DOCSLIB.ORG

P R O G R a M M E N O T

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

P R O G R A M M E N O T E S 2021 International Woman’s Day "Choose To Challenge” Celebrating a day that centres around womens achievement, this livestream concert focuses on 3 women composers born within 12 years of each other who faced artistic and social challenges in a world that was rapidly developing and expanding at the end of the 19th century. The same decade also saw the birth of Marie Sklodowska Curie (1867 - 1934) a woman who challenged the world’s view of women with her outstanding scientific achievements. Marie Sklodowska Curie knew that, “Life is not easy for any of us. But what of that? We must have perseverance and above all confidence in ourselves. We must believe that we are gifted for something and that this thing must be attained." These words inspire the heart of Beach, Mahler and Poldowski and their music celebrates their individual challenge to follow their art and their hearts. All three composers were gifted children yet they all reacted differently to the challenges of their time. Each one leaves a unique imprint with compositions that deserves a voice resounding with their distinctive style. Centred around vocal music in a chamber setting, this was the most consumed art form allowed for women. Amongst the middle and upper classes, women were encouraged to sing and play in domestic settings only. There were exceptions to the rule such as Maria Szymanowska and Clara Schumann but they were rare exceptions. It must be remembered that music academies closed their doors to women so the choice to study music was challenging. In forging a career in music each woman went against the tide of their times. johannes brahns Op.91 No. 1 "Gestillte Sehnsucht" for voice, piano, and cello Alma Werfel-Mahler, 1879- 1964 Leise Weht Ein Erstes Blühn In Meines Vaters Garten Bei Dir Ist Es Traut for voice and piano Amy Beach, 1867-1944 Mazurka Dreaming for cello and piano Chanson d'Amour for voice, piano, and cello Irene Regine Poldowski, 1879-1932 Caledonian Market Suite Street Hawkers Harmonica Bloomsbury Waltz Child Talking To A Cat Musical Box Bouncing A Ball for solo piano Brume Columbine Berceuse d'Armorique Le Faune for voice, piano, and cello SONG Translations Gestillte Sehnsucht Gestillte Sehnsuht "Stilled Longing" by Friedrich Rückert Translation by Jean Lunn In goldnen Abendschein getauchet, All golden and all drenched in shining, Wie feierlich die Wälder stehn!In leise How solemn stands the woods and trees! Stimmen der Vöglein hauchet In softest voices of birds the evening Des Abendwindes leises Wehn. Breathes out its song in ecstasies Was lispeln die Winde, die Vögelein? What is all this whisp'ring? What is this call? Sie lispeln die Welt in Schlummer ein. It calls all the world to rest now Ihr Wünsche, die ihr stets euch reget Desires that with your wild temptation Im Herzen sonder Rast und Ruh! Disturb my heart and will not stop! Du Sehnen, das die Brust beweget, And longing with your desolation, Wann ruhest du, wann schlummerst du? When will you rest, when will you sleep? Beim Lispeln der Winde, der Vögelein, In all of this whisp'ring, in this sweet call Ihr sehnenden Wünsche, wann schlaft ihr Desires and my longings, when are you, ein? when are you still? Ach, wenn nicht mehr in goldne Fernen Ah! when no more to golden distance Mein Geist auf Traumgefieder eilt, My spirit flies on wings of gold, Nicht mehr an ewig fernen Sternen And when the stars' remote existence Mit sehnendem Blick mein Auge weilt; No more my longing eyes behold Dann lispeln die Winde, die Vögelein Then winds will be whisp'ring, and birds will Mit meinem Sehnen mein Leben ein. call, And all my longings will then be still. Leise Weht Ein Erstes Blühn Leise Weht Ein Erstes Blühn by Rainer Maria Rilke "Softly drifts a first blossom" by Rainer Maria Rilke Leise weht ein erstes Blühn Softly drifts a first blossom von den Lindenbäumen, from the linden trees, und, in meinen Träumen kühn, and, in my audacious dreams, seh' ich dich im Laubengrün I see you in the green arbor hold im ersten Muttermühn absorbed in the first mother's work of Kinderhemdchen säumen. hemming a child's blouse. Singst ein kleines Lied dabei, You accompany yourself with a little song, und dein Lied klingt in den Mai: and your song rings in the month of May: blühe, blühe, Blütenbaum, bloom, bloom, blossom-tree, tief im Traubengarten, deep in the grapevines, blühe, blühe, Blütenbaum, bloom, bloom, blossom-tree, meiner Sehnsucht schönsten Traum my longing, in the loveliest dream will ich hier erwarten. will I await. Blühe, blühe, Blütenbaum, Bloom, bloom, blossom-tree, Sommer wird dir's zählen. Summer will reward you. Blühe, blühe, Blütenbaum, Bloom, bloom, blossom-tree, schau, ich