Guitar Syllabus
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Marion Scott Gleichzeitig Engagierte Sich Marion M
Scott, Marion Marion Scott Gleichzeitig engagierte sich Marion M. Scott musikpoliti- sch in zahlreichen Verbänden und Organisationen, dar- * 16. Juli 1877 in London, England unter die Royal Musical Association, die Royal Philhar- † 24. Dezember 1953 in London, England monic Society und der Forum Club. Eines ihrer Lebens- werke war die Gründung der „Society of Women Musici- Violinistin, Kammermusikerin, Konzertmeisterin, ans“, die sie ab 1911 gemeinsam mit der Sängerin Gertru- Komponistin, Musikwissenschaftlerin, Musikkritikerin, de Eaton und der Komponistin Katharine Eggar aufbau- Förderin (ideell), Musikjournalistin, te – mit eigenem Chor und Orchester, einer Bibliothek (Musik-)Herausgeberin, Konzertorganisatorin, sowie Konzert- und Vortragsreihen. Die Organisation un- Musikpolitikerin, Gründerin und zeitweise Präsidentin terstützte Musikerinnen im britischen Musikleben, führ- der Society of Women Musicians, Schriftstellerin te die Werke von Komponistinnen auf und bemühte sich u. a. darum, die Aufnahme von Musikerinnen in profes- „Unstinted service in the cause of music was the keynote sionelle Orchester zu ermöglichen. Die „Society of Wo- of her life. Countless musicians owe an incalculable debt men Musicians“ blieb bis 1972 bestehen. of gratitude to the fragile little woman who lent them sympathetic and practical aid in their struggles and re- Ab den 1920er-Jahren wandte sich Marion M. Scott dem joiced whole-heartedly in their successes. As a friend she Schreiben über Musik zu. Sie arbeitete als Musikkritike- is irreplaceable.” („Uneingeschränkte Hingabe an die Ar- rin u. a. für die „Musical Times“ und verstärkte mit Arti- beit um der Sache der Musik willen, war der Grundton ih- keln über die Geschichte des Violinspiels, über Auffüh- res Lebens. Unzählige Musiker empfinden der kleinen rungspraxis und Violinliteratur sowie über zeitgenössi- zerbrechlichen Frau gegenüber eine unendliche Dankbar- sche Komponistinnen und Komponisten ihre musikwis- keit, die ihre Arbeit verständnisvoll und tatkräftig unter- senschaftlichen Tätigkeiten. -
Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals
Technological University Dublin ARROW@TU Dublin Concert Programmes Conservatory of Music and Drama 2012 Wexford Festival Opera, William Vincent Wallace Bicentenary Recitals Una Hunt DIT Conservatory of Music and Drama, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/aaconmuscp Part of the Arts and Humanities Commons Recommended Citation William Vincent Wallace Bicentenary Recitals Programme (Wexford Festival Opera, October-November 2012) This Other is brought to you for free and open access by the Conservatory of Music and Drama at ARROW@TU Dublin. It has been accepted for inclusion in Concert Programmes by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License 24 October–4 November, 2012 Concert | William V Wallace Recital Sponsors & Funders William V Wallace Recital Thursday 25 October | 15:30 JEROME HYNES THEATRE Grant-aided by the Arts Council Friday 2 November | 11:00 Image of William V Wallace is reproduced courtesy of the National Library of Ireland (call number EP WALL-WI (1) III) Festival supported by Fáilte Ireland WILLIAM VINCENT WALLACE (1812–1865) THE DELIUS TRUST Songs and piano music from the William Vincent Wallace Album Máire Flavin (Mezzo-soprano, 25 October) | Rachel Kelly (Mezzo-soprano, 2 November) Lead Production Sponsor Print Media Sponsor & Production Sponsor Production Sponsor Una Hunt (Piano) L’Arlesiana -
VAUGHAN WILLIAMS His Broadcasting Career Covers Both Radio and Television
