Boston Symphony Orchestra Concert Programs, Season 112, 1992-1993
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Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Musicweb International August 2020 RETROSPECTIVE SUMMER 2020
RETROSPECTIVE SUMMER 2020 By Brian Wilson The decision to axe the ‘Second Thoughts and Short Reviews’ feature left me with a vast array of part- written reviews, left unfinished after a colleague had got their thoughts online first, with not enough hours in the day to recast a full review in each case. This is an attempt to catch up. Even if in almost every case I find myself largely in agreement with the original review, a brief reminder of something you may have missed, with a slightly different slant, may be useful – and, occasionally, I may be raising a dissenting voice. Index [with page numbers] Malcolm ARNOLD Concerto for Organ and Orchestra – see Arthur BUTTERWORTH Johann Sebastian BACH Concertos for Harpsichord and Strings – Volume 1_BIS [2] Johann Sebastian BACH, Georg Philipp TELEMANN, Carl Philipp Emanuel BACH The Father, the Son and the Godfather_BIS [2] Sir Arnold BAX Morning Song ‘Maytime in Sussex’ – see RUBBRA Amy BEACH Piano Quintet (with ELGAR Piano Quintet)_Hyperion [9] Sir Arthur BLISS Piano Concerto in B-flat – see RUBBRA Benjamin BRITTEN Serenade for Tenor, Horn and Strings, etc._Alto_Regis [15, 16] Arthur BUTTERWORTH Symphony No.1 (with Ruth GIPPS Symphony No.2, Malcolm ARNOLD Concerto for Organ and Orchestra)_Musical Concepts [16] Paul CORFIELD GODFREY Beren and Lúthien: Epic Scenes from the Silmarillion - Part Two_Prima Facie [17] Sir Edward ELGAR Symphony No.2_Decca [7] - Sea Pictures; Falstaff_Decca [6] - Falstaff; Cockaigne_Sony [7] - Sea Pictures; Alassio_Sony [7] - Violin Sonata (with Ralph VAUGHAN WILLIAMS Violin Sonata; The Lark Ascending)_Chandos [9] - Piano Quintet – see Amy BEACH Gerald FINZI Concerto for Clarinet and Strings – see VAUGHAN WILLIAMS [10] Ruth GIPPS Symphony No.2 – see Arthur BUTTERWORTH Alan GRAY Magnificat and Nunc dimittis in f minor – see STANFORD Modest MUSSORGSKY Pictures from an Exhibition (orch. -
Jan De Gaetani Collection (Music Library)
JAN DEGAETANI COLLECTION (MUSIC LIBRARY) EASTMAN SCHOOL OF MUSIC ARCHIVES RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Laura Mayes Schweibacher Fall 2004–Winter 2005 Revised by Gail E. Lowther May 2021 Sydney Hodkinson and Jan DeGaetani in rehearsal, Kilbourn Hall, Eastman School of Music. Photograph from ESPA 30-90 (8x10). 2 TABLE OF CONTENTS Description of Collection 4 Organization of Collection 7 INVENTORY SUB-GROUP 1: LIBRARY 11 Series 1: Oratorios, Masses, and Cantatas 11 Series 2: Symphonies and Ballets 17 Series 3: Operas 18 Series 4: Songs and Song Collections, Pre-1960 22 Sub-series A: Solo Songs 22 Sub-series B: Multi-voice Works 55 Sub-series C: Vocalises 56 Series 5: Late 20th Century Songs, 1960s-1980s 57 Sub-series A: Works in English 57 Sub-series B: Works in Other Languages 68 Series 6: Performance Copies as Filed 70 Series 7: Chamber and Symphonic Scores 82 Series 8: Instrumental Works 87 Series 9: Oversized Scores 88 SUB-GROUP 2: PAPERS 93 3 DESCRIPTION OF COLLECTION Shelf location: A3B 1,1–1,6; 2,3 Extent: 24 linear feet Biographical Sketch Jan DeGaetani rehearsing in Kilbourn Hall (1980s). Photograph from ESPA 30-93 (8x10). Although her repertoire encompassed works from the entire historical spectrum of Western classical music, Jan DeGaetani (1933–1989) achieved worldwide prominence as an interpreter of twentieth-century vocal music. She earned a bachelor’s degree from the Juilliard School, where she was a scholarship student of Sergius Kagen. Over the course of her career, DeGaetani appeared as soloist with such ensembles as the New York Philharmonic, San Francisco Symphony, London Symphonietta, New York Pro Musica, the Waverly consort, the 4 Fine Arts Quartet, the American and New York Brass Quintet, and the Aspen Festival orchestra. -
Alexander Goehr “Fings Ain’T Wot They Used T’Be”