säume einen Saum see, I sew a hem hier mit Sonnenstrahlen. here with sunbeams. Blühe, blühe, Blütenbaum, Bloom, bloom, blossom-tree, balde kommt das Reifen, soon comes the frost, blühe, blühe, Blütenbaum, bloom, bloom, blossom-tree, meiner Sehnsucht schönsten Traum my longing, in the loveliest dream lehr mich ihn begreifen, teach me to comprehend it, Singst ein kleines Lied dabei, You sing a little song to yourself, und dein Lied ist lauter Mai. And your song is the voice of May. Und der Blütenbaum wird blühn, And the blossom-tree will bloom, blühn vor allen Bäumen, bloom before all trees, sonnig wird dein Saum erglühn sun will gleam from your hem und verklärt im Laubengrün and transfigure the green arbor wird dein junges Muttermühn [where] your young mother's work will be Kinderhemdchen säumen. hemming a child's blouse. In meines Vaters Garten In My Father's Garden By Otto Erich Hartleben Translation by Emily Ezust In meines Vaters Garten - Bloom, my heart, bloom forth - blühe mein Herz, blüh auf - Three wondrous maidens in meines Vaters Garten Slept under the apple tree -- stand ein schattender Apfelbaum - Sweet dream -- Süsser Traum -stand ein schattender Slept under the apple tree. Apfelbaum. The youngest of the fine ladies -- Drei blonde Königstöchter - Bloom, my heart, bloom forth! -- blühe mein Herz, blüh auf - The youngest of the fine ladies drei wunderschöne Mädchen Blinked but did not awake -- schliefen unter dem Apfelbaum - Sweet dream -- Süsser Traum - Blinked but did not awake. schliefen unter dem Apfelbaum. The second moved a hand over her hair -- Die allerjüngste Feine - Bloom, my heart, bloom forth! -- blühe mein Herz, blüh auf - The second moved a hand over her hair, die allerjüngste Feine Saw the morning's hemline of red -- blinzelte und erwachte kaum - Sweet dream -- Süsser Traum - Saw the morning's hemline of red. blinzelte und erwachte kaum. She spoke: Did you not hear the drum? Die zweite fuhr sich übers Haar - Bloom, my heart, bloom forth! -- blühe mein Herz, blüh auf - She spoke: Did you not hear the drum? sah den roten Morgentraum - Clearly through the twilight space -- Süsser Traum - Sweet dream -- Clearly through the twilight space? Sie sprach: Hört ihr die Trommel nicht - blühe mein Herz, blüh auf - My beloved joins me on the battlefield -- Süsser Traum - Bloom, my heart, bloom forth -- hell durch den dämmernden Traum? My beloved joins me on the battlefield, Kisses me as the victor on the hem of my Mein Liebster zieht in den Kampf - uniform -- blühe mein Herz, blüh auf - Sweet dream -- mein Liebster zieht in den Kampf hinaus, Kisses me as the victor on the hem of my küsst mir als Sieger des Kleides Saum - uniform. Süsser Traum - küsst mir des Kleides Saum! The third spoke -- and spoke so softly -- Bloom, my heart, bloom forth! -- Die dritte sprach und sprach so leis - The third spoke -- and spoke so softly -- blühe mein Herz, blüh auf - I kiss the hem of my beloved's uniform. die dritte sprach und sprach so leis: Sweet dream -- Ich küsse dem Liebsten des Kleides I kiss the hem of my beloved's uniform. Saum - Süsser Traum - ich küsse dem Liebsten des Kleides Saum. - (continued) (continued) In meines Vaters Garten - blühe mein In my father's garden -- Herz, blüh auf -in meines Vaters Bloom, my Gartensteht ein sonniger Apfelbaum - heart, bloom forth! -- Süsser Traum -steht ein sonniger In my father's garden Apfelbaum! Stands a leafy apple tree -- Sweet dream -- Stands a leafy apple tree. Bei Dir Ist Est Traut Bei Dir Ist Est Traut by Rainer Maria Rilke "I am at Ease With You" Translation by Knut W. Barde Bei dir ist es traut: I am at ease with you, Zage Uhren schlagen faint clocks wie aus weiten Tagen. strike as from olden days, Komm mir ein Liebes sagen - Come, tell your aber nur nicht laut. love to me, But not too loud! Ein Tor geht irgendwo draussen im Blütentreiben. Somewhere a Der Abend horcht an den Scheiben. gate moves Lass uns leise bleiben: Outside in the Keiner weiss uns so. drifting blossoms, Evening listens in at the window panes, Let us stay quiet, So no one knows of us! Chanson d'Amour Chanson d'Amour by Victor Hugo Translation by Amy Beach L'aube naît, et ta porte est close ! Still asleep, when the dawn is breaking Ma belle, pourquoi sommeiller ? My dearest, thy portal unfold À l'heure où s'éveille la rose When roses around thee are waking Ne vas-tu pas te réveiller ? Arouse thee now to joys untold! Ô ma charmante, O, My beloved, Écoute ici I sing to thee, L'amant qui chante Sighing, imploring, Et pleure aussi ! Eternally Ô ma charmante, O, My beloved, Écoute ici I sing to thee, L'amant qui chante Sighing, imploring, Et pleure aussi ! Eternally Toute frappe à ta porte bénie.
Recommended publications
  • Maryna Terlecka

