Rhythm and Emotion Rhythm and Emotion Bangor Symphony Orchestra Lucas Richman, Conductor ______Program
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Programmfolge
Programmfolge Salzburg Marianne Martines Klavierkonzert in A-Dur I Allegro con spirito II Andante Comodo III Allegro assai Ebensee Günther Firlinger Orgelimprovisation Fanny Hensel-Mendelssohn Oratorium nach Bildern der Bibel 1 Intoduktion Allegro moderato 2 Recitativo (Alto) Allegro moderato 3 Arioso (Basso, Soprano) Maestoso 4 Coro Allegro 5 Recitativo (Alto) In Tempo Andante 6 Recitativ (Soprano) 7 Coro Allegro 8 Aria (Tenore) Allegro di molto 9 Recitativo (Soprano) 10 Trauerchor 11 Chor der Seligen (Coro, Soprano, Basso) 12 Arioso (Soprano) 13 Coro (Anhang) 14 Coro Allegro 15 Recitativo Allegro (Soprano, Alto, Basso) 16 Coro Allegro Programmnotizen Die Orgelimprovisation (Günther Firlinger) Das Konzert in Ebensee versteht sich als Portraitkonzert für die neu restaurierte und 1814: Der Kongress tanzt konzipierte Orgel der katholischen Pfarrkirche. (auf dem Vulkan) Die eingangs erklingende Improvisation stellt die Persönlichkeit des Instrumentes mit all ihren Klangmöglichkeiten und Farben in der Sprache des 20. Jahrhunderts vor. Der Akzent ist Beschäftigte sich die Gender Studies Reihe des Wintersemesters 13/14 mit Bertha v. Französisch, im Stile der großen Organisten-Komponisten Tradition eines Olivier Messiaen Suttner, die am Vorabend des Ersten Weltkrieges starb, so wird im Sommersemester 14 und oder Jean Langlais, zu dessen SchülerInnenkreis sich der Organist und Komponist Günther Wintersemester 14/15 das Jahr 1814 ins Zentrum gestellt. Firlinger zählt. Es ist die Zeit des Biedermeier, jene gar nicht so harmlose Zeit, die das Biedermeier selber Mitten im Oratorium wird sich dann die Hauptperson des Abends erneut zu Wort melden, noch gar nicht kannte. Das Ende der napoleonischen Kriege und der Wiener Kongress stehen diesmal in der Sprache des Bruders der Komponistin. -
The Idea of the Labyrinth
·THE IDEA OF · THE LABYRINTH · THE IDEA OF · THE LABYRINTH from Classical Antiquity through the Middle Ages Penelope Reed Doob CORNELL UNIVERSITY PRESS ITHACA AND LONDON Open access edition funded by the National Endowment for the Humanities/Andrew W. Mellon Foundation Humanities Open Book Program. Copyright © 1990 by Cornell University First printing, Cornell Paperbacks, 1992 Second paperback printing 2019 All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu. Printed in the United States of America ISBN 978-0-8014-2393-2 (cloth: alk. paper) ISBN 978-1-5017-3845-6 (pbk.: alk. paper) ISBN 978-1-5017-3846-3 (pdf) ISBN 978-1-5017-3847-0 (epub/mobi) Librarians: A CIP catalog record for this book is available from the Library of Congress An open access (OA) ebook edition of this title is available under the following Creative Commons license: Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0): https://creativecommons.org/licenses/ by- nc-nd/4.0/. For more information about Cornell University Press’s OA program or to download our OA titles, visit cornellopen.org. Jacket illustration: Photograph courtesy of the Soprintendenza Archeologica, Milan. For GrahamEric Parker worthy companion in multiplicitous mazes and in memory of JudsonBoyce Allen and Constantin Patsalas Contents List of Plates lX Acknowledgments: Four Labyrinths xi Abbreviations XVll Introduction: Charting the Maze 1 The Cretan Labyrinth Myth 11 PART ONE THE LABYRINTH IN THE CLASSICAL AND EARLY CHRISTIAN PERIODS 1. -
Diplomats As Musical Agents in the Age of Haydn
HAYDN: The Online Journal of the Haydn Society of North America Volume 5 Number 2 Fall 2015 Article 2 November 2015 Diplomats as Musical Agents in the Age of Haydn Mark Ferraguto Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ferraguto, Mark (2015) "Diplomats as Musical Agents in the Age of Haydn," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 5 : No. 2 , Article 2. Available at: https://remix.berklee.edu/haydn-journal/vol5/iss2/2 This Work in Progress is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ferraguto, Mark "Diplomats as Musical Agents in the Age of Haydn." HAYDN: Online Journal of the Haydn Society of North America 5.2 (Fall 2015), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2015. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Diplomats as Musical Agents in the Age of Haydn by Mark Ferraguto Abstract Vienna’s embassies were major centers of musical activity throughout the eighteenth and early nineteenth centuries. Resident diplomats, in addition to being patrons and performers, often acted as musical agents, facilitating musical interactions within and between courts, among individuals and firms, and in their private salons. Through these varied activities, they played a vital role in shaping a transnational European musical culture. -
