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Recollections from a Life in Music
Syracuse University SURFACE The Courier Libraries Spring 1985 Recollections from a Life in Music Louis Krasner Syracuse University Follow this and additional works at: https://surface.syr.edu/libassoc Part of the Musicology Commons Recommended Citation Krasner, Louis. "Recollections from a Life in Music." The Courier 20.1 (1985): 9-18. This Article is brought to you for free and open access by the Libraries at SURFACE. It has been accepted for inclusion in The Courier by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XX, NUMBER 1, SPRING 1985 SYRACUSE UNIVERSITY LIBRARY ASSOCIATES COURIER VOLUME XX NUMBER ONE SPRING 1985 Foresight and Courage: A Tribute to Louis Krasner by Howard Boatwright, Professor of Music, 3 Syracuse University Recollections from a Life in Music by Louis Krasner, Professor Emeritus of Music, 9 Syracuse University; and Instructor of Violin, New England Conservatory of Music Unusual Beethoven Items from the Krasner Collection by Donald Seibert, Music Bibliographer, 19 Syracuse University Libraries Alvaro,Agustfn de Liano and His Books in Leopold von Ranke's Library by Gail P. Hueting, Librarian, University of Illinois 31 at Urbana,Champaign Lady Chatterley's Lover: The Grove Press Publication of the Unexpurgated Text by Raymond T. Caffrey, New York University 49 Benson Lossing: His Life and Work, 1830,1860 by Diane M. Casey, Syracuse University 81 News of the Syracuse University Libraries and the Library Associates 97 Recollections from a Life in Music BY LOUIS KRASNER On October 28, 1984, Mr. Krasner came back to his old home, Syr, acuse University, in order to speak to the Ubrary Associates at their an, nual meeting. -
Alexander Glazunov
Call & Response 2011 Music With Exotic Influences Glazunov, Schulhoff, Bloch, Debussy & Jeffery Cotton Listener’s Guide Join us for a performance of music inspired by the Exotic Call & Response 2011 Concert May 5, 2011, Herbst Theatre, San Francisco Details inside… Call & Response 2011: Music with exotic influences Concert Thursday, May 5, 2011 Herbst Theatre at the San Francisco War Memorial 401 Van Ness Avenue at McAllister Street San Francisco, CA 7:15pm Pre-Performance Lecture by composer Jeffery Cotton 8:00pm Performance Buy tickets online at: www.cityboxoffice .com or by calling City Box Office: 415-392-4400 Page Contents 3 The Concept: evolution of music over time and across cultures 4 Jeffery Cotton 6 Alexander Glazunov 8 Erwin Schulhoff 10 Ernest Bloch 12 Claude Debussy 2 Call & Response: The Concept Have you ever wondered how composers, modern composers at that, come up with their ideas? How do composers and other artists create new work? Our Call & Response program was born out of the Cypress String Quartet’s commitment to sharing with you and your community this process in music and all kinds of other artwork. We present newly created music based on earlier composed pieces. Why “Call & Response”? We usually associate the term “call & response” with jazz and gospel music, the idea being that the musician plays a musical “call” to which another musician “responds,”—a way of creating a new sound relating in some way to the original. In this program, the “call” is that of Cypress String Quartet searching for connections across musical, historical, and social boundaries. -
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 The competition is open to all Colburn School students enrolled for the Spring 2019 semester in the Conservatory, Music Academy, and Community School of Performing Arts. Divisions Prizes Pre-college (Music Academy and Community All finalists will receive a cash award (minimum School) $150 for each student). Solo musicians or College (Conservatory) members of a group judged by the adjudicating panel to be the most outstanding in the pre- Accompanists college and college divisions will receive a Pre-college entrants performing solo repertoire minimum of $1,500 each. with piano may engage a professional accompanist. Pianists in chamber ensembles About the Initiative must be students. All college entrants must LA Opera Music Director James Conlon formed be students in the Conservatory (this includes the groundbreaking Recovered Voices project collaborating pianists). to shine a spotlight on the music by composers suppressed by the Nazi regime. In honor of Deadline his efforts, the Ziering-Conlon Initiative for Entries to be submitted no later than March Recovered Voices sponsors seminars, academic 11, 2019 via YouTube video. Those selected conferences, and competitions in an effort to for the live, public finals on Monday evening, present a deeper understanding of the history March 25, will be notified no later than 9 pm of the music from the first half of the 20th on Tuesday, March 19. All entrants must be century. available to perform at the March 25 finals. Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 List of Repertoire Submitting Your Video Performance The works on the provided list were selected When recording your performances, place as representative, and all are approved for this the video-recording device in such a way that showcase competition. -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
