DOCSLIB.ORG

029I-VOCBX1923X01-0000A0.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
029I-VOCBX1923X01-0000A0.Pdf VER keenly appreciative that the first consideration in recording is Etonal purity, the Aeolian Company intends to pursue in the coming year the policy that has proved so successful in the year that has just closed-that of selecting artists whose art has that peculiar and subtle quality that makes for perfect musical results. This policy, combined with the improved system of recording employed by the Aeolian Company, has resulted in such a high standard that purchasers have found that they can select with confidence from the catalogue when it is not possible for them to hear a record played before deciding. Special attention has been given recently to further perfecting the already justly celebrated ` Vocalion ' Dance Records, and in this bulletin will be found two double-sided " Brown Labels" (Nos. M-1096 and M-1097) which bear evidence of this effort. ERIC MARSHALL (Daritone) Non piä andrai. " Le Nozze di Figaro " (No longer play the lover's part). Mozart. In Italian. With The Aeolian Orchestra.(Red Label) C-01025. 12" 7/6 HIS spirited and martial air from "The Marriage of T Figaro," which was a great favourite with Mozart himself, is magnificently sung by Mr. Marshal], backed by a fine or- chestral accompaniment. It is certainly no exaggeration to say that Eric Marshall possesses as fine a voice as any baritone before the public at the present time. Further than this, he sings operatic arias of this description in the true Italian style and spirit, thus adding enormously to the worth of the record. CAROLINE HATCHARD (Soprano) Waltz Song "Torn Jones." Edw. German. With The Aeolian Or. (Red Label) chestra C-01086 12" 7/6 THIS Waltz Song, with its intriguing and lilting melody, is too well-known to require description, It is, however, our privilege to add that Caroline aia Lýuaiu is III uer napplest vein in this record, which will appeal to all classes of music lovers, especially as there is an extra. ordinarily fine accompaniment by the Aeolian Orchestra, KATHLEEN DESTOURNEL (Soprano) The Piper of Love. Molly Carew. WY7v0 At Ilrnanie " Tl,n ('n_ 1 kLiuc i.uucij optimists.-Melvillc r Gideon. R-6100 10" 5/6 With The Aeolian Orchcstra . H ERE is a further triumph in the art of recording by another popular `Vocation' Artiste. Kathleen Destournel has recently been adding very consider- ably to her laurels both in operatic and concert work, and judging by the perfect reproduction of her delightful soprano voice in these two very harpily chdsen songs, she has inspired those responsible for the recording to even more than usu_iL:y successful efforts. LESLIE SCOTT (Baritone) A Bachelor Gay. " The Maid the Mountains." Jas. W. cd . (Black Label) Tate. With Orchestral ace. X-5168 10" 4/- Queen of my Heart. "Dorothy." Alfrcd Cellier. With Orch. ace. ARTHUR BURNS (Tenor) There's 8IIver in your Hair (But there's Gold within your Heart). David Wright. With (Black Label) Orchestral accompaniment . X-9167 10" At- Ship 0' Dreams. Francis. With Orchestral accompaniment . SIDNEY HAMILTON (Tenor) Eileen Adair. H. F. Best. (Brown Label) Caravan. Gene Williams. M-1095 10" 3f6 With Orchestral acc. T HE theatre-goer will be delighted with two old favourites from "Dorothy" and "The Maid of the Mountains," sung with manly spirit by that gifted baritone Leslie Scott, whilst Arthur Burns' sweet tenor voice is at its best in two sentimental ditties, which will always obtain encores. Sidney Hamilton gives us in " Eileen Adair " and Caravan," two songs, both of which are being sung in most of this season's leading pantomimes, LIONEL TERTIS (Viola) Petit Suite No. 2. d'Anzbrosio, arr. Tertis. Piano acc. Rondino. Kreisler. Piano acc. (Blue Label) R-6099 10" 5/6 L IONEL TERTIS has recently been very much in the public eye owing to his association with Arnold Bax, one of the greatest of our modern composers, who has done almost as much to popularize the Viola as a solo in- strument as Tertis himself. Record No. R-6099 contains two delightfully melodious ex- amples of Mr. Tertis' art, which cannot fail to please. MAURICE DAMBOIS ('Cello) Canzonetta. Die Port-Dambois Nocturne D. Chopin. .' (Black Label) in " X-91,69 4!