Journal January 1983
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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Journal of Romanian Literary Studies Issue No
2013 Journal of Romanian Literary Studies Issue no. 3 http://www.upm.ro/jrls/ E-ISSN: 2248-3304 Published by Petru Maior University Press, Nicolae Iorga Street No. 1, 540088, Târgu-Mureș, Romania Email: [email protected]; (c) 2011-2013 Petru Maior University of Târgu-Mureș SCIENTIFIC BOARD: Prof. Virgil NEMOIANU, PhD Prof. Nicolae BALOTĂ, PhD Prof. Nicolae MANOLESCU, PhD Prof. Eugen SIMION, PhD Prof. George BANU, PhD Prof. Alexandru NICULESCU, PhD EDITORIAL BOARD: Editorial Manager: Prof. Iulian BOLDEA, PhD Executive Editor: Prof. Al. CISTELECAN, PhD Editors: Prof. Cornel MORARU, PhD Prof. Andrei Bodiu, PhD Prof. Mircea A. DIACONU, PhD Assoc. Prof. DORIN STEFANESCU, PhD Assoc. Prof. Luminița CHIOREAN, PhD Lecturer Dumitru-Mircea BUDA, PhD CONTACT: [email protected], [email protected] Table of Contents AL. CISTELECAN Faith Testimonials ...................................................................................................................... 3 ȘTEFAN BORBELY The Literary Pursuit of a Historian of Religions: The Case of Ioan Petru Culianu ................ 13 CAIUS DOBRESCU Sphinx Riddles for Zamolxes. Ethno-Politics, Archaic Mythologies and Progressive Rock in Nicolae Ceausescu’s Romania ................................................................................................. 21 MIRCEA A. DIACONU The Critical Spirit in ”România Literară” in 1989 ................................................................. 31 LIVIU MALIȚA 1918: One Nation and Two Memories .................................................................................... -
Brahms, Johannes (B Hamburg, 7 May 1833; D Vienna, 3 April 1897)
Brahms, Johannes (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid and late 19thcentury art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime. 1. Formative years. 2. New paths. 3. First maturity. 4. At the summit. 5. Final years and legacy. 6. Influence and reception. 7. Piano and organ music. 8. Chamber music. 9. Orchestral works and concertos. 10. Choral works. 11. Lieder and solo vocal ensembles. WORKS BIBLIOGRAPHY GEORGE S. BOZARTH (1–5, 10–11, worklist, bibliography), WALTER FRISCH (6– 9, 10, worklist, bibliography) Brahms, Johannes 1. Formative years. Brahms was the second child and first son of Johanna Henrika Christiane Nissen (1789–1865) and Johann Jakob Brahms (1806–72). His mother, an intelligent and thrifty woman simply educated, was a skilled seamstress descended from a respectable bourgeois family. His father came from yeoman and artisan stock that originated in lower Saxony and resided in Holstein from the mid18th century. A resourceful musician of modest talent, Johann Jakob learnt to play several instruments, including the flute, horn, violin and double bass, and in 1826 moved to the free Hanseatic port of Hamburg, where he earned his living playing in dance halls and taverns. -
British Masculinities Beyond Patriarchy, 1689-1702 Owen Anderson Brittan Emmanuel College
British Masculinities Beyond Patriarchy, 1689-1702 Owen Anderson Brittan Emmanuel College This dissertation is submitted for the degree of Doctor of Philosophy. Submitted to the University of Cambridge September 2017 Abstract Title: British Masculinities Beyond Patriarchy, 1689-1702 Author: Owen Anderson Brittan This research project examines multiple constructions of masculinity during the reign of William III (1689-1702), a period often overlooked by historians of masculinity. Historical interpretations of masculinity in the early modern period have focused heavily on patriarchal models of masculinity and the accompanying gendered relationships and expectations associated with the household. Recently, historians have turned their attention to cultures of politeness and civility in the public sphere. Yet masculinity in this period was more diverse than these prominent models allow because it could be constructed through a number of different processes. Using normative literature and experiential records, this project seeks to add to the scholarship on non- patriarchal constructions, understandings, and norms of masculinity. Four non-domestic settings were particularly prominent and recurrent throughout the autobiographical sources and normative literature of the period: the military, government and public service, commerce, and religion. The norms associated with each setting were complex. Moreover, these norms sometimes varied between settings in ways that created tension. Negotiating masculinity in accordance with the normative expectations of various settings could be taxing. Each of these four settings constitutes a chapter in this dissertation, along with a final chapter that shifts the focus beyond the British Isles to how British colonists, travellers, and traders experienced the foreign hardships, climates, and peoples of the geographical periphery, which often necessitated further alternative constructions of masculinity. -
Beecham: the Delius Repertoire - Part Three by Stephen Lloyd 13
