine Cadogan Hall performing Beethoven’s We have almost finished our planning Lovell, with the St George’s Chamber Fidelio. Starring critically acclaimed for the 2009/10 season. To be kept Orchestra, the programme is completed dramatic soprano Elizabeth Connell as up to date with future events, please with two purely orchestral narratives – Leonore and Jeffrey Lloyd-Roberts as send your contact details to info@ Mendelssohn’s evocation of the legendary Florestan, this performance promises to londonlyricopera.com and we will happily Melusine and Ravel’s Pavane. be an unforgettable evening. Madeleine keep you informed. Lovell will return to conduct the RPO and We have been fortunate to find four singers Philharmonia Chorus. I hope you enjoy tonight’s who can share these great works with you. performance and look forward to Anando Mukerjee, tenor, will be singing It is my pleasure to be Patron of London seeing you at The flying Dutchman at the rarely performed Deità silvane by Lyric Opera in this its first year. It is an the Barbican. Ottorino Respighi; Kathleen Ferrier Award exciting time for us all but impossible winner, Katherine Broderick, soprano, without your support. Opera is an will present Berlioz’s Les nuits d’été and expensive and labour intensive business. James Hancock, baritone, sings Vaughan LLO has various levels of sponsorship William’s Songs of Travel. This being the available plus a Friends scheme that offers 50th anniversary of the passing of this great an opportunity for individuals to contribute Isla Baring English composer, we celebrate his life and to our work. More information about this Patron works through his music. can be found later in this programme. I London Lyric Opera would like to make special mention here of LLO is a new concert opera company Wardour , one of our key sponsors. Led by performing at Cadogan Hall and the CEO Martin MacConnol, Wardour’s Design Barbican. Our focus is the under- Director, Lisa Cromer and her brilliant team performed German and English repertory of designers have been instrumental in and we will produce an annual concert getting LLO here tonight. dedicated to orchestral song. Our commitment to you, our audience, is that we will never offer reduced orchestrations and will always aim for the highest possible musical standards. London Lyric Opera ESSAY Music and Stories by Madeleine Lovell Felix Mendelssohn (1809-18) opening passage is the embodiment of quickly as the text’s images change – the Hector Berlioz (180-189) Overture Die schöne Melusine (1834) calm waters – in constant motion and yet murmuring of the rivers, the irresistible Les nuits d’été, Op.7 (1840-41, static – and it provides the perfect foil for energy of the fauns, the lascivious zephyrs orchestrated 1843-56) The overture Die schöne Melusine (The the dramatic, pulsating second section. – so Respighi responds in his setting. i Villanelle Beautiful Melusine) has a significant The prevailing musical motive, however, ii Le spectre de la rose position in Mendelssohn’s compositional is a tightly dotted pentatonic figure – a iii Sur les lagunes: Lamento development: it is his last major example Ottorino Respighi (189-19) nod to the musical antiquity of the French iv Absence of an instrumental work inspired by a Deità silvane (1917, orchestrated 1925) Baroque, and a fitting accompaniment for v Au cimetière story or programme. The lukewarm critical I fauni this classical tableau. The fauns’ jesting vi L’île inconnue response to Melusine, reinforced by the Musica in horto pursuit and the nymphs’ escape is expertly ambivalent reaction of Felix’s sister Fanny, Egle constructed with the accelerating dotted Les nuits d’été began life in 1840-41 as perhaps convinced Mendelssohn to Acqua motive breaking into a gallop, propelling a cycle for voice and piano. The poems turn to other areas of composition. The Crepuscolo the song to its ecstatic climax. are from a collection of 1838 by Berlioz’s composer’s frustration with the overture’s friend and fellow critic Théophile Gautier cool reception was surely heightened by Best known for his Roman trilogy of The sound of clashing finger cymbals (one is (1811-72) titled La Comédie de la mort. his own knowledge that it was one of his orchestral works, Ottorino Respighi was a reminded here of the cymbales antiques of From the poésies diverses in the second finest works, every bit the equal of his musician and scholar of wide interests and another Arcadian work – Debussy’s Prélude half of the volume Berlioz selected six earlier masterpiece, the Hebrides Overture. impressive training. He began his studies à l’après-midi d’un faune) permeates poems for setting to music, giving the with the violin and viola in his native Musica in horto. While in Egle the nymph’s collection his own title, Summer Nights. The original French legend tells of Bologna under the tutelage of Federico languid steps are conjured in exquisite sound We don’t know why he composed them Melusine, the daughter of a fairy, who Sarti, but composition soon became a with a sinuous waltz melody played by flute. or for whom – evidently they weren’t marries Raymondin on the condition that vital channel for Respighi’s artistry. Having The continual motion of the water is evoked written on commission or for any