- With Piano aces. 10° MAURICE DAMBOIS fully appreciates the demand there is for 'cello records of popular and melodious music, and he fulfils this general desire most admirably in giving us Chopin's best-known Nocturne, coupled with Du Port's very delightful little "Canzonetta," specially arranged for the'cello by Dambois himself. JEANNE MARIE DARRE (Piano) Prelude. Bach arr. Pick 17angiagalli Mouvement Perpetuel. Weber Ganz (Black Label) K-05062 12" 6j- of pianoforte solos by artists of note are re- R ECORDSmarkably scarce, especia ly at a popular price. It is, therefo-e, with great pleasure that we in- troduce \llle. Darre's initial ' Voca- lion' recordings. This famous young French pianiste has a technique little short of marvellous, and re- ceived great praise during her j recent visit to London. BAND OF H.M. Ist LIFE GUARDS (Under the direction of LT. H. ELDRIDGE) Peer Gynt Suite. No. 1-Morning l (Black Label) Peer Gynt Suite. No. 2 Death } - of K-05060 12' 6/- Ase. Grieg. J SO many requests have been received for records of the ever green Peer Gynt Suite by this famous Military Band that we have made a very special feature of recording this work, the first two numbers being both included in record K-05060. We are confident that never before has the natural charm of Grieg's most popular suite been more faithfully reproduced. " Solveig's Song," in which some very fine cornet solo work occurs, "Anitra's Dance" and "The Hall of the Mountain Kings " will, we have every reason to hope, be available for our next issue. CRITERION MALE QUARTET Darling Nellie Gray. Hanby-Shuttuch Unaccompanied (Brown Label) Sally in our Alley. Carey-Smith M-1094 10" 3/6 E XCELLENT voices, wonderful balance of tone and faultless rhythm, coupled with popularity of title will make this record a universal favourite. " Sally '' and 11 Nellie " both receive clever and sympathetic vocal treatment by this very fine male quartet. rr 10" (Brown Label) 3/6 All over nothing at all (Fox-trot). James Rule. Yerkes' S.S. Flotilla Orchestra Blue Danube Blus (Fox-trot).. Kern. Yerkes' S.S. Flotilla Orchestra Suez (Fox-trot). Ferdie Gr9re. Emil Coleman's Montmartre Orchestra Japanese Moon (Fox-trot). Austin Hamilton. Yerkes' S.S. Flotilla Orchestra . Romany Love (Fox-trot). J. S. 7aincnik. Bar Harbor Society Orchestra Deedle-Deedle Dum . (Pos-!rot!. Skcruntn-Cosloaý-.lfills. JI Emil Coleman's \luntmartre Orch^stra . Parade of the Wooden Soldiers (Fox-trot). " La Chauvel Souris." Leon Jessel. Metropolitan Dance Players The Yankee Doodle 6'ues (Fox-trot). Gershrin-Caesar-De I Sri Yerkes' S.S. Flotilla Orchestra vs. My Sweet Hortense (Fox-trot). lVallcr Donaldson. The Vocation Dance Orchestra Eileen Adair (Fox-trot). H. F. Bes!. The Vocation Dance Orchestra . Caravan (Fox-trot). Gene Williams. The Vocation Dance Orchestra Mr. Gattagher and Mr. Shean (One-step). Gallagher and Shcsn. The Vocalioa Dance Orchestra. T1-JE ' Vocalion ' dance record flag is kept very strongly flying both by the selection and treatment of the dance numbers included in this bulletin. The present or coming popularity of every title is assured, and the bands represented are, as usual, the best to be found in London and New York. The 'Vocalion ' Dance Orchestra has been completely reorganised and strengthened by the addition of several " stars " of the dance orchestra world, including the finest exponent of the Saxophone in this country, and their recordings of four numbers, which will be sung and whistled every- where this season, are full of " verve " and clever effects. i4I-1091 contains two splendid tunes, one of which- Suez "-is only just released in this country, whilst all who remember the clever dancing in " La Chauve Souris " at the Coliseum will want to possess Al-1093, which contains a clever fox-trot based on their inimitable " Parade of the Wooden Soldiers." YOUR DANCE MUSIC W NETHER or not music owes its erigin to the dance (and there is reason to believe that this is the case) there is no doubt that to-day the dance depends ent;rely on music, and that the dancers' enjoyment is made or marred by the orchestra. It is the privilege of the record to bring the great dance orchestras of the world to play for you. The rhythmic accent keeping perfect dance time, the melody that charms, the novel orchestral effect that appeals, these may be yours anywhere and at any time. Inter- preted to you through the medium of the perfected methods of 'Vocalion ' Recording, your verdict on the `Vocalion' Dance Record will be the same as that of the great author- ities in the dancing world. " Your records meet one's most exacting requirements ; indeed, they play with that rhythm, tone and time possessed only by the most expert dance orchestra."(Signed) JOSE COLLINS. I find your records exactly suited to my purpose, as they provide a perfect accompaniment for dancing-they have that rhythm and lilt which only the most expert dance orchestra can render." (Signed) PHYLLIS MONKMAN. " With the advent of the ' Vocalion' Records the most entrancing and perfectly played dance music is at one's command at a moment's notice."(Signed) LESLIE HENSON. " On my recent visit to the provinces I used 'Vocation' Records for all my dances; it is difficult even in London to get perfect time played for dancing, but the perfection of time with these records is so excellent that I intend in the future to use them for my dancing entirely." (Signed) NELSON KEYS.
Load more

Recommended publications
  • Singing Syllabus 2014
    Singing GRADE 6 from 2009 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. FOUR ACCOMPANIED SONGS: from memory, one chosen by the candidate from each of the four Lists, A, B, C and D (listed below). See also pp. 5, 6 and 10. ONE UNACCOMPANIED TRADITIONAL SONG: from memory, of the candidate’s own choice. See also p. 7. SIGHT-SINGING*: see pp. 8–9 AURAL TESTS FOR THE GRADE*: see pp. 82 and 85 ACCOMPANIED SONG LISTS LIST A All Voices 1 C. P. E. Bach Weihnachtslied (Christmas Song). G (dЈ–gЉ) or Eb: No. 21 from Sing Solo Christmas (high or low) (OUP) (Ger/Eng) 2 J. S. Bach Come, let us all this day, BWV 479. F (cЈ–gЉ): publ. separately (Novello NOV290321) 3 Blow The Self Banished. G (dЈ–gЉ) or D: publ. separately (Schott ED 11939 or 11940) 4 Bononcini Per la gloria d’adorarvi: from Griselda. F (dЈ–f Љ) or D: No. 19 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium-low) (Peters EP 7743a or 7743b) (Ital/Eng) F or D: A Selection of Italian Arias 1600–1800, Vol. 2 (high or low) (ABRSM) (Ital/Eng) 5 Caldara Alma del core: from La Costanza in amor vince l’inganno. # A (aЈ–g Љ) or F: A Selection of Italian Arias 1600–1800, Vol. 1 (high or low) (ABRSM) (Ital/Eng) A or E: No. 21 from 30 Italian Songs and Arias of the 17th & 18th Centuries (medium-high or medium- low) (Peters EP 7743a or 7743b) (Ital/Eng) G or D: No.
    [Show full text]
  • MERRIE ENGLAND Music by Edward German
    Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets.
