DOCSLIB.ORG

Volume 33, Number 01 (January 1915) James Francis Cooke

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1915 Volume 33, Number 01 (January 1915) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 33, Number 01 (January 1915)." , (1915). https://digitalcommons.gardner-webb.edu/etude/609 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. m THE ETUDE 1 One of Thomas Nelson Page’s ^ Gleaming, The Etude soft, smooth skin Acadian characters could “make a fiddle AND YOUR PROGRESS laugh and cry.” Do you realize that you J Actresses and dancers, whose skin must J always be at its loveliest—people every- can make an Emerson Player Piano both THE Great World of Music is Developing, Advancing, Expanding ^ where who understand the appeal and laugh and cry? It will carry you into the every hour and your own delight and profit in music depends charm of a fresh glowing complexion—get upon how closely you keep in touch with the splendid rhythm heights with the thunderous crashes of the from Pond’s Vanishing Cream just the of the movement. To get out of step is to fall behind. great composers and it will lull you to com¬ effect they have always wanted. plete rest with the simplest, softest melo¬ Those who take The Etude know that a stronger bond between the progress in practical musical thought and the reader could not exist. dies. There is no expression of which it is ■mmmm Thousands tell their friends of this and show them how The , not capable. Etude can help them. You do not need to be a learned, musi¬ Let us help you help your friends. cian. You need only to love music and you can easily learn to give it any inter¬ We have prepared a set of coupons bearing big dividends in musical pretation you wish—if you have an Emer¬ ipffl interest, to say nothing of an actual cash profit for all of our friends who will use this simple and dignified method of bring new subscribers son Player Piano. to The Etude. Dealers in principal cities and towns. Any music lover or teacher who so desires may not only add Send for catalog. materially to his income by means of these coupons but at the same time enhance the musical interest in his own district. Thousands are doing this. There is an interesting and easily gained side income here Emerson Piano Company for anyone who will let us inform them how it may be done. Just drop us a postal with the line “Please Send Coupons” and we send without Established 1849 ^AKIlVC Extract cost of any kind full materials with which to begin. Write your name Boston Mass. jUNUD Company’s and address plainly and send your postal as early as possible. The Etude’s Vanishing Cream THEODORE ™=e« SPLENDID PLANS FOR 1915 Among the famous music workers who have arranged to con¬ A™ Arbor, Michigan - tribute special articles to The Etude this year are the names of many Three Exceptionally Useful Books teachers and virtuosi of international eminence, including Important *£ All Pianists Students Moritz Rosenthal Alberto Jonas Katharine Goodson Chaminade I. Phillip Frederic Corder By JAMES FRANCIS COOKE and many others of equal distinction. A Genuine Addition to the Literature of Pianoforte Technic Don’t Miss the Polish Issue In February we shall have one of the finest national issues ever published. It will deal Recently Published GREAT PIANISTS ON PIANO PLAYING * giving the j THE NEW GRADUS DETROIT CONSERV ATORY C IGNACE JAN PADEREWSKI (NSERVATORY IN T1 aany interesting phases of Music study. Students may enter g?ers Big Problems for Active Music Workers AD PARNASSUM at any time “public “choTMus ment. Send for Catai The F.tvde during 1915 has planned to present some of the big problems of musical In Eight Books Price, $1.00 each life, the discussion of which determines in a large measure the life work of earnest JAMES H. BELL, Sec. 1013 Woodwa music workers. These will be treated in a thoroughly serious yet all-absorbing, fresh, By ISIDOR PHILIPP crisp, interesting manner. The first of these will deal witli what has come to be known as the “dead line” or “danger line”'in life. MASTERING THE SCALES & ARPEGGIOS In this unique work each separate department of technic is considered Price $1.25 by itself, all the studies bearing upon any particular technical point being Passing the “Deadline” in Musical Life classified together and arranged in logical and progressive order. Proceeding in this manner each subject is treated exhaustively in a separate part. The main points thus covered are: 1. Left Hand Technic Double Notes srewr 2. Right Hand Technic Octaves and Chords 3. Hands Together The