Sum 41 Alive
SSUMUM 4411 AALIVELIVE IS SCREAMO B.S.? FLORIA’S FUEL IAN BLURTON~MINISTRY~THE TEA PARTY~WILDHEARTS CLAIRE STANSFIELD~MOONEY SUZUKI~DFA 1979 THE JERRY CAN The summer is the season of rock. Tours roll across the coun- try like mobile homes in a Florida hurricane. The most memo- rable for this magazine/bar owner were the Warped Tour and Wakestock, where such bands as Bad Religion, Billy Talent, Alexisonfire, Closet Monster, The Trews and Crowned King had audiences in mosh-pit frenzies. At Wakestock, in Wasaga Beach, Ont., Gasoline, Fox Racing, and Bluenotes rocked so hard at their two-day private cottage party that local authorities shut down the stage after Magneta Lane and Flashlight Brown. Poor Moneen didn't get to crush the eardrums of the drunken revellers. That was day one! Day two was an even bigger party with the live music again shut down. The Reason, Moneen and Crowned King owned the patio until Alexisonfire and their crew rolled into party. Gasoline would also like to thank Chuck (see cover story) and other UN officials for making sure that the boys in Sum41 made it back to the Bovine for another cocktail, despite the nearby mortar and gunfire during their Warchild excursion. Nice job. Darryl Fine Editor-in-Chief CONTENTS 6 Lowdown News 8 Ian Blurton and C’mon – by Keith Carman 10 Sum41 – by Karen Bliss 14 Floria Sigismondi – by Nick Krewen 16 Alexisonfire and “screamo” – by Karen Bliss 18 Smash it up – photos by Paula Wilson 20 Whiskey and Rock – by Seth Fenn 22 Claire Stansfield – by Karen Bliss 24 Tea Party – by Mitch Joel -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
Legends of the West
1 This novel is dedicated to Vivian Towlerton For the memories of good times past 2 This novel was written mostly during the year 2010 CE whilst drinking the fair-trade coffee provided by the Caffé Vita and Sizizis coffee shops in Olympia, Washington Most of the research was conducted during the year 2010 CE upon the free Wi-Fi provided by the Caffé Vita and Sizizis coffee shops in Olympia, Washington. My thanks to management and staff. It was good. 3 Excerpt from Legends of the West: Spotted Tail said, “Now, let me tell you the worst thing about the Wasicu, and the hardest thing to understand: They do not understand choice...” This caused a murmur of consternation among the Lakota. Choice was choice. What was not there to not understand? Choice is the bedrock tenet of our very view of reality. The choices a person makes are quite literally what makes that person into who they are. Who else can tell you how to be you? One follows one’s own nature and one’s own inner voice; to us this is sacrosanct. You can choose between what makes life beautiful and what makes life ugly; you can choose whether to paint yourself in a certain manner or whether to wear something made of iron — or, as was the case with the famous Cheyenne warrior Roman Nose — you could choose to never so much as touch iron. In battle you choose whether you should charge the enemy first, join the main thrust of attack, or take off on your own and try to steal his horses. -
Words, Lines, Diagrams, Images: Towards a History of Scientific
Early Science and Medicine 14 (2009) 398-439 www.brill.nl/esm Words, Lines, Diagrams, Images: Towards a History of Scientific Imagery Christoph Lüthy & Alexis Smets* Radboud University Nijmegen To John E. Murdoch, eminent iconographer Abstract is essay examines the problems encountered in contemporary attempts to establish a typology of medieval and early modern scientific images, and to associate apparent types with certain standard meanings. Five particular issues are addressed here: (i) the unclear boundary between words and images; (ii) the problem of morphologically similar images possessing incompatible meanings; (iii) the converse problem of com- parable objects or processes being expressed by extremely dissimilar