Archive zur Musik des 20. und 21. Jahrhunderts Band 13 Alexander Goehr “Fings ain’t wot they used t’be” On behalf of the Archives of the Akademie der Künste edited by Werner Grünzweig wolke First Edition 2012 Copyright © by Archiv der Akademie der Künste, Berlin, and by the authors All rights reserved by Wolke Verlag, Hofheim Printed in Germany Editorial assistance: Lynn Matheson, Anouk Jeschke, Alexander K. Rothe Music examples set by Oliver Dahin, Berlin Scans: Kerstin Brümmer Typeset in Simoncini Garamond by michon, Hofheim Print: AK-Druck&Medien GmbH, Schneckenlohe Cover design: Friedwalt Donner, Alonissos Cover photo: Misha Donat, London ISBN 978-3-936000-28-3 Contents Werner Grünzweig: In Dialogue with the Past . 7 Paul Griffiths: “…es ist nicht wie es war…”. The Music of Alexander Goehr . 15 Alexander Goehr: Learning to Compose . 97 Catalogue of the Music Manuscripts in the Alexander Goehr Archive . 127 CD-Supplement . 151 Werner Grünzweig In Dialogue with the Past The name Goehr has been familiar in music circles in central Europe for decades. Alexander Goehr’s father, Walter Goehr (1903-60), a former member of Arnold Schoenberg’s master class at the Akademie der Künste in Berlin, was known not only for his productions of Claudio Monteverdi’s Vespers and operas but also for his performances of contemporary music. Compositions by Alexander Goehr, who has been called “Sandy” since childhood days, have been featured at renowned music festivals in Germany since the mid-1950s. In 1956 his Fantasia, Op. 4, was performed at the Darmstadt Internationale Ferienkurse für Neue Musik in a pro- gramme also including works by Ernst Krenek, Arnold Schoenberg, Luigi Nono and Bernd Alois Zimmermann. -
THE Ambrkian Arciiitectcrat' Fotjndatlon
THE AMBRKiAN ARCIIITECTCRAt' FOtJNDATlON "That Exceptional One: Women in American Architecture, 1888-1988" is organized and circulated by the American Architectural j Foundation and the AIA Women in Architecture Committee. The exhibition will premiere on • May 15,1988, at die AIA National Convention | and Design Exposition in New York City before traveling nationwide during its three-year tour. The American Institute of Architects, founded in 1857, is a voluntary not-for-profit member- i ship organization representing more than 54,000 architects and architectural profession- i als in nearly 300 state societies and local chapters stretching from Maine to Guam. The mission of the American Architectural ] Foundation, the publicly oriented arm of the ( AIA, is to advance the quality of American j architecture by stimulating the public's aware- ness and understanding of architecture and its related arts. "I cannot, in whole conscience, recommend architecture as a profession for girls. I know some women who have done well at it, but the obstacles are so great that it takes an exceptional girl to make a go of it. If she insisted on becoming an architect, I would try to dissuade her. If then, she was still determined, I would give her my blessing—she could be that exceptional one." Pietro Belluschi, EilA, 1972AIA Gold Medalist, from the 1955New York Life Insurance Company brochure, "Should You Be an Architect?" Contents 5 A Message from the President of The American Institute of Architects 6 A Message from the Chair of the AIA Women in Architecture Committee 7 Preface 9 "That Exceptional One: Women in American Architecture, 1888-1988" 27 AIA Archive of Women in Architecture 41 Selected Bibliography WHHW A Message from the President of The American Institute of Architects The American Institute of Architects is priv- past decade alone, reflecting the priority placed ileged to sponsor this major national exhibi- by the AIA to breaking down once and for all tion on the history of women in architecture. -
Boston Symphony Orchestra Concert Programs, Season 84,1964-1965
s^%^ BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HIGGINSON ^ikzz^j&s^ EIGHTY-FOURTH SEASON 1964-1965 TAKE NOTE The precursor of the oboe goes back to antiquity — it was found in Sumeria (2800 bc) and was the Jewish halil, the Greek aulos, and the Roman tibia • After the renaissance, instruments of this type were found in complete families ranging from the soprano to the bass. The higher or smaller instruments were named by the French "haulx-bois" or "hault- bois" which was transcribed by the Italians into oboe which name is now used in English, German and Italian to distinguish the smallest instrument • In a symphony orchestra, it usually gives the pitch to the other instruments • Is it time for you to take note of your insurance needs? • We welcome the opportunity to analyze your present program and offer our professional service to provide you with intelligent, complete protection. We respectfully invite your inquiry . , .„ y J J J * J / , / Associated with W TKIN C( ?™£5: ^ ? ? L /OBRION, RUSSELL 8c CO. Richard P. Nyquist — Charles G. Carleton 147 MILK STREET BOSTON 9, MASSACHUSETTS Insurance of Every Description 542-1250 EIGHTY-FOURTH SEASON, 1964-1965 CONCERT BULLETIN OF THE Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk Copyright, 1964, by Boston Symphony Orchestra, Inc. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot President Talcott M. Banks Vice-President Richard C. Paine Treasurer Abram Berkowitz Henry A. Laughlin Theodore P. Ferris John T. Noonan Francis W. -