Trill 4. Arpeggios THE STANDARD HISTORY OF MUSIC Various Difficulties entirely new in musical journalism. It will be brought up In'" a light ^bTcTwifi'compd The entire literature of educational piano music has been ransacked in ord _ ,___rtistic death whirl Price $1.25 to select the best possible studies adapted to each of the above classification A First History for Students at All Ages Monsieur I. Philipp, leading Professor of Pianoforte in the Paris Coi A complete, concise, understandable series of forty "story-lessons." Abundantly servatory, is admirably equipped by knowledge, experience and natural talei illustrated. Self-pronouncing. Handsomely bound. Up-to-date. This book is now in for the compilation and preparation of a work of this type. This new Etude feature will be accomplished through data which Mr. Thomas Tapper use in hundreds of History classes and clubs from coast to coast and has been the means Every teacher should examine a set of these works. Sent of a broadspread revival in general musical interest wherever introduced. Let us help on inspection and subject to our usual liberal discount. you start a History Club through a very successful plan which has helped others. be interested in this whether they are All the above books sei price. Write for circulai THEO. PRESSER COMPANY THEO. PRESSER COMPANY Philadelphia, Pa. 1712 CHESTNUT STREET - - _ _ PHILADELPHIA Remember—every new friend you make for THE ETUDE means a new impetus for musical art in your community. The Etude—Theo. Presser Go. Built especially for people of high artistic discrimination who appreciate the difference between good and best. 1712 Chestnut Street Philadelphia, Pa. PIANOS Your Correspondence so licit ed STRICH & ZEIDLER ” and PLAYER-PIANOS D E. 140th St. and Jackson Ave., : New York City 3 THE ETUDE THE ETUDE requisites for |j | Chicago | Conservatories—Schools Xeachers I—western j — MUSIC TEACHER MRS. STACEY WILLIAMS AMERICAN CONSERVATORY business manual for music teach Private Teachers Voice Production: Repertoire Souvenirs of the Masters FBS SI 00. This book Is a compendium . In Europe June 15th to Sept. 15th. Reed Organ Player the latest ind best ideas upon tl.e most pnu-t,,', Who can qualify for Associate Faculty Membership Chicaeo’s Foremost School of Music and Dramatic Art Merry Rhymes for methods of compelling your professional wor in the Western Conservatory may offer their pupils Studio Re-opens October 1st Introducing Famous Melodies Offers courses in Piano, Voice, Violin, Public School Music, Dramatic Art, etc. 75 eminent artists. Super- Attention will be given to all letters addressed to Price, 50 cents tificate, Catalogue^etc., instead of merely “giving Mrs. Williams in Chicago. ... Childhood Times a splendid collection of for the Pianoforte lessons” and then “more lessons.” Great ad¬ fo? Normal Training School supplies teachers for colleges. ^/?S^0n“ddre^ P l pieces, appropriate for By GEO. L. SPAULDING vantage. For particulars write to JOHNSJ.eHATTsfAEDT'prM* * - - -? 671 Kimball Hall, CHICAGO, ILL. SuSjLTosLe, K?mbiil HaPiTM,aS CHICAGO VOCAL OR INSTRUMENTAL ■ church or home. Many ilSssr'' Pre*. E. H. SCOTT Mailers Bldg., Chicago 7 , been especially written Price, 50 Cents PUPIL’S LESSON BOOK. Price By L. A. BUGBEE-DAVIS or muiMTiireu ..is all genuine reed organ l volume of 27 pieces, each containing $1.00 per ao«n. music, not simply a collection of pianoforte of the imperishable melodies of the THE STANDARD LESSON RECORD. WILITHK ET^EPTIOKa'l EACILITIKS^L'o’mPLETE OUOANIMATION AND C0HFBI1IKNSIVE COURSES BAKE THE DANA’S MUSICAL INSTITUTE Price, 50 cents pieces of limited compass. This is one of at classic and modern musters, preceded records withWKU stubs.)evuoJ.J 25c.ZOC. A -me . the best books of its kind ever offered. dv original introductory material by oeo. .he teacher to keep a complete record 12 MINNEAPOLIS SCHOOL OF MUSIC Hinneapolis, WARREN, OHIO contains seven pieces, practically al L. Spaulding and ad libitum textby Jts- pupils, studies and accounts. Eighth sl, s. ORATORY AND DRAMATIC ART «»• Forty-fifth year. Music taught in all its branches. Lessons daily and Private. them in the first grade, which raa; *— Moore. A really unique idea. The LESSON AND PRACTICE RECORD. THE RECOUNIZED I.EAIUNU IN8TITDTIOK1 OF'THE[NORTHWEST pupifs;y Buildings (or practice (new). Pure water, beautiful city and healthy Not a death ■n f°«y-foU used as recreations in connection with cove, page of the book contains half-tone (Package of 25 cards.) 25c.
Recommended publications
  • Abstracts Papers Read