specific he never look at her on Saturdays, for completed his studies in 1899, he went in Acqua by means of a rocking ostinato occasion. Unlike Berlioz’s best-known and it is on this day each week that she is the following year to St. Petersburg as scored initially for the xylophone and horn most characteristic compositions, these transformed into a serpent from the hips principal viola player at the Imperial opera. – an inspired coupling. are private, even personal works, and down. Eventually Raymondin succumbs It was in Russia, where he spent the he seemed reluctant to put them in the to curiosity and breaks his promise. seasons of 1901-1902 and 1903-1904, It is only in Crepuscolo that the cyclical public spotlight. On seeing Melusine transformed into a that he took lessons in composition and nature of Deità silvane is fully revealed. The serpent, she disappears for ever. orchestration from Rimsky-Korsakov. In sombre twilight is conveyed by a slowly It was for his mistress, Marie Recio, that spite of Respighi’s growing reputation as shifting opening in the extraordinarily dark Berlioz first orchestrated one of the Gautier The version which inspired Mendelssohn’s a performer he maintained his interest in key of E flat minor. At the discovery of songs, Absence, which she introduced overture, an operatic setting by Conradin earlier music and in composition. the slumbering Pan, however, the fauns’ in Dresden in February 1843 while the Kreutzer which Felix saw (and hated) in neo-classical dotted motive returns, and as couple were engaged in a grand concert 1833, portrays Melusine as more mermaid As a musicologist with a keen interest thoughts turn to the nymph who might one tour.
Load more

Recommended publications
  • The Authenticity of Genius Transcript
    The Authenticity of Genius Transcript Date: Tuesday, 15 February 2011 - 1:00PM Location: Museum of London Gresham Lecture, 15 February 2011 The Authenticity of Genius Professor Christopher Hogwood You see that I have arrived with eight accomplices today, all named on the programme sheet. I shall just tell you how we arrived at this and the purpose. As you know, the overriding theme of these six lectures, this year has been the theme of authenticity. We have done various aspects such as whether the piece in question is what it says on the tin and that sort of thing. Last time, there were many fakes. The next lecture was going to be taking the story of music, as it were, from the manuscript, or from the library stage, into the sort of thing you can pick off the shelf and buy – i.e. the work of the musicologist, the librarian and the historian. The final lecture will carry that story on - dealing with the business of picking the printed volume off the shelf and deciding to include it in a recital, in a concert, in a recording, and for that, I will be joined by Dame Emma Kirby. We will talk about what goes on in a performer’s life and in a performer’s mind when faced with a new piece of repertoire and how you bring it to life respectably from the silent piece of music that you took from the library or bought off the shelf. That does seem to leave one stage missing - the stage before the thing hits the paper, which is what goes on to create this music, and that is why we have “Authenticity of Genius” today.
    [Show full text]
  • Thomas D. Svatos and Twentieth-Century Czech Critical Culture
    ex tempore A Journal of Compositional and Theoretical Research in Music Vol. XIV/2, Spring / Summer 2009 _________________________ A Clash over Julietta: the Martinů/Nejedlý Political Conflict - Thomas D. Svatos and Twentieth-Century Czech Critical Culture Dialectic in Miniature: Arnold Schoenberg‟s - Matthew Greenbaum Sechs Kleine Klavierstücke Opus 19 Stravinsky's Bayka (1915-16): Prose or Poetry? - Marina Lupishko Pitch Structures in Reginald Smith Brindle’s -Sundar Subramanian El Polifemo de Oro Rhythmic Cells and Organic Development: - Jean-Louis Leleu The Function of Harmonic Fields in Movement IIIb of Livre pour quatuor by Pierre Boulez Analytical Diptych: Boulez Anthèmes / Berio Sequenza XI - John MacKay co-editors: George Arasimowicz, California State University, Dominguez Hills John MacKay, West Springfield, MA associate editors: Per Broman, Bowling Green University Jeffrey Brukman, Rhodes University, RSA John Cole, Elisabeth University of Music, JAP Angela Ida de Benedictis, University of Pavia, IT Paolo Dal Molin, Université Paul Verlaine de Metz, FR Alfred Fisher, Queen‟s University, CAN Cynthia Folio, Temple University Gerry Gabel, Texas Christian University Tomas Henriques, Universidade Nova de Lisboa, POR Timothy Johnson, Ithaca College David Lidov, York University, CAN Marina Lupishko, le Havre, FRA Eva Mantzourani, Canterbury Christchurch Univ, UK Christoph Neidhöfer, McGill University, CAN Paul Paccione, Western Illinois University Robert Rollin, Youngstown State University Roger Savage, UCLA Stuart Smith, University of Maryland Thomas Svatos, Eastern Mediterranean Univ, TRNC André Villeneuve UQAM, CAN Svatos/A Clash over Julietta 1 A Clash over Julietta: The Martinů/Nejedlý Political Conflict and Twentieth-Century Czech Critical Culture Thomas D. Svatos We know and honor our Smetana, but that he must have been a Bolshevik, this is a bit out of hand.