557643bk VW US 16/8/05 5:02 pm Page 5 8.557643 Iain Burnside Songs of Travel (Words by Robert Louis Stevenson) 24:03 1 The Vagabond 3:24 The English Song Series • 14 DDD Iain Burnside enjoys a unique reputation as pianist and broadcaster, forged through his commitment to the song 2 Let Beauty awake 1:57 repertoire and his collaborations with leading international singers, including Dame Margaret Price, Susan Chilcott, 3 The Roadside Fire 2:17 Galina Gorchakova, Adrianne Pieczonka, Amanda Roocroft, Yvonne Kenny and Susan Bickley; David Daniels, 4 John Mark Ainsley, Mark Padmore and Bryn Terfel. He has also worked with some outstanding younger singers, Youth and Love 3:34 including Lisa Milne, Sally Matthews, Sarah Connolly; William Dazeley, Roderick Williams and Jonathan Lemalu. 5 In Dreams 2:18 VAUGHAN WILLIAMS His broadcasting career covers both radio and television. He continues to present BBC Radio 3’s Voices programme, 6 The Infinite Shining Heavens 2:15 and has recently been honoured with a Sony Radio Award. His innovative programming led to highly acclaimed 7 Whither must I wander? 4:14 recordings comprising songs by Schoenberg with Sarah Connolly and Roderick Williams, Debussy with Lisa Milne 8 Songs of Travel and Susan Bickley, and Copland with Susan Chilcott. His television involvement includes the Cardiff Singer of the Bright is the ring of words 2:10 World, Leeds International Piano Competition and BBC Young Musician of the Year. He has devised concert series 9 I have trod the upward and the downward slope 1:54 The House of Life • Four poems by Fredegond Shove for a number of organizations, among them the acclaimed Century Songs for the Bath Festival and The Crucible, Sheffield, the International Song Recital Series at London’s South Bank Centre, and the Finzi Friends’ triennial The House of Life (Words by Dante Gabriel Rossetti) 26:27 festival of English Song in Ludlow. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Vol. 17, No. 4 April 2012
Journal April 2012 Vol.17, No. 4 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2012 Vol. 17, No. 4 President Editorial 3 Julian Lloyd Webber FRCM ‘... unconnected with the schools’ – Edward Elgar and Arthur Sullivan 4 Meinhard Saremba Vice-Presidents The Empire Bites Back: Reflections on Elgar’s Imperial Masque of 1912 24 Ian Parrott Andrew Neill Sir David Willcocks, CBE, MC Diana McVeagh ‘... you are on the Golden Stair’: Elgar and Elizabeth Lynn Linton 42 Michael Kennedy, CBE Martin Bird Michael Pope Book reviews 48 Sir Colin Davis, CH, CBE Lewis Foreman, Carl Newton, Richard Wiley Dame Janet Baker, CH, DBE Leonard Slatkin Music reviews 52 Sir Andrew Davis, CBE Julian Rushton Donald Hunt, OBE DVD reviews 54 Christopher Robinson, CVO, CBE Richard Wiley Andrew Neill Sir Mark Elder, CBE CD reviews 55 Barry Collett, Martin Bird, Richard Wiley Letters 62 Chairman Steven Halls 100 Years Ago 65 Vice-Chairman Stuart Freed Treasurer Peter Hesham Secretary The Editor does not necessarily agree with the views expressed by contributors, Helen Petchey nor does the Elgar Society accept responsibility for such views. Front Cover: Arthur Sullivan: specially engraved for Frederick Spark’s and Joseph Bennett’s ‘History of the Leeds Musical Festivals’, (Leeds: Fred. R. Spark & Son, 1892). Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. -
Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action. -
Macfarren 2 660306-07 Bk Macfarren 16/08/2011 14:22 Page 16
660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 16 2 CDs George Alexander MACFARREN Robin Hood Spence • Jordan • Ashman • Mackenzie-Wicks Hulbert • Molloy • Hurst • Knox John Powell Singers Victorian Opera Chorus and Orchestra 8.660306-07 16 Ronald Corp 660306-07 bk Macfarren 2_660306-07 bk Macfarren 16/08/2011 14:22 Page 2 George Alexander MACFARREN (1813-1887) Robin Hood A romantic English Opera in three acts Libretto by John Oxenford (1812-1877) Performing Edition by Valerie Langfield Robin Hood (in disguise as Locksley) . Nicky Spence, Tenor Sir Reginald d’Bracy (Sheriff of Nottingham) . George Hulbert, Baritone Hugo (Sompnour, Collector of Abbey dues) . Louis Hurst, Bass Allan-a-Dale (a young peasant) . Andrew Mackenzie-Wicks, Tenor Little John John Molloy, Bass (Outlaws) Much, the Miller’s son} { Alex Knox, Baritone Marian (daughter of Sheriff) . Kay Jordan, Soprano Alice (her