Seven New Trinity Laban Honorary Fellows
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
Roger Steptoe, Including a Performance Diary, May Be Found at for News of Recent Works, Please See
ROGE R STEPTOE Stainer & Bell CONTENTS Biographical Note .............................................................2 Orchestral Works ..............................................................3 Solo Voice and Orchestra ..................................................3 Solo Instrument and Orchestra .........................................4 Chorus and Orchestra ......................................................5 Works for Choir ................................................................6 Vocal Works......................................................................7 Chamber Music ................................................................8 Music for Strings ............................................................11 Music for Wind ...............................................................12 Music for Solo Piano .......................................................12 Discography....................................................................13 Note biographique ...........................................................14 Alphabetical List of Works ..............................................16 Please see the back cover for Ordering Information. Further information about the music of Roger Steptoe, including a performance diary, may be found at www.stainer.co.uk/steptoe.html For news of recent works, please see www.rogersteptoe.com September 2015 1 ROGER STEPTOE In a postmodern era often characterised by various aesthetic movements, it is especially enriching to encounter an artist like Roger Steptoe, -
Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera -
Peter Grimes Page 1 of 2 Opera Assn
San Francisco War Memorial 1976 Peter Grimes Page 1 of 2 Opera Assn. Opera House New production made possible in 1973 through a generous gift from the Gramma Fisher Foundation of Marshalltown, Iowa, made jointly to the Chicago Lyric and San Francisco Operas. Peter Grimes (in English) Opera in three acts by Benjamin Britten Libretto by Montagu Slater Based on a poem by George Crabbe Conductor CAST John Pritchard Hobson Paul Geiger Production Swallow Alexander Malta Geraint Evans Peter Grimes Jon Vickers Set Designer Mrs. Sedley Donna Petersen Carl Toms Ellen Orford Heather Harper Chorus Director A fisherman John Del Carlo Robert Jones Auntie Sheila Nadler Lighting Designer Bob Boles Paul Crook Thomas J. Munn Captain Balstrode Geraint Evans Musical Preparation Rev. Horace Adams Joseph Frank Thomas Fulton First Niece Claudia Cummings Costume Designer Second Niece Pamela South Tanya Moiseiwitsch Ned Keene Wayne Turnage Boy Steven Cohen Edward Lampe (10/22) A lawyer John Duykers Dr. Thorpe Janusz Offstage voice Luana De Vol Janice Aaland *Role debut †U.S. opera debut PLACE AND TIME: The Borough, a small fishing town on the east coast of England, towards 1830 Wednesday, October 6 1976, at 8:00 PM PROLOGUE -- A room inside Moot Hall Saturday, October 9 1976, at 8:00 PM Act I, Scene 1 -- The Borough beach and street Wednesday, October 13 1976, at 8:00 PM Scene 2 -- Inside "The Boar" Sunday, October 17 1976, at 2:00 PM INTERMISSION Friday, October 22 1976, at 8:00 PM Act II, Scene 1 -- The Borough beach and street Scene 2 -- Peter Grimes's hut INTERMISSION Act III, Scene 1 -- The Borough beach and street Scene 2 -- Later that night San Francisco War Memorial 1976 Peter Grimes Page 2 of 2 Opera Assn. -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
Dorset-Opera-News-Christmas-2008
News Issue No: 7 Christmas 2008 Audience numbers And for 2009 it’s… Artistic Director, Roderick Kennedy, has chosen two unashamedly double in 2 years! popular works for Dorset Opera’s 2009 presentation: the most famous twins in all opera, Mascagni’s Cavalleria rusticana and Leoncavallo’s I pagliacci. Dorset Opera audience numbers have officially doubled over the last two years! Leonardo Capalbo as Nadir We might only operate on a small scale, but in a sparsely populated county like Dorset, such an increase is no mean feat. Opera companies around the world can only dream of such a marketing success. However, if audience numbers continue to increase at this rate, it is estimated that the demand for tickets will require us to present at least six performances by 2012. This would be extremely difficult to schedule, so from 2009 onwards, tickets could be in short supply. Ticket shortage There is already evidence that regular audience-goers are aware of a possible ticket shortage. More and more supporters are joining Cav and Pag as they are affectionately known, contain a mass of our Friends’ organisation in order to take advantage of priority well-known tunes for our chorus to get their teeth in to, and for our booking arrangements. loyal audiences to savour. The Easter Hymn, the Internezzo, and Santuzza’s aria Voi lo sapete… from Cav; the Prologue from Pag is The Pearl Fishers: we can dance, as well as sing! in every baritone’s repertoire, and the heart-rending tenor aria Vesti la giubba translated as On with the Motley, is sure to leave a tear in the eye. -