    Maryna Terlecka

    Kwartalnik Młodych Muzykologów UJ nr 42 (3/2019), s. 33–52 doi 10.4467/23537094kmmuj.19.009.11142 www.ejournals.eu/kmmuj Maryna Terlecka Uniwersytet Warszawski Irène Régine Wieniawska – próba rekonstrukcji życia i twórczości Abstract Irène Régine Wieniawska: An Attempt to Reconstruct the Life and Work of the Composer Irène Régine Jessy Maria Wieniawska was born on 16th May 1879 in Brussels as the youngest child of an outstanding Polish violinist and composer of the 19th century, Henryk Wieniawski, and Isabelle Bessie Hampton-Wieniawska. As the only one of Wieniawski’s children, she followed the footsteps of her father and chose the profession of a musician. This work brings focus to the lesser known facts from the composer’s life, which greatly impacted the formation of her creative character, including the fact that Irène Wieniawska used a considerable number of pseudo- nyms, which allowed her to keep her anonymity and therefore resulted in part of her work to be forgotten for many years. As in several cases of other female composers of the early 20th century, the name Wieniawska is currently poorly recognised, even though she was a known composer and performer in London between the years 1900–1932. Wieniawska’s songs were very popular, and her creative legacy remains equally interesting, which I would like to draw attention to in my paper and discuss the latest catalogue of her works, developed by me. 33 Kwartalnik Młodych Muzykologów UJ, nr 42 (3/2019) Keywords Irène Régine Wieniawska, Poldowski, Irène Régine Wieniawska’s catalogue of works, 19th- and 20th-century music W polskiej literaturze muzykologicznej nie odnajdziemy zbyt wie- lu pozycji poświęconych Irène Régine Wieniawskiej.
  • Roger Quilter

    Roger Quilter

    ROGER QUILTER 1877-1953 HIS LIFE, TIMES AND MUSIC by VALERIE GAIL LANGFIELD A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham February 2004 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music.
  • Poldowski Art Songs

