Creighton's Collection, UK ( / See the Section 'Sheet Music')
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Symposium Programme
Singing a Song in a Foreign Land a celebration of music by émigré composers Symposium 21-23 February 2014 and The Eranda Foundation Supported by the Culture Programme of the European Union Royal College of Music, London | www.rcm.ac.uk/singingasong Follow the project on the RCM website: www.rcm.ac.uk/singingasong Singing a Song in a Foreign Land: Symposium Schedule FRIDAY 21 FEBRUARY 10.00am Welcome by Colin Lawson, RCM Director Introduction by Norbert Meyn, project curator & Volker Ahmels, coordinator of the EU funded ESTHER project 10.30-11.30am Session 1. Chair: Norbert Meyn (RCM) Singing a Song in a Foreign Land: The cultural impact on Britain of the “Hitler Émigrés” Daniel Snowman (Institute of Historical Research, University of London) 11.30am Tea & Coffee 12.00-1.30pm Session 2. Chair: Amanda Glauert (RCM) From somebody to nobody overnight – Berthold Goldschmidt’s battle for recognition Bernard Keeffe The Shock of Exile: Hans Keller – the re-making of a Viennese musician Alison Garnham (King’s College, London) Keeping Memories Alive: The story of Anita Lasker-Wallfisch and Peter Wallfisch Volker Ahmels (Festival Verfemte Musik Schwerin) talks to Anita Lasker-Wallfisch 1.30pm Lunch 2.30-4.00pm Session 3. Chair: Daniel Snowman Xenophobia and protectionism: attitudes to the arrival of Austro-German refugee musicians in the UK during the 1930s Erik Levi (Royal Holloway) Elena Gerhardt (1883-1961) – the extraordinary emigration of the Lieder-singer from Leipzig Jutta Raab Hansen “Productive as I never was before”: Robert Kahn in England Steffen Fahl 4.00pm Tea & Coffee 4.30-5.30pm Session 4. -
Rncm Chamber Music Festival Songs Without Words Rncm Chamber Music Festival Songs Without Words
Friday 04 – Sunday 06 March 2016 RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS RNCM CHAMBER MUSIC FESTIVAL SONGS WITHOUT WORDS WELCOME The RNCM Chamber Music Festival plays an enormous role in the story of the College and is a major event in our calendar. Chamber music is at the core at what we do - the RNCM has a proud tradition of chamber ensemble training and our alumni appear with high profile ensembles such as the Elias, Heath and Navarra String Quartets plus the Gould Piano Trio to name but a few. Every year, the Chamber Music Festival goes from strength to strength, presenting the opportunity to see our wonderful students, internationally renowned staff and special guests perform beautiful music across a jam-packed weekend. This year is no exception, as we explore German Romanticism in Songs Without Words. We focus particularly on the music of Mendelssohn and Schumann and our students will be involved in a major composition project, as they are asked to create responses to Mendelssohn’s Songs Without Words. So the Festival will include works from across the 19th century but will also dip into the 20th century with composers such as Richard Strauss. This year’s line-up features some of the finest musicians performing today including the Talich Quartet, Elias Quartet, Michelangelo Quartet, plus RNCM Junior Fellows the Solem Quartet and our International Artist chamber ensemble the Diverso String Quartet. We also welcome chamber groups from Chetham’s, St Mary’s, Junior RNCM, the Royal Irish Academy of Music and Sheffield Music Academy. So please join us and immerse yourself in this weekend of lush musical landscapes. -
Spring 2014 Commencement Program