    Abstracts Papers Read

    ABSTRACTS of- PAPERS READ at the THIRTY-FIFTH ANNUAL MEETING of the AMERICAN MUSICOLOGICAL SOCIETY SAINT LOUIS, MISSOURI DECEMBER 27-29, 1969 Contents Introductory Notes ix Opera The Role of the Neapolitan Intermezzo in the Evolution of the Symphonic Idiom Gordana Lazarevich Barnard College The Cabaletta Principle Philip Gossett · University of Chicago 2 Gluck's Treasure Chest-The Opera Telemacco Karl Geiringer · University of California, Santa Barbara 3 Liturgical Chant-East and West The Degrees of Stability in the Transmission of the Byzantine Melodies Milos Velimirovic · University of Wisconsin, Madison 5 An 8th-Century(?) Tale of the Dissemination of Musico­ Liturgical Practice: the Ratio decursus qui fuerunt ex auctores Lawrence A. Gushee · University of Wisconsin, Madison 6 A Byzantine Ars nova: The 14th-Century Reforms of John Koukouzeles in the Chanting of the Great Vespers Edward V. Williams . University of Kansas 7 iii Unpublished Antiphons and Antiphon Series Found in the Dodecaphony Gradual of St. Yrieix Some Notes on the Prehist Clyde W. Brockett, Jr. · University of Wisconsin, Milwaukee 9 Mark DeVoto · Unive Ist es genug? A Considerat Criticism and Stylistic Analysis-Aims, Similarities, and Differences PeterS. Odegard · Uni· Some Concrete Suggestions for More Comprehensive Style Analysis The Variation Structure in Jan LaRue · New York University 11 Philip Friedheim · Stat Binghamton An Analysis of the Beginning of the First Movement of Beethoven's Piano Sonata, Op. 8la Serialism in Latin America Leonard B. Meyer · University of Chicago 12 Juan A. Orrego-Salas · Renaissance Topics Problems in Classic Music A Severed Head: Notes on a Lost English Caput Mass Larger Formal Structures 1 Johann Christian Bach Thomas Walker · State University of New York, Buffalo 14 Marie Ann Heiberg Vos Piracy on the Italian Main-Gardane vs.

  • The Conflict of Obligations in Euripides' Alcestis

    GOLDFARB, BARRY E., The Conflict of Obligations in Euripides' "Alcestis" , Greek, Roman and Byzantine Studies, 33:2 (1992:Summer) p.109 The Conflict of Obligations in Euripides' Alcestis Barry E. Goldfarb 0UT ALCESTIS A. M. Dale has remarked that "Perhaps no f{other play of Euripides except the Bacchae has provoked so much controversy among scholars in search of its 'real meaning'."l I hope to contribute to this controversy by an examination of the philosophical issues underlying the drama. A radical tension between the values of philia and xenia con­ stitutes, as we shall see, a major issue within the play, with ramifications beyond the Alcestis and, in fact, beyond Greek tragedy in general: for this conflict between two seemingly autonomous value-systems conveys a stronger sense of life's limitations than its possibilities. I The scene that provides perhaps the most critical test for an analysis of Alcestis is the concluding one, the 'happy ending'. One way of reading the play sees this resolution as ironic. According to Wesley Smith, for example, "The spectators at first are led to expect that the restoration of Alcestis is to depend on a show of virtue by Admetus. And by a fine stroke Euripides arranges that the restoration itself is the test. At the crucial moment Admetus fails the test.'2 On this interpretation 1 Euripides, Alcestis (Oxford 1954: hereafter 'Dale') xviii. All citations are from this editon. 2 W. D. Smith, "The Ironic Structure in Alcestis," Phoenix 14 (1960) 127-45 (=]. R. Wisdom, ed., Twentieth Century Interpretations of Euripides' Alcestis: A Collection of Critical Essays [Englewood Cliffs 1968]) 37-56 at 56.
  • Hercules: Celebrity Strongman Or Kindly Deliverer?