    [Show full text]
  • 2012 Shakespearean Authorship and More
    Summer 2012 Shakespeare Matters page 1 12:1 “Let me not to the marriage of true minds admit impediments...” Winter 2013 Did Rudolf Steiner Name the Bard, 100 Years Ago? by Alan Stott ccompanying the general insecurity around us, there is a considerable interest in the beginnings of modern times. AWhat happened 400–500 years ago in the birth struggles of emerging Europe? Novels, studies, TV programs and films explore the events surrounding the throne of England. Several acclaimed films aim to capture the life and “glorious reign” of Elizabeth (1533-1603). Our picture of “merrie olde England” and the relative calm of Elizabeth’s reign, however, has to be modified Mark Rylance lecturing on John Dee’s Monas ����o������������ by the lasting impact of her father, the tyrant Henry VIII, together �ca at the 2012 SAT meetings (see p. 8). with the intrigues and quarrels amongst the aristocracy, religious persecutions, the realities of a police state, rigorous censorship, 2012 Shakespearean Authorship and more. But, we comfort ourselves, the age did produce Shake- Trust Conference Report speare. Of that, at least, we can be proud. (Continued on page 11) by Earl Showerman n May I received a most welcome invitation to the annual Shakespearean Authorship Trust (SAT) Conference in London. A Source for “Remembrance of IOxfordian Julia Cleave, who is a trustee of the SAT, wrote to Things Past” ask if I would make a presentation at the conference, which is held each November at Shakespeare’s Globe Theatre. The theme in Shakespeare’s Sonnet 30 of this year’s conference was “Shakespeare and the Mysteries,” a subject to which advocates of all the leading authorship candidates by Richard M.
    [Show full text]
  • A Masked Ball Programme
    invites you to Giuseppe Verdi’s A Masked Ball By arrangement with Chester Music Limited trading as G. Schirmer on behalf of G. Schirmer Inc Friday 27th & Saturday 28th October at 7.30pm Queen Victoria Hall, Oundle (with orchestra) Saturday 4th November 2017 at 7.30pm St Thomas a Becket Church, Ramsey (with piano) Sunday 5th November at 4pm The Key Studio, Peterborough (with piano) www.peterboroughopera.co.uk Follow us on Facebook, Twitter & Instagram 1 A MASKED BALL (Un Ballo in Maschera) Music by Giuseppe Verdi Libretto by Antonio Somma English Version by Peter Paul Fuchs Arrangement for small orchestra by Eric Weatherell Musical Director - Kate Wishart Artistic Director - Mark Ellse Choreographer - Stephanie Tenneson 2 A warm welcome to our latest production, Verdi’s “Un Ballo in Maschera” or “A Masked Ball”. We do hope you will enjoy it as much as we have while rehearsing it! Peterborough Opera was formed in 1969 to bring opera in English to the city, the first production being Mozart’s Magic Flute given in July 1970. The first singers were largely recruited by the Musical Director Clive Fairbairn from local mostly semi-professional performers who were studying with the then cathedral Master of Music Dr Stanley Vann. Since then the flow of productions has included most of the popular operas and some more challenging, not so well-known works. “A Masked Ball” continues this tradition and contains all the essential elements of a good opera – power politics, intrigue, sorcery and treachery, mixed with love, lust and betrayal, whilst meanwhile the populace are blissfully unaware of such undercurrents, until, that is, it is ‘unmasked’! You could be forgiven if you say “nothing has changed in the 21st century”! We are very excited this year to spread our ‘performance wings’ beyond Peterborough, again - this time to Oundle where we have many supporters, members, soloists and linkages with Oundle G&S and Thrapston Opera.