    Poldowski Art Songs

    Poldowski Art songs Angelique Zuluaga, soprano Gwendolyn Mok, piano Alexander String Quartet Ryan Zwahlen, oboe d’amore DE 3538 1 DELOS DE 3538 POLDOWSKI DELOS DE 3538 POLDOWSKI Poldowski | Art songs Down by the Sally* Gardens ♦ O! Let the Solid Ground ♦ To Love ♦ Song ♦ Reeds of Innocence ♦ Narcisse ♦ Sérénade ♦ L’heure exquise ♦ Dans une musette ♦ Mandoline ♦ Effet de neige ♦ A Clymène ♦ Cythère ♦ Dimanche d’Av r i l ♦ Spleen ♦ Cortège ♦ Bruxelles ♦ A Poor Young Shepherd ♦ Berceuse d’armorique ♦ Dansons la gigue ♦ Pierrot ♦ Colombine ♦ En Sourdine ♦ Soir • • ART SONGS ART SONGS ART CLAUDE DEBUSSY: Pierrot Angelique Zuluaga, soprano REYNALDO HAHN: En sourdine** LOUIS AUBERT: Soir ** Gwendolyn Mok, piano Total Playing Time: 65:28 Alexander String Quartet Ryan Zwahlen, oboe d’amore variant spelling of “Salley”* alternate settings of the Tracks 1,2,4 and 5: world premiere recordings Poldowski treatments** ORIGINAL ORIGINAL DIGITAL DIGITAL Poldowski Art songs 1. Down by the Sally† Gardens (1:08) 21. CLAUDE DEBUSSY: Pierrot (1:44) 2. O! Let the Solid Ground (2:53) 22. POLDOWSKI: Colombine (2:00) 3. To Love (1:53) 4. Song (2:17) 23. REYNALDO HAHN: En sourdine (3:23) 5. Reeds of Innocence (1:45) 24. POLDOWSKI: En sourdine (2:53) 6. Narcisse (2:32) * 25. LOUIS AUBERT: Soir (4:50) 7. Sérénade (2:26) 26. POLDOWSKI: Soir (4:39) ** 8. L’heure exquise (2:41) 9. Dans une musette (3:50) Total Playing Time: 65:28 10. Mandoline (1:40) 11. Effet de neige (2:38) † (var. of Salley) 12. A Clymène (2:14) 13. Cythère (1:06) Tracks 1, 2, 4 and 5: world premiere recordings 14.
  • Department of Music Programs 1992 - 1993 Department of Music Olivet Nazarene University

    Department of Music Programs 1992 - 1993 Department of Music Olivet Nazarene University

    Olivet Nazarene University Digital Commons @ Olivet School of Music: Performance Programs Music 1993 Department of Music Programs 1992 - 1993 Department of Music Olivet Nazarene University Follow this and additional works at: https://digitalcommons.olivet.edu/musi_prog Part of the Fine Arts Commons, and the Music Performance Commons Recommended Citation Department of Music, "Department of Music Programs 1992 - 1993" (1993). School of Music: Performance Programs. 26. https://digitalcommons.olivet.edu/musi_prog/26 This Book is brought to you for free and open access by the Music at Digital Commons @ Olivet. It has been accepted for inclusion in School of Music: Performance Programs by an authorized administrator of Digital Commons @ Olivet. For more information, please contact [email protected]. Olivet Nazarene University Department ofMusic Programs 1992-1993 Olivet Nazarene University Kankakee, Illinois 60901 Telephone (815) 939-5110 OLIVET NAZARENE UNIVERSITY Department of Music presents HONORS RECITAL Se tu m'ami, se sospiri Giovanni Pergolesi Kelly Thor, soprano Rachel Walters, piano Prelude #2 In C Minor G. Gershwin Brian Hancock, piano Rend il sereno al ciglio George Handel Carla Cornett, soprano Sonya Yates, piano Nocturne in Db, Op. 9, No. 2 A. Scriabin Eric Baker, piano 0 mio babbino caro Giacomo Puccini Erika Schröck, soprano Erik Chalfant, piano Partita, #2 IV, Bach Giga Anna Quanstrom, violin The Frog and The Snake Irving Fine Kari Newshain, mezzo-soprano Rachel Walters, piano Symphouie Espagnole, Opus 21 Edouard Lalo Movement I Jennifer Pate, violin Andante Pastoral Paul Taffanel Movement I Tawni Grable, flute Scherzo in E Minor Felix Mendelssohn Opus 16, No. 2 Melissa Johnston, piano Tour cooperation in not tape recording or taking pictures during the performance is greatefully acknowledged.
  • Arr. David Jackson Paul Verlaine