attendant) . Magdalen Ashman, Mezzo-soprano Villagers, Citizens and Greenwood men . John Powell Singers and Victorian Opera Chorus Knighted at Windsor Castle on the same day in 1883 George Macfarren was knighted for his services to English music at the same time as Arthur Sullivan, composer (another Royal Academy of Music alumnus), and George Grove, first director of the Victorian Opera Orchestra Royal College of Music and Grove!s Musical Dictionary founder. Ronald Corp Musical Director: Ronald Corp Assistant Conductor: Duncan Ward • Chorus-masters: Marc Hall and John Powell Executive Producer: Raymond J Walker • Research: David Chandler -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Biographic Details Regarding the Operetta the Land of Smiles by Franz Lehár
BIOGRAPHIC DETAILS REGARDING THE OPERETTA THE LAND OF SMILES BY FRANZ LEHÁR Katja Claudia Nadler Abstract This essay on biographic details regarding the operetta The Land of Smiles by Franz Lehár is entirely dedicated to facts found in literature and repositories of performance organisers. It does not aim at discussing importance or consequences this operetta might have on current musical life neither in central Europe nor in Asia. Being aware of this, here are only details mentioned that are helpful for further studies and do not mislead into speculation. Also, this essay is just a first access to the materials from the viewpoint of recent experiences with operettas. Keywords: operetta, exoticism, Franz Lehár, Vienna Franz Lehár was born on 30th April, 1870 in Komárno, a town then belonging to Hungary. His father was Franz Lehár (senior) the military capellmeister from Habsburg; province of Moravian Silesia. His mother was Christine Lehár of Hungarian origin (Linke, 2001: 7). Due to the father’s profession, Lehár frequently moved from place to place in his early childhood. Hence, in 1871 the Lehárs were ordered to Bratislava, 1875 to Sopron, 1877 to Cluj and in 1879 to Carlsberg. The family became larger from one station to the next. Three of Lehár’s siblings died shortly after birth, whereas Maria Anna was only 11 years old when she passed away. A long life was only granted to Lehár and his 1876 born brother Anton and to his 1890 born sister Emilie Christine (ibid: 13). In Lehár’s parents’ house music played a crucial role. For the parents, it was obvious that one day their eldest son would overtake the father’s profession (ibid: 14). -
Heft 48 / Juni 2021
60 Jahre Lehár Festival Bad Ischl • “Lieblingskomponist unseres Sommerpublikums“. Franz Lehár im Spiegel des Ischler Wochenblattes 1903 – 1915 (Teil 2) • Quo vadis, Operette? • Operettenkrise Heft 48 / Juni 2021 Leháriana LIEBE LEHÁRIANER! *) Wir hoffen Sie alle bei bester Gesundheit und voller Lebensfreude! Wie glücklich sind wir, dass wir im Sommer 2021 nun doch nicht zu „hock-down“ verurteilt sind, sondern dass unser Leben wieder freier wird und sich die Vorhänge über unsere geliebten Werke in unseren geliebten Theatern wieder heben. Wir freuen uns auf zahlreiche schöne Operettenproduktionen, die wir sicher genießen werden können. Es lebe die Gesundheit, die Freiheit und auch die Operette! In dieser achtundvierzigsten „LEHÁRIANA“ haben wir wieder einiges Interessantes aus der Operettenwelt von damals und heute für Sie zusammengestellt und hoffen, dass Sie Freude finden werden an … … der Fortsetzung des Artikels über das „Lehár Theater“ in Bad Ischl. … einem Interview mit Thomas Enzinger, Intendant des Lehár Festivals Bad Ischl, über die erste Spielzeit mit Corona, in der auch nachträglich des 150. Geburtstages von Franz Lehár mit einer Uraufführung des Musiktheaterwerkes „DEIN IST MEIN GANZES HERZ“ über Leben und Werk des Ischler Meisters gedacht wird. … einem Gespräch „Quo vadis, Operette?“ von Wolfgang Dosch mit der deutschen Zeitschrift „Das Orchester“ über Gegenwart und Zukunft der Kunstform. … interessanten Stimmen von Operettenmeistern über die angebliche Operettenkrise 1929, die Rückschlüsse auf die damalige Vergangenheit und Zukunft des Genres zulässt und Parallelen zu der Frage „Quo vadis, Operette?“ im Jahr 2021 offensichtlich werden lässt. Die IFLG arbeitet daran, ab Sommer wieder Veranstaltungen und Aktivitäten für Lehárianer anzubieten. Wir planen auch einen lehárianischen Stadtrundgang, bei dem wir Orte in Wien besuchen wollen, die in Beziehung zu Person und Werk Franz Lehárs stehen. -