Collaborative Composition, Writing and Performing Williams, AE
Collaborative composition, writing and performing Williams, AE Title Collaborative composition, writing and performing Authors Williams, AE Type Conference or Workshop Item URL This version is available at: http://usir.salford.ac.uk/id/eprint/37427/ Published Date 2014 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Collaborative Composition, Writing and Performing I want to start my remarks on collaborative processes in composition with a description of how the research landscape has changed in the 20 years since I started my PhD at the University of Manchester, where Marcos Lucas and I first met. Back then, there were really only a couple of ways one could do a PhD in music. The first was to carry out musicological research, predominantly in an area of music history, or perhaps of theory, maybe through reconstruction of artifacts such as scores or instruments, or by looking through sketches of a composer’s work to reconstruct their compositional method. Despite the variety of fields in which it was possible to research, the actual form of submission, that is, an 80,000 word thesis was the same. The only exception in music at the time was the compositional portfolio; in this model, which both Marcos and I followed, a series of pieces was composed accompanied by an analytical commentary of some 10,000 words which was meant to demonstrate that the candidate was familiar with a range of (mainly modernist) music, and in general could throw around a number of stylistic buzz-words. -
Note Di Produzione
NOTE DI PRODUZIONE Dalla DreamWorks Animation— gli studios che hanno realizzato il film d’animazione nominato agli Academy Awards® e al Golden Globe “Dragon Trainer”, il premio Oscar® “Shrek”, e i nominati agli Oscar® “Shrek 2” e “Kung Fu Panda”— arrivano le ultime avventure del più improbabile tra gli eroi, in perenne transizione tra il lavoro in un ristorante noodle e l’essere un maestro di Kung Fu. In “Kung Fu Panda 2”, Po (Il nominato ai Golden Globe, JACK BLACK) sta vivendo il suo sogno come Guerriero Dragone, proteggendo la Valle della Pace insieme ai suoi amici seguaci, maestri di Kung Fu, I Cinque Cicloni. Tigre (Il premio Oscar® ANGELINA JOLIE); Scimmia (la superstar internazionale JACKIE CHAN); Mantide (Il nominato agli Emmy SETH ROGEN); Vipera (la vincitrice di un SAG, LUCY LIU); e Gru (il vincitore di un Emmy, DAVID CROSS). Ritornano nel cast anche il due volte premio Oscar® DUSTIN HOFFMAN nel ruolo di Shifu, guru del Kung Fu e mentore di Po; e JAMES HONG nel ruolo del Signor Ping, il padre di Po e proprietario del più popolare ristorante noodle del villaggio. La nuova mitica vita di Po, è però offuscata dall’arrivo di un nuovo formidabile cattivo, Lord Shen (il nominato ai BAFTA e allo Spirit Award, GARY OLDMAN) che cercherà di usare un’arma segreta ed inarrestabile per conquistare la Cina e distruggere definitivamente il Kung Fu. Po dovrà scoprire i segreti delle sue misteriosi origini e solo a quel punto sarà capace di sbloccare la forza che gli serve per raggiungere la vittoria. -
Herein Are Those of the Authors and Advertisers and Do Not Necessarily Reflect the Views of the Publisher
Editor Tim Foster Contributing Writers Lindsay Mott Lori Elias Jamie Hecker Associate Editors Lisa Mahan • Michelle Foster Creative Direction and Design Tim Foster Associate Art Director Michelle Foster Contributing Photographers Tim Devine Garry Rollins Tim Foster ISBN-13: 978-1-5323-2121-4 ©2018 Celebrations Press, Inc. No portion of this publication may be reproduced in any form without the express written permission of the publisher. Statements and opinions herein are those of the authors and advertisers and do not necessarily reflect the views of the publisher. Celebrations is owned and operated by Celebrations Press, Inc. and is not affiliated with, authorized or endorsed by, or in any way officially connected with the Walt Disney Company, Disney Enterprises, Inc., or any of their affiliates. Walt Disney World Resort® is a registered trademark of The Walt Disney Company. This publication makes reference to various Disney copyrighted characters, trademarks, marks, and registered marks owned by The Walt Disney Company, Disney Enterprises, Inc., and other trademark owners. The use in this book of trademarked names and images is strictly for editorial purposes, no commercial claim to their use, or suggestion of sponsorship or endorsement, is made by the authors or publishers. Those words or terms that the authors have reason to believe are trademarks are designated as such by the use of initial capitalization, where appropriate. However, no attempt has been made to identify or designate all words or terms to which trademark or other proprietary rights may exist. Nothing contained herein is intended to express a judgement on, or affect the validity of legal status of, any word or term as a trademark, service mark, or other proprietary mark. -