    Arr. David Jackson Paul Verlaine

    22 Mélodies sur les poèmes de Paul Verlaine (1900-1910) 1. L’heure exquise [2:26] Irène Régine Wieniawska (1879-1932) arr. David Jackson 2. Impression fausse [2:34] Paul Verlaine (1844-1896) 3. Le faune [1:19] 4. Circonspection [3:06] 5. Fantoches [1:17] 6. En sourdine [2:21] Ensemble 1904 7. Brume [1:57] David Jackson director 8. L’attente [2:18] 9. Bruxelles [1:41] David Jackson piano & arrangements 10. Dimanches d’avril [2:57] Jazmin Black-Grollemund soprano 11. Dansons la gigue ! [1:41] Angélique Charlopain violin 12. Andante Languido [6:38] Jérémie Decottignies double bass (extrait de la Sonate pour Violon et Piano) 13. Colombine [2:00] 14. Crépuscule du soir mystique [2:38] 15. Cortège [1:22] 16. Cythère [1:02] 17. Mandoline [1:44] 18. Effet de neige [2:53] 19. Sur l’herbe [2:06] 20. À Clymène [2:07] 21. A poor young Shepherd [2:53] 22. Spleen [2:27] 23. Nous Deux [2:24] About Ensemble 1904: (Donc, ce sera par un clair jour d’été) ‘The complete musician, Jackson is attentive to all the Total playing time [54:05] dimensions of playing [...] Strongly supported by the strings who are equally distributed, Jazmin Black-Grollemund, operatic, uses her superb timbre to support a clear diction and a vast range of nuances.’ La Lettre du Musicien Introduction from her selection of twenty-two poems, ten have only ever been set to music by Poldowski. During their itinerant and cosmopolitan lives, A handful of Poldowski’s mélodies are Poldowski and Verlaine explored and occasionally performed, but never has the celebrated the culture of the European entire catalogue of twenty-two songs been continent.
  • Song by Jean Sibelius [Zhah6 Sih-BAY-Lihôôss])

    Song by Jean Sibelius [Zhah6 Sih-BAY-Lihôôss])