TE TA UN S E ST TH AT I F E V A O O E L F A DITAT DEUS N A E R R S I O Z T S O A N Z E I A R I T G R Y A 1912 1885 ARIZONA STATE UNIVERSITY COMMENCEMENT AND CONVOCATION PROGRAM Spring 2014 May 12 - 16, 2014 THE NATIONAL ANTHEM THE STAR SPANGLED BANNER O say can you see, by the dawn’s early light, What so proudly we hailed at the twilight’s last gleaming? Whose broad stripes and bright stars through the perilous fight O’er the ramparts we watched, were so gallantly streaming? And the rockets’ red glare, the bombs bursting in air Gave proof through the night that our flag was still there. O say does that Star-Spangled Banner yet wave O’er the land of the free and the home of the brave? ALMA MATER ARIZONA STATE UNIVERSITY Where the bold saguaros Raise their arms on high, Praying strength for brave tomorrows From the western sky; Where eternal mountains Kneel at sunset’s gate, Here we hail thee, Alma Mater, Arizona State. —Hopkins-Dresskell MAROON AND GOLD Fight, Devils down the field Fight with your might and don’t ever yield Long may our colors outshine all others Echo from the buttes, Give em’ hell Devils! Cheer, cheer for A-S-U! Fight for the old Maroon For it’s Hail! Hail! The gang’s all here And it’s onward to victory! Students whose names appear in this program have completed degree requirements. -
MAHLERFEST XXXIV the RETURN Decadence & Debauchery | Premieres Mahler’S Fifth Symphony | 1920S: ARTISTIC DIRECTOR
August 24–28, 2021 Boulder, CO Kenneth Woods Artistic Director SAVE THE DATE MAHLERFEST XXXV May 17–22, 2022 * Gustav Mahler Symphony No. 2 in C Minor Boulder Concert Chorale Stacey Rishoi Mezzo-soprano April Fredrick Soprano Richard Wagner Die Walküre (The Valkyrie), Act One Stacey Rishoi Mezzo-soprano Brennen Guillory Tenor Matthew Sharp Bass-baritone * All programming and artists subject to change KENNETH WOODS Mahler’s First | Mahler’s Musical Heirs Symphony | Mahler and Beethoven MAHLERFEST.ORG MAHLERFEST XXXIV THE RETURN Decadence & Debauchery | Premieres Mahler’s Fifth Symphony | 1920s: ARTISTIC DIRECTOR 1 MAHLERFEST XXXIV FESTIVAL WEEK TUESDAY, AUGUST 24, 7 PM | Chamber Concert | Dairy Arts Center, 2590 Walnut Street Page 6 WEDNESDAY, AUGUST 25, 4 PM | Jason Starr Films | Boedecker Theater, Dairy Arts Center Page 9 THURSDAY, AUGUST 26, 4 PM | Chamber Concert | The Academy, 970 Aurora Avenue Page 10 FRIDAY, AUGUST 27, 8 PM | Chamber Orchestra Concert | Boulder Bandshell, 1212 Canyon Boulevard Page 13 SATURDAY, AUGUST 28, 9:30 AM–3:30 PM | Symposium | License No. 1 (under the Hotel Boulderado) Page 16 SATURDAY, AUGUST 28, 7 PM | Orchestral Concert Festival Finale | Macky Auditorium, CU Boulder Page 17 Pre-concert Lecture by Kenneth Woods at 6 PM ALL WEEK | Open Rehearsals, Dinners, and Other Events See full schedule online PRESIDENT’S GREETING elcome to MahlerFest XXXIV – What a year it’s been! We are back and looking to the future with great excitement and hope. I would like to thank our dedicated and gifted MahlerFest orchestra and festival musicians, our generous supporters, and our wonderful audience. I also want to acknowledge the immense contributions of Executive Director Ethan Hecht and Maestro Kenneth Woods that not only make this festival Wpossible but also facilitate its evolution. -
Gettysburg Symphony Orchestra