April 1983, Number 79 The Delius Society Journal The DeliusDe/ius Society Journal + .---- April 1983, Number 79 The Delius Society Full Membership £8.00t8.00 per year Students £5.0095.00 Subscription to Libraries (Journal only) £6.00f,6.00 per year USA and Canada US $17.00 per year President Eric Fenby OBE, Hon DMus,D Mus,Hon DLitt,D Litt, Hon RAM Vice Presidents The Rt Hon Lord Boothby KBE, LLD Felix Aprahamian Hon RCO Roland Gibson M Sc, Ph D (Founder Member) Sir Charles Groves CBE Stanford Robinson OBE, ARCM (Hon), Hon CSM Meredith Davies MA, BMus,B Mus,FRCM, Hon RAM Norman Del Mar CBE, Hon DMusD Mus VemonVernon Handley MA, FRCM, D Univ (Surrey) ChairmanChairmart RBR B Meadows 5 Westbourne House, Mount Park Road, Harrow, Middlesex Treasurer Peter Lyons 160 Wishing Tree Road, S1.St. Leonards-on-Sea, East Sussex Secretary Miss Diane Eastwood 28 Emscote Street South, Bell Hall, Halifax, Yorkshire Tel: (0422) 5053750537 Membership Secretary Miss Estelle Palmley 22 Kingsbury Road, Colindale,Cotindale,London NW9 ORR Editor Stephen Lloyd 414l Marlborough Road, Luton, Bedfordshire LU3 lEFIEF Tel: Luton (0582)(0582\ 20075 2 CONTENTS Editorial...Editorial.. 3 Music Review ... 6 Jelka Delius: a talk by Eric Fenby 7 Beecham: The Delius Repertoire - Part Three by Stephen Lloyd 13 Gordon Clinton: a Midlands Branch meeting 20 Correspondence 22 Forthcoming Events 23 Acknowledgements The cover illustration is an early sketch of Delius by Edvard Munch reproduced by kind permission of the Curator of the Munch Museum, Oslo. The quotation from In a Summer GardenGuden on page 7 is in the arrangement by Philip Heseltine included in the volume of four piano transcriptions reviewed in this issue and appears with acknowledgement to Thames Publishing and the Delius Trust. -
R,Eg En T's S.10411415 Wood -P P
R,EG EN T'S S.10411415 WOOD -P P o AAYLLOONt \\''. 4k( ?(' 41110ADCASTI -PADDINGTON "9' \ \ - s. www.americanradiohistory.com St l'ANCRAS U S TON \ 4\ \-4 A D RUSSEL. A. 'G,PORTLAND St \ O \ \ L. \ \2\\\ \ SQUARE \ l' \ t' GOO DGT. 1,..\ S , ss \ ' 11 \ \ \ 4-10USi \ç\\ NV cY\6 \ \ \ e \ """i \ .jP / / ert TOTT E N NAM // / ;COI COURT N.O. \ ON D ).7"'";' ,sr. \,60 \-:Z \COvtroi\ oA ARDEN O \ www.americanradiohistory.com X- www.americanradiohistory.com THE B. B. C. YEAR=BOOK 1 93 3 The Programme Year covered by this book is from November I, 1931 to October 31, 1932 THE BRITISH BROADCASTING CORPORATION BROADCASTING HOUSE LONDON W I www.americanradiohistory.com f Readers unfamiliar with broadcasting will find it easier to understand the articles in this book if they bear in mind the following :- (I) The words "Simultaneous(ly) Broadcast" or "S.B." refer to the linking of two or more transmitters by telephone lines for the purpose of broadcasting the same programme ; e.g. the News Bulletins are S.B. from all B.B.C. Stations. (2) The words "Outside Broadcast" or "O.B." refer to a broadcast outside the B.B.C. studios, not necessarily out -of- doors; e.g. a concert in the Queen's Hall or the commentary on the Derby are equally outside broadcasts. (3) The B.B.C. organisation consists, roughly speaking, of a Head Office and five provincial Regions- Midland Region, North Region, Scottish Region, West Region, and Belfast. The Head Office includes the administration of a sixth Region - the London Region-which supplies the National programme as well as the London Regional programme. -
Vol. 13, No.2 July 2003
Chantant • Reminiscences • Harmony Music • Promenades • Evesham Andante • Rosemary (That's for Remembrance) • Pastourelle • Virelai • Sevillana • Une Idylle • Griffinesque • Ga Salut d'Amour • Mot d'AmourElgar • Bizarrerie Society • O Happy Eyes • My Dwelt in a Northern Land • Froissart • Spanish Serenade • La Capricieuse • Serenade • The Black Knight • Sursum Corda • T Snow • Fly, Singing Birdournal • From the Bavarian Highlands • The of Life • King Olaf • Imperial March • The Banner of St George Deum and Benedictus • Caractacus • Variations on an Origina Theme (Enigma) • Sea Pictures • Chanson de Nuit • Chanson Matin • Three Characteristic Pieces • The Dream of Gerontius Serenade Lyrique • Pomp and Circumstance • Cockaigne (In London Town) • Concert Allegro • Grania and Diarmid • May S Dream Children • Coronation Ode • Weary Wind of the West • • Offertoire • The Apostles • In The South (Alassio) • Introduct and Allegro • Evening Scene • In Smyrna • The Kingdom • Wan Youth • How Calmly the Evening • Pleading • Go, Song of Mine Elegy • Violin Concerto in B minor • Romance • Symphony No Hearken Thou • Coronation March • Crown of India • Great is t Lord • Cantique • The Music Makers • Falstaff • Carissima • So The Birthright • The Windlass • Death on the Hills • Give Unto Lord • Carillon • Polonia • Une Voix dans le Desert • The Starlig Express • Le Drapeau Belge • The Spirit of England • The Fring the Fleet • The Sanguine Fan • ViolinJULY Sonata 2003 Vol.13, in E minor No.2 • Strin Quartet in E minor • Piano Quintet in A minor • Cello Concerto -
A Musician of Renown F