Performing National Identity During the English Musical Renaissance in A
Making an English Voice: Performing National Identity during the English Musical Renaissance In a 1925 article for Music & Letters entitled ‘On the Composition of English Songs’, the British musicologist Edward J. Dent urged the ‘modern English composer’ to turn serious attention to the development of ‘a real technique of song-writing’.1 As Dent underlined, ‘song-writing affects the whole style of English musical composition’, for we English are by natural temperament singers rather than instrumentalists […] If there is an English style in music it is founded firmly on vocal principles, and, indeed, I have heard Continental observers remark that our whole system of training composers is conspicuously vocal as compared with that of other countries. The man who was born with a fiddle under his chin, so conspicuous in the music of Central and Eastern Europe, hardly exists for us. Our instinct, like that of the Italians, is to sing.2 Yet, as he quickly qualified: ‘not to sing like the Italians, for climactic conditions have given us a different type of language and apparently a different type of larynx’.3 1 I am grateful to Byron Adams, Daniel M. Grimley, Alain Frogley, and Laura Tunbridge for their comments on this research. E. J. Dent, ‘On the Composition of English Songs’, Music & Letters, 6.3 (July, 1925). 2 Dent, ‘On the Composition of English Songs’, 225. 3 Dent, ‘On the Composition of English Songs’, 225. 1 With this in mind, Dent outlined a ‘style of true English singing’ to which the English song composer might turn for his ‘primary inspiration’: a voice determined essentially by ‘the rhythms and the pace of ideal English speech – that is, of poetry’, but also, a voice that told of the instinctive ‘English temperament’. -
MUSIC School of Music Recital Hall MEMORIAL UNIVERSITY of NEWFOUNDLAND Friday, 14 April 1989 8:00P.M
THE SCHOOL OF .MUSIC School of Music Recital Hall MEMORIAL UNIVERSITY OF NEWFOUNDLAND Friday, 14 April 1989 8:00p.m. GRADUATION RECITAL CAROLYN REID Voice ELLEN WELLS Piano The Blessed Virgin's Expostulation Henry Purcell (1659-1695) arr. Britten Ich atmet' einen linden Duft Gustav Mahler Ich binder Welt abhanden gekommen (1860-1911) Ablosung im Sommer Scheiden und Meiden Cabaret Songs Benjamin Britten Tell me the truth about love (1913-1976) Funeral Blues Johnny Calypso INTERMISSION Der Hirt auf dem F elsen Franz Schubert (1797-1828) Paula King, clarinet Les Nuits d'Ete Hector Berlioz Villanelle (1803-1869) Le Spectre de Ia Rose L 'lie inconnue Al Amor Fernando Obradors El majo celoso ( 1897 -1945) Del Cabello mas sutil Chiquitita la Novia Presented in partial fulfillment of the requirements for Music 455B. - PROGRAMME NOTES Henry Purcell (1659-1695) The English composer Henry Purcell studied with John Blow and succeeded him as organist of Westminster Abbey in 1679. Purcell was a versatile and prolific composer; he wrote for both the theatre and the church and composed over one hundred solo songs. The Blessed Vugin's Expostulalion set to a text by Nahum Tate, alternates between recitative and arioso as the music follows the train of thought expressed by the text. The twentieth-century English composer, Benjamin Britten, has realized the piano accompaniment for a number of Purcell's songs. Gustav Mahler (1860-1911) Although Gustav Mahler is best known for his large-scale orchestral works, he also wrote approximately forty songs. Between 1901 and 1904, Mahler composed ten songs with orchestral accompaniment to poems of Friedrich Ruckert including lch atmet' einen linden Duft and lch bin der Welt abhanden gelwmmen.