The Modernist Kaleidoscope: Schoenberg's Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elain
The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 ABSTRACT The Modernist Kaleidoscope: Schoenberg’s Reception History in England, America, Germany and Austria 1908-1924 by Sarah Elaine Neill Department of Music Duke University Date:_______________________ Approved: ___________________________ R. Larry Todd, Supervisor ___________________________ Severine Neff ___________________________ Philip Rupprecht ___________________________ John Supko ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2014 Copyright by Sarah Elaine Neill 2014 Abstract Much of our understanding of Schoenberg and his music today is colored by early responses to his so-called free-atonal work from the first part of the twentieth century, especially in his birthplace, Vienna. This early, crucial reception history has been incredibly significant and subversive; the details of the personal and political motivations behind deeply negative or manically positive responses to Schoenberg’s music have not been preserved with the same fidelity as the scandalous reactions themselves. We know that Schoenberg was feared, despised, lauded, and imitated early in his career, but much of the explanation as to why has been forgotten or overlooked. -
![[The Fenix [Ed 5-25-18].MUS]](https://docslib.b-cdn.net/cover/6354/the-fenix-ed-5-25-18-mus-2226354.webp)
[The Fenix [Ed 5-25-18].MUS]
HP04-05 Edie Hill The Fenix for SATB div. chorus with soprano solo text, Anglo Saxon, from the Exeter Book FOR PERUSAL ONLY FOR PERUSAL ONLY The Fenix Se sceal þære sunnan sið behealdan She shall behold the sun’s journey leohte in life light in life lif butan ende life without end ðone wudu weardaþ, wundrum fæger in woodland dwells, wondrous fair fugel feþrum strong, se is fenix haten. bird, feather-strong, who is called Fenix. Se sceal þære sunnan sið behealdan She shall behold the sun’s journey hwonne up cyme eastan glidan When up comes, gliding from the east ofer sidne sae swegles leoma. over the wide sea, heaven’s gleam Se sceal þære sunnan sið behealdan She shall behold the sun’s journey leohte in life light in life þær se eadga mot eardes neotan, There she enjoys her dwelling place wyllestreama wuduholtum in, in the well-streams and the woodland grove, wunian in wonge, oþþæt wintra bið living in the world, until winter takes þusend urnen. a thousand turns. ond fenix byrneð. and Fenix burns. wundrum fæger wondrous fair lif butan ende life without end leohte in life… light in life… Text from the Exeter Book, public domain FOR PERUSAL ONLY GUIDE TO PRONUNCIATION Pronunciation key: æ= “A” in “cat” th= “voiced th,” as in “that” U= like “oo” in “book” Anglo Saxon key: þ and ð = “th” æ= “A” in “cat” leohte in life ley-oh-tuh in lee-vuh Se sceal þære sunnan sið behealdan suh shéyal thæ-rah sU-nahn sith beh-héyal-dahn lif butan ende… leef bU-tahn end-(uh) ðone wudu weardaþ, wundrum fæger thoh-nuh wU-doo wehr-dahth, wUn-droom fæ-yer fugel feþrum strong, se is fenix haten. -
Goehr Curriculum Vitae
GOEHR 1 CURRICULUM VITAE. Professor LYDIA GOEHR Department of Philosophy, Columbia University, 1150 Amsterdam Ave, New York, NY 10027, USA [email protected] EMPLOYMENT 1995-present. Professor of Philosophy, Columbia University. 1989-95 Associate Professor of Philosophy, Wesleyan University (tenured 1993). 1987-89 Assistant Professor of Philosophy, Boston University (tenure-track). 1986-87 Visiting Assistant Professor of Philosophy, University of Nevada at Reno. 1985-86 Lecturer, Department of Philosophy, University of Maryland at College Park. EDUCATION AND DEGREES 1982-85 King’s College, Cambridge University, PhD in Philosophy, Advisor: Bernard Williams, Dissertation: The Work of Music (awarded 1987). 1980-82 Manchester University; 1st Class Honors, BA in philosophy. 