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G. Phd, Mphil, Dclinpsychol) at the University of Edinburgh
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Desire for Perpetuation: Fairy Writing and Re-creation of National Identity in the Narratives of Walter Scott, John Black, James Hogg and Andrew Lang Yuki Yoshino A Thesis Submitted to The University of Edinburgh for the Degree of Doctor of Philosophy Department of English Literature 2013 Abstract This thesis argues that ‘fairy writing’ in the nineteenth-century Scottish literature serves as a peculiar site which accommodates various, often ambiguous and subversive, responses to the processes of constructing new national identities occurring in, and outwith, post-union Scotland. It contends that a pathetic sense of loss, emptiness and absence, together with strong preoccupations with the land, and a desire to perpetuate the nation which has become state-less, commonly underpin the wide variety of fairy writings by Walter Scott, John Black, James Hogg and Andrew Lang.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Wiccan Handbook
    DPC DRAGON PALM CIRCLE Wiccan Handbook WiccanHandbook DRAGON PALM CIRCLE Wiccan Handbook Dragon Palm Circle Sevierville, TN 4th Edition July 2002 Compiled by Dreamweaver 1st edition January 1998 2nd edition March 2000 3rd edition August 2001 Table of Contents Introduction i Day 17 Lunar Magick 17 C H A P T E R 1 Lunar Cycles 17 Wiccan Rede 1 Lunar Month 18 Blessing for a Child 2 Witches Rune 2 Witches Creed 2 Charge of the Goddess 3 C H A P T E R 2 Signs 5 Number, planets, and signs 5 Number system for letters 6 C H A P T E R 3 Wiccan Rede 7 Three Fold Law 7 Wiccan Code of Chivalry 7 C H A P T E R 4 Calling Quarters 10 C H A P T E R 5 Colors 12 C H A P T E R 6 Herbs, stones, and colors 13 Eleminals 16 C H A P T E R 7 Introduction This is a book of information that include laws, poems, and what different things mean. This book is not a book to learn Wicca, but a handbook that contains some things that can be useful in putting together spells and rituals. The Wiccan Handbook This handbook has been put together to give you information you may need in forming rituals and participating in rituals. This will not include everything, but enough to get you started. Note about edition: Items are added and taken away depending upon the usefulness of the items. This is a good book to have in Circles for the Rede and Rune.
    [Show full text]
  • November 8, 2020 Twenty-Third Sunday After Pentecost Proper 27 Website: Stpaulsokc.Org
    November 8, 2020 Twenty-third Sunday after Pentecost Proper 27 Website: stpaulsokc.org Prelude Wachet auf! ruft uns die Stimme 2. Zion hears the watchman singing; (Sleepers, wake! a voice astounds us) her heart with joyful hope is springing, J.S. Bach she wakes and hurries through the night. Forth he comes, her Bridegroom glorious Welcome in strength of grace, in truth victorious: Welcome to St. Paul’s Episcopal Cathedral; we are her star is risen, her light grows bright. so glad you are here. St. Paul’s is a safe and welcom- Now come, most worthy Lord, ing place for all people. If you are new to St. Paul’s God’s Son, Incarnate Word, we encourage you to get connected with our weekly Alleluia! email newsletter. You can sign up online at We follow all and heed your call stpaulsokc.org. to come into the banquet hall. A friendly reminder to those who are worshiping in- 3. Lamb of God, the heavens adore you; person, please have your mask on (covering your let saints and angels sing before you, mouth and nose) and maintain social distancing at as harps and cymbals swell the sound. all times during the service. Additionally, we cannot Twelve great pearls, the city’s portals: have congregational singing at this time, so during through them we stream to join the immortals the hymns we invite you to listen to the choristers and as we with joy your throne surround. follow along with the words printed in the bulletin. No eye has known the sight, We thank you in advance for adhering to these Dioc- no ear heard such delight: esan protocols which keep us all safe and allow for us Alleluia! to worship in-person.