Complete Catalogue 2006 Catalogue Complete
COMPLETE CATALOGUE 2006 COMPLETE CATALOGUE Inhalt ORFEO A – Z............................................................................................................................................................................................................................................................. 4 Recital............................................................................................................................................................................................................................................................................82 Anthologie ............................................................................................................................................................................................................................................................89 Weihnachten ....................................................................................................................................................................................................................................................96 ORFEO D’OR Bayerische Staatsoper Live ...................................................................................................................................................................................................99 Bayreuther Festspiele Live ...................................................................................................................................................................................................109 -
Carpeta QL69-3-2018 FINAL Parte 1.Indb 9 30/05/2019 10:48:12 VICENT MINGUET
LAS REGLAS DE LA MÚSICA Y LAS LEYES DEL ESTADO: LA ENTARTETE MUSIK Y EL TERCER REICH THE RULES OF MUSIC AND THE STATE’S LAWS: ENTARTETE MUSIK AND THE THIRD REICH Vicent Minguet• Debemos cuidarnos de introducir un nuevo estilo de música, ya que nos pondríamos en peligro; pues tal como dice Damón, y yo igualmente estoy convencido de ello, en ningún sitio se cambian las reglas de la música sin que se cambien también las principales leyes del estado. Ahí es donde, según parece, deben establecer su cuerpo de guardia los guardianes. Ahí es, en efecto, donde, al insinuarse, la ilegalidad pasa más fácilmente inadvertida. Platón, República IV, 424. RESUMEN La idea de una Entartete Musik (Música degenerada) se originó en la Alemania del Tercer Reich entre 1937 y 1938 como concepto paralelo al de Entartete Kunst (Arte degenerado), que permitía diferenciar claramente entre un arte alemán “bueno” o puro, y otro “degenerado” que fue prohibido por el Estado. Con el objeto de aclarar los orígenes y las mentalidades que dieron lugar a esta distinción, en el presente artículo examinamos el contexto cultural en que se desenvolvió la maquinaria política, legislativa y burocrática del gobierno nazi. El resultado pone de manifiesto una clara motivación racial: un antisemitismo que en el terreno artístico se remonta al siglo XIX. Palabras Clave: Música degenerada; Arte degenerado; Tercer Reich; Antisemitismo. • Vicent Minguet es músico y musicólogo. Doctor por la Universidad de Valencia con una tesis sobre la significación de la obra de Olivier Messiaen, Master of Arts por la Universidad de Fráncfort y por la Escuela Superior de Música de Basilea. -
Banned Composers in the Nazi Era Guest Artists Jocelyn Adelman, Violin Amanda Halstead, Piano with KSU Professor Laurence Sherr
School of Music & Museum of History and Holocaust Education present A Kristallnacht Commemoration Lecture-Recital ‘Degenerate Music’: Banned Composers in the Nazi Era Guest Artists Jocelyn Adelman, violin Amanda Halstead, piano with KSU Professor Laurence Sherr Partnership between KSU and the Anti-Defamation League Southeast Final event in the ADL series Celebrating Defiance Monday, November 5, 2012 7:30 p.m. Music Building Recital Hall Twenty-seventh Concert of the 2012-2013 Season Kennesaw State University School of Music & Museum of History and Holocaust Education Music Building Recital Hall November 5, 2012 ADL Presentation – “No Place for Hate” Bill Nigut, Southeast Regional Director, Anti-Defamation League Holli Levinson, Education Director, Anti-Defamation League Dr. Catherine Lewis, Executive Director, Museum of History and Holocaust Education ‘Degenerate Music’: Banned Composers in the Nazi Era Lecture by Dr. Laurence Sherr INTERMISSION