he Serving Baltimore/Washington/Annapolis . J January/February 2003 Circulation: 27,000 Johns Hopkins News Russian pianist The- Baltimore Alexander Shtarkman solp with the Shostakovich's in Hail Peabody Lady Macbeth of Dedication Mtsensk >age 3 Orchestra guest conducted by Leon Fleisher -jf V V**5. Yuri Temirkanov programs Russian composer with the Baltimon Symphon S B U R G A city-wide celebration Lori Hultgrei* with Peabody Symphony Orchestra Page 7 Peabodv Chamber Opera presents Berlin/Munich double bill Page 8 Young Dance classes at Preparatory Page 16 2 Peabody News January/February 2003 [ERNO N CULTURAL DISTRICT * MOUNT VERNON CULTURAL DISTRICT • MOUNT VERNON CULTURAL DISTRICT * MOUNi #19 FIND YOUR KNIGHT IN SHINING ARMOR jf *" For 99 other fun things to do, visit www.mvcd.org i MOUNT VERNON CULTURAL DISTRICT NEIGHBORHOOD Baltimore School for the Arts * Basilica of the Assumption * Center Stage * Contemporary Museum * Garrett Jacobs Mansion 100 * Enoch Pratt Free Library * Eubie Blake National Jazz Institute and Cultural Center * The George Peabody Library * Maryland •THINGS TO DO! I Historical Society * The Peabody Institute * The Walters Art Museum January/February 2003 Peabody News 3 1 John. Js * Hopkins : Peabody News lifts I The Award Winning wamm Newspaper of the Baltimore/ Washington Cultural Corridor Published by the Peabody Richard Goode awarded Conservatory of Music, George Peabody Medal Baltimore. First he played a magical recital. Then at the end of his October 29 program, Richard Goode was presented with the Circulation: -
Trio Pacifica
happy months in Vienna in the company of Brahms. They dined together virtually every day. Kahn got to play his compositions for Brahms. Kahn reported that he and Emil Paur played Kahn’s violin sonata for Brahms, who “sat next to me, turned pages, and purred like a tomcat, from the first note to the last. I took this to be a good omen, and indeed, after each movement Brahms said a few cordial words of praise, which pleased me no end.” SCHOOL OF MUSIC AND DANCE Brahms was very solicitous of Kahn. When Kahn was looking for a place to stay in Vienna, Brahms accompanied him on his wanderings through Vienna. Beall Concert Hall Tuesday evening One evening, Brahms and Kahn were discussing Handel’s Israel In Egypt, a work to which Brahms was very partial but which Kahn did not know. The 8:00 p.m. April 15, 2008 following morning, Brahms sent Kahn the score, with a note appended stat- ing, “Good morning, Mr. Kahn.” On another evening, Brahms arrived with a great treasure, Beethoven’s sketches for his piano sonata, opus 106. Brahms wanted to point out certain passages to Kahn that proved some fascinating insights into Beethoven’s creative process. THE FACULTY ARTIST SERIES One of the special highlights of Kahn’s time with Brahms was the afternoon presents when Brahms, the violinist Joseph Joachim, and the cellist Hausmann played Brahms’ piano trio, opus 101, for Clara Schumann, who was then near 70. Kahn was the only other person allowed to be present. Brahms reminded Kahn “of a fixed star, emitting only its own light. -
Elizabeth Gould Hochman Collection, 1945-1992, MSS-108
The Ward M. Canaday Center for Special Collections The University of Toledo Finding Aid Elizabeth Gould Hochman Collection, 1945-1992 MSS-108 Size: Approximately 3 linear feet Provenance: Received from Elizabeth G. Herrera on March 10, 1995. Access: open Collection Summary: The bulk of the collection consists of scores, with programs; posters; and other printed material making up the rest. The scores were written for brass, string, and woodwind instruments. Subjects: Music, Art, Drama, and Theatre, Women Copyright: The literary rights to this collection are assumed to rest with the person(s) responsible for the production of the particular items within the collection, or with their heirs or assigns. Researchers bear full legal responsibility for the acquisition to publish from any