    Hercules: Celebrity Strongman Or Kindly Deliverer?

    Hercules: Celebrity Strongman or Kindly Deliverer? BY J. LARAE FERGUSON When Christoph Willibald Gluck’s French Alceste premiered in Paris on 23 April 1776, the work met with mixed responses. Although the French audience loved the first and second acts for their masterful staging and thrilling presentation, to them the third act seemed unappealing, a mere tedious extension of what had come before it. Consequently, Gluck and his French librettist Lebland Du Roullet returned to the drawing board. Within a mere two weeks, however, their alterations were complete. The introduction of the character Hercules, a move which Gluck had previously contemplated but never actualized, transformed the denouement and eventually brought the opera to its final popular acclaim. Despite Gluck’s sagacious wager that adding the character of Hercules would give to his opera the variety demanded by his French audience, many of his followers then and now admit that something about the character does not fit, something of the essential nature of the drama is lost by Hercules’ abrupt insertion. Further, although many of Gluck’s supporters maintain that his encouragement of Du Roullet to reinstate Hercules points to his acknowledged desire to adhere to the original Greek tragedy from which his opera takes its inspiration1, a close examination of the relationship between Gluck’s Hercules and Euripides’ Heracles brings to light marked differences in the actions, the purpose, and the characterization of the two heroes. 1 Patricia Howard, for instance, writes that “the difference between Du Roullet’s libretto and Calzabigi’s suggests that Gluck might have been genuinely dissatisfied at the butchery Calzabigi effected on Euripides, and his second version was an attempt not so much at a more French drama as at a more classically Greek one.” Patricia Howard, “Gluck’s Two Alcestes: A Comparison,” Musical Times 115 (1974): 642.
  • The Year's Music

    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.
  • Sun King Program Notes

    Sun King Program Notes

    FRIDAY, NOVEMBER 20 PROGRAM 7:30 PM Jean-Baptiste Lully Suite from Armide 7:00 PM: PRE-CONCERT LECTURE BY PROFESSOR Jean-Philippe Rameau In convertendo Dominus JOHN POWELL (UNIV. OF TULSA) wfihe^=e^ii=L= INTERMISSION Hobby Center For The Performing Arts= Marc-Antoine Charpentier Les arts florissants SPECIAL GUESTS: Catherine Turocey, Artistic Director PROGRAM NOTES The New York Barque Dance Company Armide was the last tragédie en musique on which Jean-Baptiste Lully collaborated with his Dancers: Carly Fox Horton, favorite librettist, Philippe Quinault. It premiered at the Paris Opéra on February 15, 1686. Quinault retired from the stage after Armide, and Lully died the following year. From its first Brynt Beitman, Alexis Silver, and Andrew Trego performance, Armide was recognized as their masterpiece. The subject matter was of the King’s choosing: Louis XIV selected the story in May of 1685 CAST: Megan Stapleton, soprano from among several offered by Quinault. Armide is based on an episode of Gerusalemme Julia Fox, soprano liberata, a popular epic poem by the 16th-century Italian poet Torquato Tasso. It uses the story Cecy Duarte, mezzo-soprano of the capture of Jerusalem by Christians during the First Crusade (1096-99) as the starting Sonja Bruzauskas, mezzo-soprano point for a fabulous extravaganza of heroism, villainy, war, star-crossed lovers, sorcery, bad Tony Boutté, tenor temper, warrior maidens, and eventual total victory by the forces of good. The episode on Eduardo Tercero, tenor which Armide is based tells the story of Armida, a sorceress who falls in love with the Mark Diamond, baritone Crusader Rinaldo, her sworn enemy.
  • Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)