And Their Music Lives On... Recital presenting music by composers suppressed by the Nazis Jocelyn Adelman, violin Amanda Halstead, piano Sonata in F Major, Op. 3 (1920) Ernst Krenek Allegro ma non troppo (1900-1991) Scherzo Sonata No. 2, Op. 40 (1917) Darius Milhaud Pastoral (1892-1974) Vif Lent Tres vif Serenade in A Major (1895) Alexander Zemlinsky Massig (1872-1942) Langsam, mit grossem Ausdruck Sehr schnell und leicht Walzer-tempo Schnell “Culture in the Third Reich: Disseminating the Nazi Worldview” United States Holocaust Memorial Museum website article National Socialism represented much more than a political movement. Nazi leaders who came to power in January 1933 desired more than to gain political authority, to revise the Versailles Treaty, and to regain and expand upon those lands lost after a humiliating defeat in World War I. -
Joseph-Haas-Info
Vielen Dank an Wolfgang Haas, der uns diese Biographie zukommen ließ. Joseph Haas Joseph Haas wurde am 19. März 1879 in Maihingen im schwäbischen Ries als 3. Kind des dortigen Lehrers geboren. Schon früh zeigte sich seine musikalische Begabung. Zunächst wurde er aber Lehrer. Nach erfolgreicher Prüfung versuchte er seine musikalischen Studien zu vervollkommnen. Entscheidend war dabei die Begegnung mit Max Reger, dem er bis Leipzig folgte. Schon bald zeigten sich die ersten Erfolge als Komponist, die ihm 1911 die Berufung als Lehrer für Komposition am Konservatorium in Stuttgart und 1921 die Berufung an die Akademie der Tonkunst in München brachten. Konsequent ging er in seinem Schaffen von der Kammermusik über Lieder und Chorwerke zu den großen Orchesterwerken, Oratorien und Opern. Von den bedeutenden Werken seien die beiden Opern "Tobias Wunderlich" und "Die Hochzeit des Jobs", die Oratorien "Die heilige Elisabeth", "Das Lebensbuch Gottes", "Das Jahr im Lied" und "Die Seligen", von den Liederzyklen "Gesänge an Gott" nach Gedichten von Jakob Kneip und "Unterwegs" nach Gedichten von Hermann Hesse, von den Messen die "Speyerer Domfestmesse" und die "Münchner Liebfrauenmesse" sowie von den Kammermusikwerken das Streichquartett A Dur op. 50, die Violinsonate h Moll op. 21 und die Klaviersonate a Moll op. 46 genannt. Im Jahre 1921 gründete Joseph Haas mit Paul Hindemith und Heinrich Burkard die "Donaueschinger internationalen Kammermusikfeste für Neue Musik" und bewies damit seine Aufgeschlossenheit für alles Neue, obwohl er selbst stets tonal komponierte. Schon bald war er einer der gesuchtesten Kompositionslehrer in Deutschland. Aus seiner Meisterklasse gingen so unterschiedliche Künstler hervor wie Karl Amadeus Hartmann, Karl Höller, Philipp Mohler, Cesar Bresgen oder die Dirigenten Eugen Jochum und Wolfgang Sawallisch. -
A Survey of Czech Piano Cycles: from Nationalism to Modernism (1877-1930)
ABSTRACT Title of Dissertation: A SURVEY OF CZECH PIANO CYCLES: FROM NATIONALISM TO MODERNISM (1877-1930) Florence Ahn, Doctor of Musical Arts, 2018 Dissertation directed by: Professor Larissa Dedova Piano Department The piano music of the Bohemian lands from the Romantic era to post World War I has been largely neglected by pianists and is not frequently heard in public performances. However, given an opportunity, one gains insight into the unique sound of the Czech piano repertoire and its contributions to the Western tradition of piano music. Nationalist Czech composers were inspired by the Bohemian landscape, folklore and historical events, and brought their sentiments to life in their symphonies, operas and chamber works, but little is known about the history of Czech piano literature. The purpose of this project is to demonstrate the unique sentimentality, sensuality and expression in the piano literature of Czech composers whose style can be traced from the solo piano cycles of Bedřich Smetana (1824-1884), Antonín Dvořák (1841-1904), Leoš Janáček (1854-1928), Josef Suk (1874-1935), Bohuslav Martinů (1890-1935) to Erwin Schulhoff (1894-1942). A SURVEY OF CZECH PIANO CYCLES: FROM ROMANTICISM TO MODERNISM (1877-1930) by Florence Ahn Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2018 Advisory Committee: Professor Larissa Dedova, Chair Professor Bradford Gowen Professor Donald Manildi Professor -
Otto Klemperer Curriculum Vitae