    Pa verandan vid havet C På verandan vid havet C PAW veh-RAHN-dahn vidd HAH-vutt C (On a Balcony by the Sea) C (song by Jean Sibelius [zhah6 sih-BAY-lihôôss]) Paalen C Bella Paalen C BELL-lah PAHAH-lenn Paap C Wouter Paap C WO-tur PAHAHP Pablo C Luis de Pablo C looEESS day PAHV-lo C (known also as Luis Alfonso de Pablo Costales [looEESS ahl-FAWN-so day PAHV-lo kawss-TAH-layss]) Pablo costales C Luis Alfonso de Pablo Costales [looEESS ahl-FAWN-so day PAHV-lo kawss- TAH-layss C (known also as Luis de Pablo) Pabst C Louis Pabst C LOO-ee PAHPST Pabst C Paul Pabst C PAHÔÔL PAHPST Pacchiarotti C Gasparo Pacchiarotti C gah-SPAH-ro pahk-keeah-ROHT-tee Pacchierotti C Ubaldo Pacchierotti C oo-BAHL-doh pahk-keeay-ROHT-tee Pace e gioia sia con voi C PAH-chay ay JO-eeah SEE-ah kohn VOEE C (Peace and joy be with you) C (duet from the opera Il barbiere di Siviglia [eel bar-beeAY-ray dee see-VEE-leeah] — The Barber of Seville [suh-VILL]; music by Gioachino Rossini [johah-KEE-no rohss-SEE-nee]; libretto by Cesare Sterbini [chay-ZAH-ray stayr-BEE-nee] after Pierre-Augustin Caron de Beaumarchais [peeehr-o-güss-teh6 kah-raw6 duh bo-mar-sheh] and Giuseppe Petrosellini [joo- ZAYP-pay pay-tro-zayl-LEE-nee]) Pace non trovo C PAH-chay nohn TRO-vo C (composition by Franz Liszt [FRAHNZ LISST]) Pace pace C Pace, pace C PAH-chay, PAH-chay C (Peace, peace) C (finale 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]) Pace pace mio dio C Pace, pace, mio Dio! C PAH-chay, PAH-chay, mee-o DEE-o! C (Peace, peace, my God) C (aria by Leonora [lay-o-NO-rah] from the opera La forza del destino [lah FOHR-tsah dayl day-STEE-no] — The Force of Destiny; music by Giuseppe Verdi [joo- ZAYP-pay VAYR-dee]; libretto by Francesco Maria Piave [frahn-CHAY-sko mah-REE-ah peeAH-vay] after Angel P.
  • France and Ireland: Notes and Narratives

    France and Ireland: Notes and Narratives

    Technological University Dublin ARROW@TU Dublin AFIS (Association of Franco-Irish Studies) Books Publications 2015 France and Ireland: Notes and Narratives Una Hunt Technological University Dublin, [email protected] Mary Pierse Follow this and additional works at: https://arrow.tudublin.ie/afisbo Part of the Arts and Humanities Commons Recommended Citation Hunt, Una and Pierse, Mary, "France and Ireland: Notes and Narratives" (2015). Books. 8. https://arrow.tudublin.ie/afisbo/8 This Book is brought to you for free and open access by the AFIS (Association of Franco-Irish Studies) Publications at ARROW@TU Dublin. It has been accepted for inclusion in Books by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License France and Ireland Reimagining Ireland Volume 66 Edited by Dr Eamon Maher Institute of Technology, Tallaght PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Una Hunt and Mary Pierse (eds) FRANCE AND IRELAND Notes and Narratives PETER LANG Oxford • Bern • Berlin • Bruxelles • Frankfurt am Main • New York • Wien Bibliographic information published by Die Deutsche Nationalbibliothek. Die Deutsche Nationalbibliothek lists this publication in the Deutsche National bibliografie; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de. A catalogue record for this book is available from the British Library. Library of Congress Control Number: 2015939710 ISSN 1662-9094 ISBN 978-3-0343-1914-0 (print) ISBN 978-3-0353-0743-6 (eBook) Cover image: Mike Stilkey, ‘The Piano Has Been Drinking’, 2010.
  • Women in Music: a Contribution to a New History P

    Women in Music: a Contribution to a New History P

    COMMISSION OF THE EUROPEAN COMMUNITIES SUPPLEMENT No. 22 to Dlrectorat•General Information Information for Women's organisations and press Women of Europe * ·,. '1. * * ·.·. ·.·: .. * * * * * WOMEN AND MUSIC ~~ Rue de Ia Loi 200 0 1049 Brussels 0 Tel. 2351111 X/336/85-EN Study by YVES BESSIERES et PATRICIA NIEDZWIECKI X/336/85-E October 1985 - 2 - W 0 M E N A N D M U S I C INDEX Foreword p. 3 Women in music: a contribution to a new history p. 4 of music, from ancient to modern times Biographical Index p. 20 General Bibliography p. 77 Discography p. 88 / - 3 - F 0 R E W 0 R D Can women 1 s place and role in music be defined in terms of their active involvement in the creation and performance of music rather than their sub­ jective role as muses? History books and encyclopaedias offer hardly any information on women 1 s role in music and it is no easy task to ascertain the sex of musicians when an initial or forename is given and the text is written in the masculine. Encylope'die Fasquelle contains this revealing "misprint" (or proofreader 1 s oversight) : "Brasseur, Elisabeth, French choir leader. He founded the Elisabeth Brasseur choral school." This is nothing new: in 1696, the music critic Bayle mentioned Sappho in a paragraph on the island of Lesbos and listed her as one of its eminent men: "Lesbos was famous for its eminent men: Pittacus, Alcaeus, Sappho and Theophanes, etc." Following in the footsteps of Otto Ebel who published a bibliographical dictionary of women composers in 1910, however, modern authors have counted no fewer than 3,000 women musicians in some 66 countries.
  • An Analysis of Virtuosic Self-Accompanied Singing As a Historical Vocal Performance Practice