    [Show full text]
  • Our Newly Designed Website We Are Happy to Announce That the Twin Cities Opera Guild Has a New Website That Can Now Be Accessed on Your Phone
    Celebrating 69 Years of Opera Education for Children Summer 2021 Newsletter 2021 Spring Benefit to Fund Music Education for Children Enjoy A Virtual Celebration – A Video from Fargo Moorhead Opera Young Artists August 24, 2021 Interlachen Country Club • Edina Featuring Alyssa Anderson, Mezzo Soprano Justin Spenner, Baritone Julian Ward, Pianist Our Newly Designed Website We are happy to announce that the Twin Cities Opera Guild has a new website that can now be accessed on your phone. Check us out at: www.twincitiesoperaguild.org on your computer or phone Letter from the President of TCOG It looks like we made it! We are Country Club and the delicious miso sea bass, so we at the end of the tunnel, and it are holding our fun Party in Pink, with sea bass, at looks bright and sunny. All of us Interlachen on August 24. I am so looking forward to suffered in many ways – illness, hearing opera in person again! Details are elsewhere grief, loneliness. Getting my in this newsletter. I hope everyone can come! Our Big Welcome Back Party vaccine in February was the best This is my last letter as President. I have enjoyed thing imaginable, I could reenter meeting you all, our events, and projects. Twin Cities the world. Opera Guild is in fine shape, and our new President, TCOG decided to wait a bit before resuming our Kathryn Keefer, has a long history with TCOG and events, to give folks time to get vaccinated and adjust will do a wonderful job. I hope to see you all at our to the new maskless world.
    [Show full text]
  • The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
    The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: O Lynn, Aidan Anthony Title: Ghosts of War and Spirits of Place Spectral Belief in Early Modern England and Protestant Germany General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Ghosts of Place and Spirits of War: Spectral Belief in Early Modern England and Protestant Germany Aidan Anthony O’Lynn A dissertation submitted to the University of Bristol in accordance with the requirements for the award of the degree of Doctor of Philosophy in the Faculty of Arts School of History August 2018 Word Count: 79950 i Abstract This thesis focuses on themes of place and war in the development of ghostlore in Early Modern Protestant Germany and England.
    [Show full text]
  • C:\Users\User\Documents\04 Reimann\00A-Inhalt-Vorwort.Wpd
    Vorwort Aribert Reimann ist einer der erfolgreichsten lebenden Komponisten Deutschlands, von Publikum und Kritik gleichermaßen hoch geschätzt. Bis heute, kurz vor seinem achtzigsten Geburtstag, hat er 78 Vokalwerke kom- poniert. Dazu gehören neben drei Chorwerken und zwei Requiems vor allem Lieder mit Klavier, mit Orchester oder in verschiedenen Kammermusik- besetzungen sowie acht Opern, die weltweit aufgeführt werden. Auch den solistischen Stimmen ohne jede Instrumentalbegleitung bietet Reimann höchst anspruchsvolle Kompositionen: Innerhalb dieses noch immer relativ ungewöhnlichen Genres findet sich neben sieben textinterpretierenden Werken eine sechsteilige Reihe von ganz den ‘Farben’ der menschlichen Stimme nachspürenden Vokalisen. Eine weitere Besonderheit stellen seine Kammermusikbearbeitungen romantischer Klavierlieder von Schubert, Mendelssohn-Bartholdy, Schumann, Brahms und Liszt dar. Obwohl auch die Liste von Reimanns Instrumentalwerken umfangreich und vielfältig ist, konzentriert sich diese Studie ausschließlich auf seine Vokalmusik. Hier kann Reimann aufgrund seiner intimen Vertrautheit mit der menschlichen Stimme aus einem einzigartigen Schatz an Einsichten schöpfen. Seine Affinität zum Gesang hat ihre Basis in seiner Kindheit mit einer Gesangspädagogin und einem Chorleiter als Eltern, in seinen frühen Auftritten als solistischer Knabensopran in konzertanten und szenischen Produktionen und in seiner jahrzehntelangen Erfahrung als Klavierpartner großer Sänger. Den kompositorischen Ertrag dieses Erfahrungsreichtums durch detaillierte Strukturanalysen zu erschließen und in ihrer textinterpre- tierenden Dimension zu würdigen kommt einer Autorin, deren besonderes Interesse dem Phänomen “Musik als Sprache” gilt, optimal entgegen. Die vorliegende Studie stellt in den fünf Hauptkapiteln je fünf Werke aus den vier letzten Dekaden des 20. Jahrhunderts und aus der Zeit seit 2000 vor, darunter die Opern Lear (nach Shakespeare), Die Gespenstersonate (nach Strindberg), Bernarda Albas Haus (nach Lorca) und Medea (nach Grillparzer).