    Le Cinesi. Revised Libretto by PIETRO METASTASIO, First Set by Nicola Conforto (1751 Aranjuez)

    Le cinesi. Revised libretto by PIETRO METASTASIO, first set by Nicola Conforto (1751 Aranjuez). The scene represents a room in the house of Lisinga, decorated in the Chinese manner, with a table and four chairs. Lisinga, Sivene, and Tangia sit together drinking tea in an attitude of total preoccupation. Silango, listens unseen from the partly open door. Lisinga, after observing each of her companions for some time, finally breaks the silence. Bored, three young Chinese women ponder how they might amuse themselves in a manner that would be enjoyable, innocent, and different. Tangia has fleeting thoughts on the matter but they come to nothing. Much to their chagrin, Silango enters to offer his opinion, but since this is a room strictly off-limits to men, reputations are at stake and he must leave – but best to delay until darkness offers its cover. Meanwhile, in spite of his recent travels in Europe, he must realize that he is no longer in France or Italy and must readjust to the customs of his native China. Lisinga suggests that as a group, they perform a dramatic piece. All three agree, but in turning to such a European pastime, each one favours a different genre. Lisinga opts for an heroic drama, while Sivene would have a pastoral and Tangia a comedy. Thus Silango proposes that each one perform a scene in her preferred style and they will adopt the one they consider to be the best. Since her companions hesitate, Lisinga takes the lead and as Andromache, widow of Hector, plays out a scene in which the life of their child, Astyanax, is threatened by Pyrrhus, unless she agree to marry him.
  • Introduction: a Rich and Complex Heritage

    Introduction: a Rich and Complex Heritage

    Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information part i Introduction: a rich and complex heritage © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-01237-0 - Music and the Exotic from the Renaissance to Mozart Ralph P. Locke Excerpt More information 1 Images and principles Images of Otherness This book tells two intertwined stories that have long needed to be told. It tells how Western music, during the years 1500–1800, reflected, reinforced, and sometimes challenged prevailing conceptions of unfamiliar lands – various Elsewheres – and their peoples. And it also tells how ideas about those locales and peoples contributed to the range and scope of musical works and musical life in the West (that is, in Europe and – to a lesser extent – its overseas colonies). For the most part, the book explores the ways in which those places and peoples were reflected in what we today consider musical works, ranging from operas and dramatic oratorios to foreign-derived instrumental dances such as a sarabande for lute or guitar. But it also explores other cultural products that – though not “musical works”–included a significant musical component: products as different as elaborate courtly ballets and cheaply printed
  • Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance In

    Winged Feet and Mute Eloquence: Dance in Seventeenth-Century Venetian Opera Author(s): Irene Alm, Wendy Heller and Rebecca Harris-Warrick Source: Cambridge Opera Journal, Vol. 15, No. 3 (Nov., 2003), pp. 216-280 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/3878252 Accessed: 05-06-2015 15:05 UTC REFERENCES Linked references are available on JSTOR for this article: http://www.jstor.org/stable/3878252?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Cambridge Opera Journal. http://www.jstor.org This content downloaded from 128.112.200.107 on Fri, 05 Jun 2015 15:05:41 UTC All use subject to JSTOR Terms and Conditions CambridgeOpera Journal, 15, 3, 216-280 ( 2003 CambridgeUniversity Press DOL 10.1017/S0954586703001733 Winged feet and mute eloquence: dance in seventeenth-century Venetian opera IRENE ALM (edited by Wendy Heller and Rebecca Harris-Warrick) Abstract: This article shows how central dance was to the experience of opera in seventeenth-centuryVenice.
  • Iphigénie En Tauride