part of said collection per Title 17, United States Code. The Ward M. Canaday Center for Special Collections may reserve the right to intervene as intermediary at its own discretion. Completed by: Jennifer Kahn Mandell, June, 1996 and Laura Micham, 1998; revised and updated by Tamara Jones, June 2016 1 Elizabeth Gould Hochman Collection, 1945-1992 Biographical Sketch Born Elizabeth Davies on March 8, 1904, Elizabeth Gould Hochman was involved with music throughout her life, first as a performer and later as a composer. She began composing when she was 45 years old prompted by displeasure with the experimental compositions prevalent in the 1950's that she characterized as formulaic. Gould Hochman received her Bachelor of Arts degree in music from the University of Michigan in 1926. She married twice, first to local attorney George Gould and later to author/playwright Eugene J. -
Ensemble Émigré Grew out of Concerts Given During the ‘Singing a Song in a Foreign Land’ Project at the Royal College of Music in London
Nos. 473–475 ‘Jeanne Suite’ (1943) ROBERT KAHN 1865–1951 11 No.473a in G: Moderato 1.30 1 Romanze in F minor 4.30 12 No.473b in G: Poco allegretto 0.57 13 No.473c in G: Allegretto vivace 0.45 No.1 from 3 Stücke for cello and piano Op.25 14 No.474 in E minor: Andante sostenuto 1.52 2 ’s ist ein so stiller heil’ger Tag 1.48 15 No.475 in G: Vivace 0.46 No.2 from 7 Gesänge Op.27 9 Lieder nach Gedichten von Christian Morgenstern Op.31 3 Novemberfeier 1.18 16 No.2 Liebesbrief 1.38 No.2 from 6 Lieder und Gesänge Op.20 17 No.8 Die Unke 2.14 4 Idyll No.1 from 6 Lieder Op.52 2.44 18 Feuerbestattung No.5 from 5 Lieder Op.38 2.07 5 Liebestrost No.10 from 10 Lieder Op.42 2.20 19 Gebet No.9 from 9 Lieder im Volkston Op.47 1.36 Tagebuch in Tönen (Leaves from the Tree of Life) Quintet in C minor Op.54* for piano, violin, cello, clarinet and horn (1911) 6 No.500 (Variations on No.1) in A flat: Andante (1943) 6.25 20 I. Allegro non troppo 5.30 7 No.3 in C sharp minor: Allegretto non troppo (1935) 1.18 21 II. Presto assai 3.30 8 No.4 in C sharp minor: 22 III. Andante sostenuto 6.56 Andantino con moto ‘quasi improvisato’ (1935) 1.58 23 IV. Allegro agitato 5.42 9 No.5 in F minor: Assai sostenuto ed espressivo (1935) 2.33 10 No.53 in E: Allegretto con moto (1936) 1.28 * World-premiere recording Total timing: 61.45 ENSEMBLEENSEMBLE ÉÉMIGRÉMIGRÉ Danny Driver piano · Christopher Gould piano Gemma Rosefield cello · Emily Sun violin Ingrid Pearson clarinet · Flora Bain horn Norbert Meyn tenor & director Ensemble Émigré grew out of concerts given during the ‘Singing a Song in a Foreign Land’ project at the Royal College of Music in London. -
The CLEVELAND CHAMBER MUSIC SOCIETY
The CLEVELAND CHAMBER MUSIC SOCIETY presents IN ITS FINAL CONCERT OF THE CURRENT SEASON WILLIAM PRIMROSE, violist Program: W. F. Bach, Beethoven, Hindemith, Brahms 8:30 P. M., TUESDAY, APRIL 12, 1955 ALLEN MEDICAL LIBRARY Tickets: $2.50—Severance Hall, Burrows ★ ★ ★ Announcing The Society’s 1955-1956 Season of Seven Tuesday Evening Concerts SERIES A SERIES B $8.75 $8.75 Oct. 25: Mannes-Gimpel-Silva Nov. 25: George Szell, piano and (Piano) Trio Arthur Grumiaux, violin Feb. 21: Budapest String Quartet with Jan. 10: Curtis String Quartet with . Abraham Skernick, assisting Marc Lifschey, assisting oboist violist *March 20: Virtuosi di Roma Feb. 14: Hungarian String Quartet April 3: Pasquier String Trio ♦March 20: Virtuosi di Roma ^Included in both series SEASON SUBSCRIPTION (7 CONCERTS) $13.75 ★ ★ ★ Tickets for the season and Series A or B may be ordered now at Severance Hall Box Office. THE