    An Analysis of Virtuosic Self-Accompanied Singing As a Historical Vocal Performance Practice

    The Ideal Orpheus: An Analysis of Virtuosic Self-Accompanied Singing as a Historical Vocal Performance Practice Volume Two of Two Robin Terrill Bier Doctor of Philosophy University of York Department of Music September 2013 231 Contents Volume Two Contents, Volume Two 231 Appendix One. Documentation of Historical Self-Accompanied Singing 232 Newspapers and Periodicals 233 Personal Accounts 324 Literature 346 Historical Music Treatises 366 Appendix Two. Singers 374 Appendix Three. Repertoire 380 Appendix Four. Discography 401 Appendix Five. Developing a self-accompanied performance of 411 Paisiello’s ‘Nel cor più non mi sento’ Conception 411 Preparation 412 Presentation 415 Performers experience 417 Audience response 417 Bibliography 418 232 Appendix One Documentation of Historical Self-Accompanied Singing This appendix catalogues evidence in primary sources that directly portrays self- accompaniment. When indirect evidence refers to a body of repertoire that is elsewhere documented having been performed self-accompanied by the same performer, or when the evidence refers to a performer or performance context known to have been exclusively self- accompanied, or the source provides specific useful context for understanding other self- accompanied performances, it may also be included here. In the case of George Henschel and Reynaldo Hahn in particular, it should be noted that while it can be assumed that any documented performance is self-accompanied, evidence that does not identify self- accompaniment explicitly or offer new contextual information may not be included. This appendix is organized according to four basic types of material: Newspapers and Periodicals (including concert advertisements and reviews, letters to the editor, obituaries and other published articles), Personal Accounts (including published and unpublished letters, diaries, autobiographies, memoirs and contemporary biographies), Literature (including novels, poems, plays, non-academic non-fiction, musical and theatrical texts and works), and Historical Music Treatises.
  • Songfest-2004-Program

    Songfest-2004-Program

    WelcometoSongfest2004! “Search and see whether there is not some place where you may invest your humanity.” – Albert Schweitzer Songfest 2004 is supported, in part, by grants from the Aaron Copland Fund for Music and the Virgil Thomson Foundation. Special thanks to Elaine Chow. Website design by Tamaki Hiratsuka. Songfest photography courtesy of Luisa Gulley. Songfest is a 501(c)3 corporation. All donations are 100% tax-deductible to the full extent permitted by law. Dear Friends, It is a great honor and joy for me to present Songfest 2004 at Pepperdine University once again this summer. In our second year of residence at this beautiful ocean-side Malibu campus, Songfest has grown to encompass an ever-widening circle of inspiration and achievement. Always focusing on the special relationship between singer and pianist, we have moved on from our unique emphasis on recognized masterworks of art song and opera to exploring the cantata arias of J.S. Bach and the creative fruits of 20th and 21st century compositions for voice and piano with our new Program for New Art Song. The début of this new addition brings established composers and master and apprentice level composer participants to Songfest to join our musical community. We are privileged to have John Harbison this year as the composer-in-residence. As I reflect on Songfest’s growth over these eight seasons in championing art song, I realize how much this premise illuminates the power of music as a window to undiscovered worlds of meaning. What makes the singer’s art unique in the world of music is the joining of words and musical sound, and the resulting mystery of communication that is born from this marriage.