    Iphigénie En Tauride

    Christoph Willibald Gluck Iphigénie en Tauride CONDUCTOR Tragedy in four acts Patrick Summers Libretto by Nicolas-François Guillard, after a work by Guymond de la Touche, itself based PRODUCTION Stephen Wadsworth on Euripides SET DESIGNER Saturday, February 26, 2011, 1:00–3:25 pm Thomas Lynch COSTUME DESIGNER Martin Pakledinaz LIGHTING DESIGNER Neil Peter Jampolis CHOREOGRAPHER The production of Iphigénie en Tauride was Daniel Pelzig made possible by a generous gift from Mr. and Mrs. Howard Solomon. Additional funding for this production was provided by Bertita and Guillermo L. Martinez and Barbara Augusta Teichert. The revival of this production was made possible by a GENERAL MANAGER gift from Barbara Augusta Teichert. Peter Gelb MUSIC DIRECTOR James Levine Iphigénie en Tauride is a co-production with Seattle Opera. 2010–11 Season The 17th Metropolitan Opera performance of Christoph Willibald Gluck’s Iphigénie en This performance is being broadcast Tauride live over The Toll Brothers– Metropolitan Conductor Opera Patrick Summers International Radio Network, in order of vocal appearance sponsored by Toll Brothers, Iphigénie America’s luxury Susan Graham homebuilder®, with generous First Priestess long-term Lei Xu* support from Second Priestess The Annenberg Cecelia Hall Foundation, the Vincent A. Stabile Thoas Endowment for Gordon Hawkins Broadcast Media, A Scythian Minister and contributions David Won** from listeners worldwide. Oreste Plácido Domingo This performance is Pylade also being broadcast Clytemnestre Paul Groves** Jacqueline Antaramian live on Metropolitan Opera Radio on Diane Agamemnon SIRIUS channel 78 Julie Boulianne Rob Besserer and XM channel 79. Saturday, February 26, 2011, 1:00–3:25 pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide.
  • Proceedings of the 44Th International Viola Congress

    Proceedings of the 44Th International Viola Congress

    Proceedings of the 44th International Viola Congress Editorial Panel Andrew Filmer, Editor-in-Chief Donald Maurice Gillian Ansell Carlos María Solare Contents Luca Altdorfer, “‘Composed to the Soul’: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone” 1 Valerie Dart, “The Contribution of British Composers in Raising the Profile of the Viola as a Solo Instrument, 1885-1960” 5 Marcin Murawski, “Passacaglias in Viola Literature” 19 Andrew Filmer, “No Museum Pieces: A Practical Take to the Grande Sestetto Concertante” 23 A publication of the International Viola Society, all rights reserved, 2018 Proceedings of the 44th International Viola Congress, Wellington 2018 “Composed to the Soul”: Viola da Gamba Music of Carl Friedrich Abel on the Viola and Violone Luca Altdorfer “There was a time, and it is not very long past, in which Abel set the tone for the musical world; – in which everything was Abelish.”1 Since the viola became a solo instrument in the early to mid-20th century, much of the solo repertoire was written at this time. Transcriptions, arrangements were made to fill in the literature of the Baroque, Classical and Romantic styles, but the bridge to the Classical era – the late Baroque pre-Classical style – is lacking. A viola player also has to face the fact that most of the arranged mu- sic is from violin or cello. This makes us face great difficulties: We have to “compete” with the virtu- osity of the violin, and the sonority of the cello. What if we turn to an instrument and a composer that are not as famous in the modern concert halls? The viola da gamba, being the favorite string instrument of the baroque period, offers a possibility to broaden the viola music with late baroque, pre-classical repertoire.
  • Armide 1778 Gens Van Mechelen Christoyannis Santon Jeffery Watson Martin Wilder