Dick Bruggeman Werner Unger Otto Klemperer Curriculum vitae 1885 Born 14 May in Breslau, Germany (since 1945: Wrocław, Poland). 1889 The family moves to Hamburg, where the 9-year old Otto for the first time of his life spots Gustav Mahler (then Kapellmeister at the Municipal Theatre) out on the street. 1901 Piano studies and theory lessons at the Hoch Conservatory, Frankfurt am Main. 1902 Enters the Klindworth-Scharwenka Conservatory in Berlin. 1905 Continues piano studies at Berlin’s Stern Conservatory, besides theory also takes up conducting and composition lessons (with Hans Pfitzner). Conducts the off-stage orchestra for Mahler’s Second Symphony under Oskar Fried, meeting the composer personally for the first time during the rehearsals. 1906 Debuts as opera conductor in Max Reinhardt’s production of Offenbach’s Orpheus in der Unterwelt, substituting for Oskar Fried after the first night. Klemperer visits Mahler in Vienna armed with his piano arrangement of his Second Symphony and plays him the Scherzo (by heart). Mahler gives him a written recommendation as ‘an outstanding musician, predestined for a conductor’s career’. 1907-1910 First engagement as assistant conductor and chorus master at the Deutsches Landestheater in Prague. Debuts with Weber’s Der Freischütz. Attends the rehearsals and first performance (19 September 1908) of Mahler’s Seventh Symphony. 1910 Decides to leave the Jewish congregation (January). Attends Mahler’s rehearsals for the first performance (12 September) of his Eighth Symphony in Munich. 1910-1912 Serves as Kapellmeister (i.e., assistant conductor, together with Gustav Brecher) at Hamburg’s Stadttheater (Municipal Opera). Debuts with Wagner’s Lohengrin and conducts guest performances by Enrico Caruso (Bizet’s Carmen and Verdi’s Rigoletto). -
On the Trail of Jewish Music Culture in Leipzig
Stations Mendelssohn-Haus (Notenspur-Station 2) On the trail of Jewish Mendelssohn House (Music Trail Station 2) / Goldschmidtstraße 12 The only preserved house and at the same time the deathbed of Felix Mendelssohn Bartholdy (1809-1847), conductor of Leipzig’s Gewandhaus and founder of the rst German conservatory. music culture in Leipzig Musikverlag C.F.Peters / Grieg-Begegnungsstätte (Notenspur-Station 3) C.F.Peters Publishers/Grieg Memorial Centre (Music Trail Station 3) / Talstraße 10 Headquarters of the Peters’ Publishing Company since 1874, expropriated by the National Socialists in 1939; Henri Hinrichsen, the publishing manager and benefactor, was murdered in Auschwitz Concentration Camp in 1942. Wohnhaus von Gustav Mahler (Notenbogen-Station 4, Notenrad-Station 13) Gustav Mahler’s Residence (Music Walk Station 4, Music Ride Station 13) / Gustav-Adolf-Str.aße12 The opera conductor Gustav Mahler (1869-1911) lived in this house from 1887 till 1888 and composed his Symphony No.1 here. Wohnhaus von Erwin Schulho (Notenbogen-Station 6) Erwin Schulho ‘s Residence (Music Walk Station 6) / Elsterstraße 35 Composer and pianist Erwin Schulho (1894-1942) lived here during his studies under the instruction of Max Reger between 1908 and 1910. Schulho died in Wülzburg Concentration Camp in 1942. Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ - Max Reger (Notenbogen-Station 9, Notenrad-Station 3) Leipzig Conservatory named after its founder Felix Mendelssohn Bartholdy (Music Walk Station 9, Music Ride Station 3) / Grassistraße 8 The main building of the Royal Conservatory founded by Mendelssohn, inaugurated in 1887; place of study and instruction of prominent Jewish musicians such as Salomon Jadassohn, Barnet Licht, Wilhelm Rettich, Erwin Schulho , Günter Raphael and Herman Berlinski. -
SCHOENBERG Violin Concerto a Survivor from Warsaw Rolf Schulte, Violin • David Wilson-Johnson, Narrator Simon Joly Chorale • Philharmonia Orchestra Robert Craft
557528 bk Schoenberg 8/18/08 4:10 PM Page 12 SCHOENBERG Violin Concerto A Survivor from Warsaw Rolf Schulte, Violin • David Wilson-Johnson, Narrator Simon Joly Chorale • Philharmonia Orchestra Robert Craft Available from Naxos Books 8.557528 12 557528 bk Schoenberg 8/18/08 4:10 PM Page 2 THE ROBERT CRAFT COLLECTION Robert Craft THE MUSIC OF ARNOLD SCHOENBERG, Vol. 10 Robert Craft, the noted conductor and widely respected writer and critic on music, literature, and culture, holds a Robert Craft, Conductor unique place in world music of today. He is in the process of recording the complete works of Stravinsky, Schoenberg, and Webern for Naxos. He has twice won the Grand Prix du Disque as well as the Edison Prize for his landmark recordings of Schoenberg, Webern, and Varèse. He has also received a special award from the American Academy and 1 A Survivor from Warsaw National Institute of Arts and Letters in recognition of his “creative work” in literature. In 2002 he was awarded the for Narrator, Men’s Chorus and Orchestra, Op. 46 7:11 International Prix du Disque Lifetime Achievement Award, Cannes Music Festival. Robert Craft has conducted and recorded with most of the world’s major orchestras in the United States, Europe, David Wilson-Johnson, Narrator • Simon Joly Chorale • Philharmonia Orchestra Russia, Japan, Korea, Mexico, South America, Australia, and New Zealand. He is the first American to have conducted Berg’s Wozzeck and Lulu, and his original Webern album enabled music lovers to become acquainted with this Recorded at Abbey Road Studio One, London, on 3rd October, 2007 composer’s then little-known music.