visual means; (iv) the impossibility of matching modern with historical iconographical terminologies; and (v) the fact that the meaning of a given image can only be grasped in the context of the epistemological, metaphysical and social assumptions within which it is embed- ded. e essay ends by concluding that no scientific image can ever be understood apart from its philosophical preconditions, and that these preconditions are often explained during disputes between the protagonists of different iconographical types. Keywords scientific imagery, epistemic images, word and image, taxonomy of images, iconogra- phy, chymistry, Marsilio Ficino, Giordano Bruno, René Descartes * Faculty of Philosophy, Radboud University Nijmegen, P.O. Box 9103, NL—6500 HD Nijmegen, e Netherlands ([email protected]; [email protected]). We would like to thank the editors of this volume, William R. Newman and Edith Sylla, for their precious comments and observations. © Koninklijke Brill NV, Leiden, 2009 DOI : 10.1163/157338209X425632 C. Lüthy, A. -
Marianna Martines= Martínez (1744- 1812) Pupil of Haydn and Friend Of
Marianna Martines= Martínez (1744- 18 12) Pupil of Haydn and Friend of Mozart C LASSICAL YIENNA BOASTED such women com Vienna, Domenico Passionci (1682-1761 ), appointed him posers as master of ceremonies [Maestro di Camera], a position thal he held under five successive nuncios, thc last being Marianna von Auenbrugger, dcdicatec of Haydn's Sei Vitaliano Borromco (1720-1797) (who left Vienna in 1766 Sonate per il Clavicembalo, o For1e Piano Opera XXX upon being named a cardinal). In about 1762 Empress (published by Arlaría in 1780); Maria Theresia made her father Knight of 1he Realm. Mozart's pupil and co-performer Josefa Barbara von Al age seven (175 1) she began studying music wi1h Aur(e)nhammcr (b Vienna September 25, 1758; d there Joseph Haydn, "presently Maestro di Cappella of Prince January 30, 1820), with whom he played the premiere of [Nikolaus Ij Esterházy, and a much es1eemed individual his Sonata for two keyboards KV 448: 375a (November in Vienna, especially as regards instrumental music." 1781); [Haydn told his biographer Griesinger tha1he1aught her singing and keyboard playing three years-receiving for the blind keyboardist Maria Theresia Paradis (b Vienna his instruc1ion free board in the Martines household, May 15, 1759; d lhere February 1, 1824) for whom which was on a lower íloor of the Michaelerhaus where Haydn wrote his Second Concerto pour le clavecin oü le he himself inhabited a garret.) Aftcr Haydn, she studied forre-piano ... exéculé ou Concer1 Spiriluel par Made counterpoint with Giuseppe Bonno [1710-1788), member moisel/e Paradis (announced April 26128, 1784) and of the Imperial Court Chapel (who, after his decade of Mozart composed his Concerto KV 456 (dated Septem siudy in ltaly wilh Durante and Leo, 1726-1736, was in ber 30, 1784); 1739 named Hoflcompositeur; Mozart in a lener dated and Magdalena von Kurzbock to whom Haydn's Grande April 11, 1781, referred to Bonno as "der alte ehrliche Sana/e pour le Piano-Forte .. -
I \Itfvi-Was.Fi*% •42 M ..» a G H E
WA 0 / ]: I \itfVi-wAs.fi*% •42 m ..» A G H E • Sivas ___ f—^ ikhchi • Maranc igjarBakr / .Tabr Kaifa, *" ^•Mara Hamad! Nihav^K""» Damascus y anabad *""$ !—•xasH"s?r ^JZGeronW a "-agi„a. .Lerida Si /* "amanca v ® Madrid 'Wo. p-^Cirenca THE NEAR AND •ranad MIDDLE EAST • KairwanU ^ With an insert Map of Hal 'at Beni Hammad j MaUya> SPAIN and NORTH AFRICA O 50 100 200 300 40O 500 . 600 70O 800 R STATUTE MILES / °' e c o KILOMETERS 9 Ma rralcesh I \1940 TLBULLOCK ^JXancvook or aJvv ij> By M. S. DIMAND, Ph. D. Curator of Near Eastern Art The Metropolitan Museum of Art SECOND EDITION Revised and Enlarged x947 HARTSDALE HOUSE NEW YORK J947 HARTSDALE HOUSE, INC. Copyright i()jj by The Metropolitan Museum of .Art Printed in the United States of America 4pt-efretac, e The first edition of this handbook was issued in 1930 under the title A Handbook of Mohammedan Decorative Arts. Since then the Metropolitan's collection of Muhammadan art has been enriched by numerous important acquisitions and today it ranks as one of the foremost in the world. In the present edi tion the handbook has been revised and brought up to date in the light of recent research and excavations, particularly those at Ctesiphon and Nishapur, undertaken by the Metropolitan Museum. For better understanding of Muhammadan art, a new chapter on "The Origins of Islamic Art," dealing with East Christian (including Coptic), Parthian, and Sasanian art, has been added. Like the first edition, this new one is the onlv guide to Muhammadan art in the English language and will be useful to students and collectors as well as to visitors to the Museum. -