    [Show full text]
  • GILBERT and SULLIVAN: Part 1
    GILBERT AND SULLIVAN: Part 1 GILBERT AND SULLIVAN Part 1: The Correspondence, Diaries, Literary Manuscripts and Prompt Copies of W. S. Gilbert (1836-1911) from the British Library, London Contents listing PUBLISHER'S NOTE CONTENTS OF REELS CHRONOLOGY 1836-1911 DETAILED LISTING GILBERT AND SULLIVAN: Part 1 Publisher's Note "The world will be a long while forgetting Gilbert and Sullivan. Every Spring their great works will be revived. … They made enormous contributions to the pleasure of the race. They left the world merrier than they found it. They were men whose lives were rich with honest striving and high achievement and useful service." H L Mencken Baltimore Evening Sun, 30 May 1911 If you want to understand Victorian culture and society, then the Gilbert and Sullivan operas are an obvious starting point. They simultaneously epitomised and lampooned the spirit of the age. Their productions were massively successful in their own day, filling theatres all over Britain. They were also a major Victorian cultural export. A new show in New York raised a frenzy at the box office and Harper's New Monthly Magazine (Feb 1886) stated that the "two men have the power of attracting thousands and thousands of people daily for months to be entertained”. H L Mencken's comments of 1911 have proved true. Gilbert & Sullivan societies thrive all over the world and new productions continue to spring up in the West End and on Broadway, in Buxton and Harrogate, in Cape Town and Sydney, in Tokyo and Hong Kong, in Ottawa and Philadelphia. Some of the topical references may now be lost, but the basis of the stories in universal myths and the attack of broad targets such as class, bureaucracy, the legal system, horror and the abuse of power are as relevant today as they ever were.
    [Show full text]
  • Merrie England
    MERRIE ENGLAND THE BAND OF THE GRENADIER GUARDS DIRECTOR OF MUSIC: LIEUTENANT-COLONEL G.J. MILLER, MVO, MBE REMASTERED HISTORICAL RECORDINGS 1923 -1934 1. MERRIE ENGLAND (SIR EDWARD GERMAN) 27th June 1927 2. SAVOY HUNTING MEDLEY (ARR. DEBROY SOMERS) 12th March 1934 3. LO! HERE THE GENTLE LARK (SIR HENRY BISHOP) 25th January 1929 4. W.H. SQUIRE’S POPULAR SONGS (WILLIAM HENRY SQUIRE) 17th September 1926 5. ETON MEMORIES (ARR. A.M. GOODHART) 1st March 1934 6. A PRINCESS OF KENSINGTON (SIR EDWARD GERMAN) 27th June 1927 7. SONGS OF THE SEA 26th November 1931 8. THE BEGGAR'S OPERA (JOHN GAY) 19th March 1923 9. THE ROSE - ENGLISH SELECTION (ARR. WILLIAM HENRY MYDDLETON) 11t h A p r i l 1927 10. POST HORN GALOP (HERMANN KOENIG) 27th November 1930 11. TOM JONES (SIR EDWARD GERMAN) 22nd June 1927 THE GRENADIER GUARDS The Grenadier Guards was raised in Bruges as a bodyguard to King During the First World War the Guards bands did much to help Charles II while he was in exile, and moved to England after the recruitment and morale at home and took turns for three-month Restoration of the British monarchy in 1661 following the brief tours to France and Belgium to play for the soldiers serving at the flirtation with parliamentary rule under Oliver Cromwell. The front. regimental band traces its history back to a warrant signed by the King in 1685 authorising its formation, and can therefore claim to Post World War Two one of the musicians to serve in the band was have been ‘born’ in the same year as Bach and Handel.
    [Show full text]
  • The Tudors with Camille Saint-Saëns's Henry VIII
    Media Contact: April Thibeault/AMT PR mailto:[email protected] 212.861.0990 Odyssey Opera Begins its 2019-20 Season: The Tudors with Camille Saint-Saëns’s Henry VIII What:Henry VIII by Camille Saint-Saëns When: Saturday, September 21, 2019, at 7:30 p.m. Where: New England Conservatory’s Jordan Hall, 30 Gainsborough Street, Boston, MA| T: Green to Symphony, Orange to Mass Ave Tickets: $25 and Up. To purchase, visit odysseyopera.org or call 617.826.1626. BOSTON, MA (For Release 07.18.19) — One of the nation’s most adventurous opera companies, Odyssey Opera, begins its seventh season with a concert performance of Henry VIII (1883)by French composer Camille Saint-Saëns based on El cisma en Inglaterra (The schism in England) by Pedro Calderón de la Barca. This kick-starts the company’s 2019-20 season featuring concert and staged operas about the great English dynasty of the 16th century: the Tudors. With libretto by Léonce Détroyat and Armand Silvestre, Henry VIII brings to life one of history’s most infamous love triangles featuring baritone Michael Chioldi as King Henry, soprano Ellie Dehn as Henry’s first wife, Catherine of Aragon, and mezzo-soprano Hilary Ginther as Henry’s second wife, Anne Boleyn. Dedicated to performing neglected works, Odyssey Opera resurrects this little known and intensely powerful work. It premiered in 1883 and received its North American premiere 100 years later in 1983. “Henry VIII has all the ingredients of a spectacular grand opera,” says Gil Rose, Odyssey Opera’s Artistic and General Director. “It has a sensational historical subject and sweeping vocal melodies and rich orchestral writing.