    [Show full text]
  • The Grainger Museum in Its Museological and Historical Contexts
    THE GRAINGER MUSEUM IN ITS MUSEOLOGICAL AND HISTORICAL CONTEXTS Belinda Jane Nemec Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy February 2006 The Australian Centre The University of Melbourne Produced on archival quality paper ABSTRACT This thesis examines the Grainger Museum at the University of Melbourne in the context of the history of museums, particularly those in Europe, the United States and Australia, during the lifetime of its creator, Percy Aldridge Grainger (1882–1961). Drawing on the collection of the Grainger Museum itself, and on both primary and secondary sources relating to museum development in the late nineteenth and first half of the twentieth centuries, the thesis demonstrates that the Grainger Museum reflects many of the concerns of museums of Grainger’s day, especially of the years prior to his relocation to the United States in 1914. Many of those concerns were products of the nationalistic endeavours arising from political upheavals and redefinitions in nineteenth-century Europe, the imperialism which reached its zenith by the First World War, and the racialist beliefs, hierarchies and anxieties accompanying that imperialism. In particular, Grainger’s lifelong concern with racial identity manifested in hierarchical and evolutionary museum interpretations typical of his earlier years. I explore the paradox of Grainger’s admiration for the musical and material culture of the racial ‘other’ and his racially supremacist views, and the way he presented these two apparently conflicting ideologies in his Museum. In elucidating Grainger’s motives for establishing a museum, I argue that Grainger was raised in a social and cultural milieu in which collecting, classifying and displaying cultural material was a popular practice.
    [Show full text]
  • Discography Markus Stenz GO Live!
    Discography Markus Stenz GO live! Symphony Concert No. 7 13/14 Schumann | Wagner Gürzenich Orchestra Cologne Anja Kampe soprano Sieglinde Lance Ryan tenor Siegmund Eric Halfvarson bass Hunding Robert Schumann: Symphony No. 1 in B-flat major op. 38 “Spring Symphony” Richard Wagner: first act from »Die Walküre« WWV 86 B GO live! | January 2014 New Year’s Eve Concert 13/14 Beethoven Gürzenich Orchestra Cologne Vokalensemble Kölner Dom Anne Schwanewilms soprano Ingeborg Danz alto Max Schmitt tenor Markus Butter bass Ludwig van Beethoven: Symphony No. 9 in D minor op. 125 GO live! | December 2013 Symphony Concert No. 4 13/14 Haydn | Mahler Gürzenich Orchestra Cologne Joseph Haydn: Symphony No. 94 in G major Hob. I:94 Gustav Mahler: Symphony No. 6 in A minor “Tragic” GO live! | November 2013 Symphony Concert No. 2 13/14 Beethoven | Henze | Ives Gürzenich Orchestra Cologne Lars Vogt piano Ludwig van Beethoven: Concerto for Piano and Orchestra No. 3 in C minor op. 37 Hans Werner Henze: Symphony No. 7 Charles Ives: “The Unanswered Question” for four flutes, trumpet and orchestra GO live! | October 2013 Symphony Concert No. 1 13/14 Dvořák | Strauss Gürzenich Orchestra Cologne Bonian Tian Violoncello Antonín Dvořák: Concerto for Violoncello and Orchestra in B minor op. 104 Richard Strauss: “Ein Heldenleben” op. 40 GO live! | September 2013 Symphony Concert No. 12 12/13 Jongen | Glanert | Bruckner Gürzenich Orchestra Cologne Vokalensemble Kölner Dom Domkantorei Köln Mädchenchor am Kölner Dom Kölner Domchor Iveta Apkalna organ Juliane Banse soprano Franziska Gottwald mezzosoprano Allan Clayton tenor Christof Fischesser bass Joseph Jongen: Symphonie Concertante op.
    [Show full text]