Information to Users
INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. 8709999 Gainer, Kim Dian PROLEGOMENON TO PIERS PLOWMAN: LATIN VISIONS OF THE OTHERWORLD FROM THE BEGINNINGS TO THE THIRTEENTH CENTURY The Ohio State University Ph.D. 1987 University Microfilms International300 N. Zeeb Road, Ann Arbor, Mi 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. -
Marianna Martines (1744–1812)
Erlöserkirche Bad Homburg Samstag, 3. März 2012, 19.30 Uhr Komponistenportrait Marianna Martines (1744–1812) Ouvertüre zum Oratorium „Isacco“ (1781) Allegro maestoso Andante Allegro con spirit Cembalokonzert E-Dur (1766) Allegro Andante Allegro Miserere (1768) für Chor, Soli und Basso continuo Sinfonie in C (1770) Allegro con spirito Andante ma non troppo Allegro spiritoso Dixit Dominus (1774) für Chor, Soli und Orchester 1. Dixit Dominus (Allegro spiritoso) 2. Virgam virtutis (Andante) 3. Tecum principium 4. Juravit Dominus (Adagio – Fuga) 5. Dominus a dextris tuis 6. Gloria Patri 7. Et in sæcula (Fuga) Ausführende: Kammerchor der Erlöserkirche Collegium Vocale Bad Homburg (Leitung: Helmut Föller) Barockorchester L‘Arpa festante Annegret Schönbeck (Sopran), Johanna Krell (Alt), Rolf Ehlers (Tenor), Wolfgang Weiß (Bass) Cembalo: Nicoleta Paraschivescu Gesamtleitung: Susanne Rohn Marianna Martines – eine Komponistin zur Haydn-Zeit Im September 1772 begegnete Charles Burney während seines Aufenthaltes in Wien Marianna Martines zum ersten Mal. Der weitgereiste Musikgelehrte traf sie im Salon des Hofdichters Metastasio, berichtete über sie in seinem Tagebuch einer musikalischen Reise und nannte sie nicht nur die „vollkommenste Sängerin […], die ich jemals gehört hatte“, sondern rühmte auch ihre „meisterhafte Art“ am Cembalo und ließ sich Eigenkompositionen von ihr vorspielen: „Sie übertraf wirklich noch die Erwartung, die man mir von ihr beigebracht hatte. Sie sang zwo Arien von ihrer eignen Komposition über Worte von Metastasio, wozu sie sich selbst auf dem Flügel akkompagnierte, und zwar auf eine wohlverstandne, meisterhafte Manier; und aus der Art, wie sie die Ritornelle spielte, konnte ich urteilen, dass sie sehr fertige Finger hätte.“ Im Jahr darauf wurde Marianna Martines als erste Frau in die prestigeträchtige Accademia Filarmonica in Bologna aufgenommen. -
Tom Cochrane – Take It Home Colin James – Hearts on Fire NE-YO – Non-Fiction
Tom Cochrane – Take It Home Colin James – Hearts on Fire NE-YO – Non-Fiction New Releases From Classics And Jazz Inside!!! And more… UNI15-05 UNIVERSAL MUSIC 2450 Victoria Park Ave., Suite 1, Willowdale, Ontario M2J 5H3 Phone: (416) 718.4000 *Artwork shown may not be final Tuesday, December 16, 2014 Dear Commercial Partner, Please be advised that, effective February 9th, 2015 Universal Music Canada will convert titles posted to http://www.umcreleasebooks.ca to JSP ($10.98 NEDP) pricing. All orders placed prior to February 9th, 2015 will attract the old price and all orders placed post February 9th, 2015 will attract the new JSP pricing. **Please note normal terms will not apply to this new price tier.** Please contact your local Universal Music Canada representative, should you have any questions. Cher Partenaire Commercial, Nous vous avisons qu’à compter du 9 février 2015, Universal Music Canada convertira les titres indiqués sur http://www.umcreleasebooks.ca au code de prix JSP ($10.98 NEPD). Toutes commandes envoyées avant le 9 février 2015 auront le vieux prix de vente alors que les commandes envoyées après le 9 février 2015 auront le nouveau prix de vente JSP. ** Veuillez prendre note que nos Termes Normaux ne s’appliqueront pas à ce nouveau code de prix. ** N’hésitez pas à contacter votre représentant de Universal Music Canada local si vous avez des questions. Regards/Sincèrement, Adam Abbasakoor Vice President, Commercial Affairs Universal Music Canada [email protected] UNIVERSAL MUSIC CANADA NEW RELEASE Artist/Title: DIANA KRALL / WALLFLOWER (Standard CD) Cat. #: B002098902 Price Code: SP Order Due: Jan.