    [Show full text]
  • Gilbert and Sullivan's 'Respectable Capers'
    PALGRAVE STUDIES IN BRITISH MUSICAL THEATRE GILBERT AND SULLIVAN’S ‘RESPECTABLE CAPERS’ CLASS, RESPECTABILITY AND THE SAVOY OPERAS, 1877 – 1909 MICHAEL GORON Palgrave Studies in British Musical Theatre Series Editors Millie Taylor Department of Performing Arts University of Winchester Winchester , UK Dominic Symonds Lincoln School of Performing Arts University of Lincoln Lincoln , UK Aim of the Series Britain’s contribution to musical theatre in the late twentieth century is known and celebrated across the world. In historiographies of musical theatre, this assertion of British success concludes the twentieth century narrative that is otherwise reported as an American story. Yet the use of song and music in UK theatre is much more widespread than is often acknowledged. This series teases out the nuances and the richness of British musical theatre in three broad areas: British identity; Aesthetics and dramaturgies; Practices and politics. More information about this series at http://www.springer.com/series/15105 Michael Goron Gilbert and Sullivan’s ‘Respectable Capers’ Class, Respectability and the Savoy Operas 1877–1909 Michael Goron Southampton Solent University Southampton , UK University of Winchester Winchester, UK Palgrave Studies in British Musical Theatre ISBN 978-1-137-59477-8 ISBN 978-1-137-59478-5 (eBook) DOI 10.1057/978-1-137-59478-5 Library of Congress Control Number: 2016941777 © The Editor(s) (if applicable) and The Author(s) 2016 The author(s) has/have asserted their right(s) to be identifi ed as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright.
    [Show full text]
  • Music I: the Characters
    Music I: The Characters Students Will Read The Story of the Opera. Read the information sheet “The Characters” included with the lesson. Listen to audio selections from Jack and the Beanstalk online. Discuss and answer questions on the appropriate portion(s) of the Activity Worksheet. Before the Lesson Print copies for each student of the information sheet “The Characters” and the Activity Worksheet. Decide which section(s) of the worksheet you wish your group to complete. Print a copy for the teacher of the Sample Answers for the Activity Worksheet. Prepare internet access to Jack and the Beanstalk online listening selections at www.operatales.com. Gather pens, pencils and additional writing paper as needed for your group. Introduction Have your students read The Story of the Opera. Give each student a copy of the information sheet “The Characters” or display it on screen. Read through the information, discussing each character and listening to the online selections as you go. Guided/Independent Practice Depending on your grade level, the ability of your students, and time constraints, you may choose to have students work as a whole class, in small groups, with a partner, or individually. Read the directions on the Activity Worksheet. Have students complete the portion(s) of the Activity Worksheet you have chosen with opportunity for questions. If students are working with a partner or in small groups, give them time to discuss their answers before writing them down. Have students share their answers individually or by groups and tell why they gave their answers. Evaluation Have students discuss and evaluate the answers of others.