    Armide 1778 Gens Van Mechelen Christoyannis Santon Jeffery Watson Martin Wilder

    LULLY ARMIDE 1778 GENS VAN MECHELEN CHRISTOYANNIS SANTON JEFFERY WATSON MARTIN WILDER LE CONCERT SPIRITUEL HERVÉ NIQUET SOMMAIRE | CONTENTS | INHALT ARMIDE, D’UN SIÈCLE À L’AUTRE PAR BENOÎT DRATWICKI p. 8 ARMIDE, FROM ONE CENTURY TO THE NEXT BY BENOÎT DRATWICKI p. 14 ARMIDE IM WANDEL DER JAHRHUNDERTE VON BENOÎT DRATWICKI p. 18 SYNOPSIS EN FRANÇAIS p. 28 SYNOPSIS IN ENGLISH p. 32 INHALTSANGABE p. 36 BIOGRAPHIES EN FRANÇAIS p. 40 BIOGRAPHIES IN ENGLISH p. 44 BIOGRAPHIEN p. 46 LIBRETTO p. 50 CRÉDITS, CREDITS, BEZETZUNG p. 77 6 7 LULLY ARMIDE TRAGÉDIE LYRIQUE EN UN PROLOGUE ET CINQ ACTES, CRÉÉE À L’ACADÉMIE ROYALE DE MUSIQUE À PARIS LE 15 FÉVRIER 1686, VERSION RÉVISÉE EN 1778 PAR LOUIS-JOSEPH FRANCŒUR MUSIQUE DE JEAN-BAPTISTE LULLY (1632-1687) ET LOUIS-JOSEPH FRANCŒUR (1738-1804) LIVRET DE PHILIPPE QUINAULT (1635-1688) VÉRONIQUE GENS ARMIDE REINOUD VAN MECHELEN RENAUD TASSIS CHRISTOYANNIS HIDRAOT, LA HAINE CHANTAL SANTON JEFFERY PHÉNICE, LUCINDE KATHERINE WATSON SIDONIE, UNE NAÏADE, UN PLAISIR PHILIPPE-NICOLAS MARTIN ARONTE, ARTÉMIDORE, UBALDE ZACHARY WILDER LE CHEVALIER DANOIS LE CONCERT SPIRITUEL CHŒUR ET ORCHESTRE HERVÉ NIQUET DIRECTION COPRODUCTION CENTRE DE MUSIQUE BAROQUE DE VERSAILLES, LE CONCERT SPIRITUEL PARTITION RÉALISÉE ET ÉDITÉE PAR LE CENTRE DE MUSIQUE BAROQUE DE VERSAILLES (JULIEN DUBRUQUE) LULLY ARMIDE CD1 CD2 ACTE I ACTE III 1 OUVERTURE 5’19 1 « Ah ! si la liberté me doit être ravie » ARMIDE 3’12 2 « Dans un jour de triomphe, au milieu des plaisirs » PHÉNICE, SIDONIE 2’45 2 « Que ne peut point votre art ? La force en est
  • Download Booklet

    Download Booklet

    Recorded at St John’s Smith Square, London, UK from 10 to 13 January 2020 STURM UND DRANG Produced, engineered and edited by Andrew Mellor Assistant engineer: Brett Cox Volume 2 Design: Toucari Live and Debbie Coates Cover image: A Seastorm by Claude Joseph Vernet (1714-89) Session photography: Roger Way Session filming: Martin Kendrick Music by Haydn, Gluck, Vanhal, Mysliveček and J. C. Bach Harpsichord technician: Guill Clark Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George & Efthalia Koukis and Sherman Lam for making this recording possible. IDA RÄNSLÖV mezzo-soprano We are also grateful to the following people and organisations for their generous support and assistance: Kate THE MOZARTISTS Bingham & Jesse Norman, David Challen CBE & Elizabeth Challen, Jeff & Jennifer Eldredge, Sir Vernon & Lady Ellis, Matthew Truscott (leader) Lucy & Guy Davison, Richard Heason and all the staff at St John’s Smith Square, Hamish & Carole Ritchie, Dyrk Riddell, Joe & Christine Swanson, Tina Vadaneaux, Sir John & Lady Vereker, Raphael & Federica Vermeir, Michael & Rosemary Warburg, and all the other individuals who support our work. IAN PAGE conductor 2 STURM UND DRANG 2 STURM UND DRANG 2 3 sturm und drang 2 final singles.indd 2 03/06/2020 16:23:00 sturm und drang 2 final singles.indd 3 03/06/2020 16:23:00 STURM UND DRANG, Volume 2 Page Page HAYDN: Symphony No. 39 in G minor 10 12 HAYDN: “Fac me vere tecum flere” fromStabat mater 5’22 18 1 1. Allegro assai 5’50 Ida Ränslöv (mezzo-soprano) 2 2. Andante 5’38 3 3.