THE WORLD of HANS ZIMMER 2019 Veranstaltungsort Westfalenhalle
29.03.2019 THE WORLD OF HANS ZIMMER 2019 Veranstaltungsort Westfalenhalle Beginn 20:00 Uhr Veranstalter Semmel Concerts Entertainment GmbH THE WORLD OF HANS ZIMMER 2019 - A Symphonic Celebration – Concert Tour Dirigent: Gavin Greenaway Gavin Greenaway arbeitet seit 25 Jahren mit Hans Zimmer zusammen und hat den Komponisten von den frühesten Anfängen seiner Karriere bis zu seinen größten Blockbustern begleitet. Der musikalische Leiter hat eine Vielzahl von Zimmers Filmmusiken dirigiert, unter anderem „Der Prinz von Ägypten“, „Gladiator“, „Pearl Harbor“, „The Ring“, „Inception“ und „Interstellar“. Greenaway war bei über 90 Filmen, unter anderem für James Newton Howard, John Powell und viele andere, an Komposition, Songwriting, Produktion und Orchestrierung beteiligt. Außerdem ist er der Komponist des nächtlichen Lichtspektakels „Reflections of Earth“, das seit 1999 in Disneys EPCOT-Themenpark gespielt wird. Symphonieorchester des Bolschoi Staatstheaters, Belarus Orchester Die Musiker*innen des Orchesters des Bolschoi Staatstheaters für Oper und Ballett Belarus sind musikalische Allrounder – sie gelten als eines der besten Opernorchester der Welt und waren musikalische Partner von Künstler*innen wie den Fantastischen Vier, Helene Fischer und Hans Zimmer. Das 1933 in Minsk gegründete Orchester ist durch die ganze Welt getourt und hat das Publikum mit seinem technischen Können verzaubert. Einer der Höhepunkte seines internationalen Programms war 1997 der Auftritt bei dem ersten Internationalen Opernfest im brasilianischen Manaus, als die Musiker*innen des Orchesters am Ufer des Rio Negro vor mehr als 40.000 begeisterten Zuschauern spielten. Rundfunk- und Fernsehchor Belarus Chor Der Rundfunk- und Fernsehchor Belarus hat seit seiner Gründung 1931 in Minsk seine stilistische Vielschichtigkeit und Variationsbreite bei unzähligen Aufnahmen und Konzerten unter Beweis gestellt und wurde im August 1990 für seine herausragenden Leistungen mit dem Academic Choir Award ausgezeichnet. -
A Conductor's Guide to the Da Vinci Requiem by Cecilia Mcdowall
University of South Carolina Scholar Commons Theses and Dissertations Spring 2020 A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall Jantsen Blake Touchstone Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Commons Recommended Citation Touchstone, J. B.(2020). A Conductor’s Guide to the Da Vinci Requiem by Cecilia McDowall. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5920 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A CONDUCTOR’S GUIDE TO THE DA VINCI REQUIEM BY CECILIA MCDOWALL by Jantsen Blake Touchstone BaChelor of MusiC Mississippi College, 2011 BaChelor of MusiC Education Mississippi College, 2013 Master of MusiC Mississippi College, 2013 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of MusiCal Arts in Conducting SChool of MusiC University of South Carolina 2020 ACCepted by: AliCia W. Walker, Major Professor Jabarie Glass, Committee Member Andrew Gowan, Committee Member J. Daniel Jenkins, Committee Member Cheryl L. Addy, ViCe Provost and Dean of the Graduate SChool © Copyright by Jantsen Blake Touchstone, 2020 All Rights Reserved ii DEDICATION To my wife, Amy Touchstone, for your endless support, patience, love, and saCrifiCe. Your support, patience and understanding have allowed me to complete this projeCt; I thank you. iii ACKNOWLEDGEMENTS I would begin by thanking CeCilia MCDowall for writing such wonderful choral musiC and allowing such aCCess to her life and thoughts. -
Interstellar: Original Motion Picture Soundtrack (Deluxe Digital Version)
1 2 D A Y O N E Each successive film I’ve done with Hans, I’ve tried to involve him at an earlier and earlier stage. Adding music to a film doesn’t work for me - it’s the reason I can’t temp a movie (edit using some other movie’s music to be replaced later). To me the music has to be a fundamental ingredient, not a condiment to be sprinkled on the finished meal. To this end, I called Hans before I’d even started work on INTERSTELLAR and proposed a radical new approach to our collaboration. I asked him to give me one day of his time. I’d give him an envelope with one page - a page explaining the fable at the heart of my next project. The page would contain no information as to genre or specifics of plot, merely lay out the heart of the movie-to-be. Hans would open the envelope, read it, start writing and at the end of the day he’d play me whatever he’d accomplished. That would be the basis of our score. Hans agreed. I think he shared my frustration with trying to wrangle the mechanics of a massive film right at the tail end of a years-long process of construction - the sheer difficulty of trying to see past what you’ve all built and get back to the beating heart of the story, as a great score must. He understood that what I wanted to do was turn his usual process inside out, giving his musical and emotional instincts free reign, so that the seed from which the score would eventually grow would be fused with the narrative at its earliest stage.