A Musician of Renown The Life and Works of George Frederick Linstead (1908-1974) A Centenary Tribute by Christopher Powell Dr. George Frederick Linstead, BA, DMus, FTCL, FRCO, ARCM (1908 – 1974) 2 © Christopher Powell 2007 3 The Author Christopher Powell studied with George Linstead in the 1960’s whilst a student at Sheffield University. At school he was taught by Brian Manners who had also studied with Linstead in the Department of Music just after the Second World War. Both were also private pupils of George Linstead. On leaving Sheffield, Christopher Powell became a Research Student at Emmanuel College, Cambridge where, as well as undertaking musicological research, he supervised well over a hundred undergraduates in the Music Tripos for various Colleges of the University of Cambridge. In 1973, he moved to Cardiff as Lecturer in Music at the Welsh College of Music and Drama (now the Royal Welsh College of Music and Drama). He was on the music staff at RWCMD for the next twenty-five years holding a number of posts including Head of Academic Studies and Associate Director of Music. He retired on his fiftieth birthday and now spends his time between his homes in Cardiff and Nice. He also returns regularly to Sheffield. 4 CONTENTS Preface . 6 Introduction . 7 Chapter 1 Family and Childhood . 8 Chapter 2 Early Days in Sheffield 1917-1927 . 12 Chapter 3 Serious Musical Studies 1928-1940 . 16 Chapter 4 The Professional Musician 1932-1939 . 22 Chapter 5 The War and its Aftermath 1940-1949 . 29 Chapter 6 The 1950’s . 36 Chapter 7 The 1960’s . -
Dame Joan Hammond (1912-1966) 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended. -
Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: a Performance Guide for the Hornist
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1998 Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist. Janiece Marie Luedeke Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Luedeke, Janiece Marie, "Dame Ethel Smyth's Concerto for Violin, Horn, and Orchestra: A Performance Guide for the Hornist." (1998). LSU Historical Dissertations and Theses. 6747. https://digitalcommons.lsu.edu/gradschool_disstheses/6747 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Piano Syllabus
Piano Syllabus Grade exams: Piano, Piano Accompanying Certificate exams: Piano Solo, Piano Duet, Piano Six Hands 2012–2014 Trinity College London 89 Albert Embankment London SE1 7TP UK T +44 (0)20 7820 6100 F +44 (0)20 7820 6161 E [email protected] www.trinitycollege.co.uk Charity number 1014792 Patron HRH The Duke of Kent KG Chief Executive Sarah Kemp Copyright © 2011 Trinity College London Published by Trinity College London Third impression, November 2012 Contents Introduction ................................................................................................................................... 3 Range of qualifications ......................................................................................................... 4 Grade exams — Piano, Piano Accompanying Structure ............................................................................................................................................. 5 Duration, Marking ............................................................................................................................ 6 Pieces ................................................................................................................................................... 7 Own Composition .............................................................................................................................8 Technical Work ................................................................................................................................ 9 Supporting Tests: -
Professor Jeremy Summerly 17 September 2020
RADIO IN THE 78 RPM ERA (1920-1948) PROFESSOR JEREMY SUMMERLY 17 SEPTEMBER 2020 At 7.10 pm on 15 June 1920, a half-hour broadcast was given by Australian prima donna Dame Nellie Melba (‘the world’s very best artist’). Singing from a workshop at the back of the Marconi Wireless and Telegraph Company, the 59-year old soprano described her Chelmsford recital as ‘the most wonderful experience of my career’. The transmission was received all around Europe, as well as in Soltan-Abad in Persia (now Arak in Iran) to the East, and Newfoundland (at the time a Dominion of the British Empire) to the West. Dame Nellie’s recital became recognized as Britain’s first official radio broadcast and the Daily Mail (predictably, perhaps, in its role as sponsor) described the event as ‘a great initiation ceremony; the era of public entertainment may be said to have completed its preliminary trials’. The Radio Corporation of America had been founded a year earlier, run by a young Russian- American businessman David Sarnoff. Sarnoff believed that ‘broadcasting represents a job of entertaining, informing and educating the nation, and should therefore be distinctly regarded as a public service’, words that were later echoed more famously by John Reith of the British Broadcasting Company. On 11 May 1922, daily radio transmissions of an hour began from the 7th floor of Marconi House at London’s Aldwych. The Marconi Company’s London station was known as 2LO and its first concert (for voice, cello, and piano) was broadcast on 24 June; the Prince of Wales (later Edward VIII) broadcast from Marconi House on 7 October.