    [Show full text]
  • An Analysis of the Representation of Queen Elizabeth I of England In
    AN ANALYSIS OF THE REPRESENTATION OF QUEEN ELIZABETH I OF ENGLAND IN THE OPERAS BY ROSSINI, DONIZETTI, AND THOMAS IN THE CONTEXT OF NINETEENTH-CENTURY VOCAL STYLE AND HISTORICAL INFLUENCE Han Hsiao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2020 APPROVED: Molly Fillmore, Major Professor and Chair of the Division of Vocal Studies Jennifer Lane, Committee Member Stephen Dubberly, Committee Member Felix Olschofka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hsiao, Han. An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical Influence. Doctor of Musical Arts (Performance), August 2020, 46 pp., 3 tables, 1 figure, 25 musical examples, bibliography, 39 titles. The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias.
    [Show full text]
  • And the Comic Operas of Gilbert & Sullivan
    PIRATES, POLICEMEN, AND OTHER PATRIOTS: LATE VICTORIAN 'ENGLISHNESS' AND THE COMIC OPERAS OF GILBERT & SULLIVAN by MELANIE JEAN THOMPSON B.A. (Honours), McGill University, 1999 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of History) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 2001 © Meknie Jean Thompson, 2001 In presenting this thesis in partial folfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written peamission. Department of V^i'S'VoOj The University of British Columbia Vancouver, Canada Date A'Uglsr 31,g.C>6f Abstract Music and theatre have long played a particular - but hitherto rather neglected — role in the construction and articulation of national identity. This thesis takes a closer look at that role through an examination of the fourteen "Savoy operas" produced by librettist William S. Gilbert and composer Arthur S. Sullivan between the years 1871 and 1896. It explores the impact these operas had on the formation of a particular idea of 'Englishness' in the late 19th century. The Savoy operas were produced in the context of a larger cultural trend, a historical moment of collective self-examination in which English national identity was being renegotiated and redefined.
    [Show full text]
  • Concert Programmes 1917 to 1939
    DOUGLAS AMATEUR ORCHESTRAL SOCIETY Founded October 25th, 1917 GRAND ORCHESTRAL CONCERT Thursday Evening, 28th November, 1918. Villa Marina, Douglas. Mr CHARLES TREE Miss May Clague. Miss Nancy Cowell. Mr F Mullins, Solo Flute. Mr F Madison, Solo Oboe FULL ORCHESTRA Conductor – Mr J E Quayle. At the piano, Miss Ethel Atkinson. PROGRAMME Rule Britannia and God Save the King PART 1 Overture ‘Raymond’. Thomas Aria ‘Non piu andrai’ from ‘Le nozze di Figaro’. Mozart Mr CHARLES TREE Symphony in B minor, (1st mov’t) ‘Unfinished’. Schubert ‘The Jewel Song’ from ‘Faust’. Gounod Miss May Clague Concerto in A Minor, op. 33, for ‘cello and orchestra. Saint-Saens Allegro – Allegretto con moto – Finale Miss Nancy Cowell Three Little Love Songs: ‘Love’s Aftergow’; ‘She Dwelt Among the Untrodden Ways’; ‘Kate of Appledene’. Mr CHARLES TREE Four Characteristic Waltzes for Orchestra. Coleridge-Taylor INTERVAL TEN MINUTES PART II CHANSON NAPOLITAINE D’Ambrosia Solo Oboe - Mr F Madison MOCK MORRIS DANCE Percy Grainger SONG: ‘Lo! Here the Gentle Lark’ Bishop Flute Obligato, Mr F Mullins Miss May Clague SONG: ‘The Company Sergeant Major’ Wilfrid Sanderson MR CHARLES TREE NAUTICAL MARCH ‘Admirals All’ Hubert Barth 1919 (November concert planned. No further details extant) 1920 CONCERT Villa Marina February 11th (No further details extant) CONCERT King William’s College November 4th Ramsey November 8th (No further details available) CONCERT December 9th Villa Marina (No further details available) 1921 GRAND CONCERT Villa Marina Thursday, January 27th at 7.45 pm Miss Muriel Brunskill, contralto Mr Allan Quirk, bass Mr Walter Hatton, ‘cello Conductor MR J E QUAYLE.
    [Show full text]