1979-80 Exeter University; 1st yr. BA in philosophy; minor in Psychology. FELLOWSHIPS, HONORS, VISITING PROFESSORSHIPS, etc. 1981 Michael Polanyi Scholarship in Philosophy (Manchester University). 1982 Manchester University (Graduate) Research Studentship in the Faculty of the Arts (declined). 1982 Michael Polanyi Memorial Prize in Philosophy (Manchester University). 1982-85 Dept. of Education and Science Major State Studentship to read for PhD at King’s College, Cambridge. 1983 Bursary from the Austrian Government to study German language in Graz, Austria. 1988 Summer Salary Grant, Boston University. 1989 Boston University Humanities Fellowship (declined). 1990-91 Mellon Fellowship, Harvard University. 1992 Faculty Fellowship at Center for the Humanities, Wesleyan University. 1992 Special Projects Grant from Wesleyan University in support of Aesthetics: Past and Present [see Publications]. 1995 NEH Summer Institute Grant, University of Rochester: Music and Modernism. 1997-8 Visiting Ernest Bloch Professor of Music, University of California at Berkeley [Ernest Bloch Lectures]. 1999-2000 Getty Senior Research Scholar, Getty Research Institute, Los Angeles. -
R. Strauss Saint-Saëns Brahms
Early stereo recordings • 1 R. STRAUss Till Eulenspiegel London Symphony Orchestra Norman Del Mar SAINT-SAËNS Cello Concerto No. 1 Paul Tortelier cello Philharmonia Orchestra Herbert Menges BRAHMS Violin Concerto Endre Wolf violin London Symphony Orchestra Walter Goehr First release of the 1954 & 1955 stereo recordings 1 Recording alert buzzer and orchestra tuning [0:33] Johannes BRAHMS (1833-1897) Violin Concerto in D Major, Op. 77 (1878) [40:35] Richard STRAUSS (1864-1949) 6 I. Allegro non troppo [22:01] 2 Till Eulenspiegels lustige Streiche, Op. 28, TrV 171 [14:30] 7 II. Adagio [10:24] (Till Eulenspiegel’s Merry Pranks) (1894-1895) 8 III. Allegro giocoso, ma non troppo vivace — [8:05] Poco più presto London Symphony Orchestra • Norman Del Mar Endre Wolf violin Recorded at No. 1 Studio, Abbey Road, 23 July 1954 London Symphony Orchestra • Walter Goehr First release in any format Producer: unknown Recorded at No. 1 Studio, Abbey Road, 25 and 28 August 1954 Stereo Balance Engineer: unknown First issued on Music-Appreciation Records MAR 15 * (mono LP) Remastered by David Murphy (FHR) Tracks 7-8 first release in stereo; track 6 mono transferred from * Producer: unknown Camille SAINT-SAËNS (1835-1921) Mono Engineer: Neville Boyling Cello Concerto No. 1 in A minor, Op. 33 (1872) [18:33] Stereo Balance Engineer: unknown 3 I. Allegro non troppo — [5:19] Remastered by Jonathan Mayer and David Murphy (FHR) 4 II. Allegretto con moto — [5:53] 5 III. Allegro non troppo [7:20] Total Timing: [74:19] Paul Tortelier cello Transfers by Ted Kendall, apart from track 6 Philharmonia Orchestra • Herbert Menges All source materials used in this issue are from the Archive Recorded at No. -
View Schopenhauer’S Philosophy As Pessimistic
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Brahms's Late Spirituality: Hope in the Vier Ernste Gesänge, Op. 121 Lucy Church Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BRAHMS’S LATE SPIRITUALITY: HOPE IN THE VIER ERNSTE GESÄNGE, OP. 121 By LUCY CHURCH A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2011 The members of the committee approve the thesis of Lucy Church defended on April 4, 2011. ______________________________ Douglass Seaton Professor Directing Thesis ______________________________ Denise Von Glahn Committee Member ______________________________ Michael Buchler Committee Member The Graduate School has verified and approved the above-named committee members. ii For Christ and His Kingdom iii ACKNOWLEDGMENTS I would first like to thank my committee members Denise Von Glahn and Michael Buchler for their deep thought, their helpful comments, and the sacrifice of their time. The input they provided as scholars and fellow Brahms-lovers propelled me to achieve the best possible product. I would like to thank my committee chair and advisor Douglass Seaton for his exceptional dedication to my success. I am consistently overwhelmed by his willingness to give of his time and effort that I might achieve excellence. This thesis is a product of his invaluable guidance. I could not have survived the past two years without the support of a wonderful church. St. Peter’s Anglican Church has welcomed me warmly and kept me in a constant stream of prayer.