CLEVELAND CHAMBER MUSIC SOCIETY THE CLEVELAND ORCHESTRA GEORGE SZELL, Conductor FIRST PROGRAM Thursday Evening, March 31, 1955, at 8:30 O’clock Funeral Music, K. 477 Mozart In Memoriam CARL J. VOSBURGH Manager of the Cleveland Orchestra 1933-1955 Symphony No. 5 in E minor, Op. 64 Andante ; Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale : Andante maestoso ; Allegro vivace INTERMISSION > Tchaikovsky Concerto for Piano and Orchestra No. 1 in B flat minor, Op. 23 Allegro non troppo e molto maestoso ; Allegro con spirito Andantino semplice Allegro con fuoco Assisting Artist: ARTUR RUBINSTEIN STEINWAY PIANO COLUMBIA RECORDS Notice to Thursday Evening Concert-Goers: Remaining Tickets for the Saturday Evening Concert will be Available at the Box Office During the Intermission at Tonight’s Concert. -
Anthony Braxton's Synaesthetic Ideal and Notations for Improvisers
Critical Studies in Improvisation / Études critiques en improvisation, Vol 4, No 1 (2008) “What I Call a Sound”: Anthony Braxton’s Synaesthetic Ideal and Notations for Improvisers Graham Lock “See deeply enough, and you see musically.” Thomas Carlyle (qtd. in Palmer 27) “Tuned to its grandest level, music, like light, reminds us that everything that matters, even in this world, is reducible to spirit.” Al Young (132) Flick through the pages of Anthony Braxton’s Composition Notes and you’ll soon encounter some striking visual imagery. In Composition #32, for example, “Giant dark chords are stacked together in an abyss of darkness” (CN-B 375); Composition #75 will take you “’from one room to the next’—as if in a hall of mirrors (‘with lights in the mirrors’)” (CN-D 118); in Composition #77D slap tongue dynamics “can be viewed [as] sound ‘sparks’ that dance ‘in the wind’ of the music” (189); enter the “universe” of Composition #101 and you’ll discover “a field of tall long trees (of glass)” (CN-E 142).1 While it is not unusual for composers to employ visual images when discussing their work, Braxton’s descriptions are clearly not illustrative in the sense of, say, Vivaldi’s poems for La Quattro Stagioni or Ellington’s droll explanations of his song titles. Rather than describe scenes that the music supposedly evokes, Braxton appears instead to offer extremely personal visualisations of the musical events and processes that are taking place in his compositions. Further evidence of this highly individual perspective can be found throughout his work. -
Toccata Classics TOCC 0122 Notes
GÜNTERRAPHAELMusicforViolin Sonatina in B minor, Op. 52, for violin and piano (1944) 11:38 1 I. Mässig 5:06 2 II. Breit und gesangvoll 3:18 3 III. Tänzerisch belebt, dabei etwas schwerfällig und derb 3:14 Sonata in E major, Op. 46, No. 2, for solo violin (1940) 11:50 4 I. Sehr langsam 3:40 5 II. Scherzo: Ganze Takte 2:14 6 III. Gemessen 5:56 Duo in G minor, Op. 47, No. 1, for two violins (1940) 10:42 7 I. Mit lebhafter Energie 3:42 8 II. Langsam gehend (in fliessender Bewegung) 2:37 9 III. Nicht zu lebhaft, ein wenig gemächlich 4:23 Sonata in A minor, Op. 46, No. 1, for solo violin (1940)* 8:48 10 I. In Form einer freien Fantasie 3:23 11 II. Ruhig und gesangvoll 3:56 12 III. Äusserst schnell 1:29 Sonata No. 3 in C major, Op. 43, for violin and piano (1936) 17:01 13 I. Vivace 6:51 14 II. Allegretto grazioso 4:47 15 III. Con fuoco 5:23 TT60:12 Pauline Reguig, violin Darius Kaunas, violin [7]–[9]7 9 Emilio Peroni, piano [1]–[3],1 3 [3]–[5]13 15 ����� ������� ����������; *����� ��������� 12 TOCC0122Raphael.indd1 08/06/201014:42:15 GÜNTERRAPHAEL:MUSICFORVIOLIN byMalcolmMacDonald Günter Raphael was born on 30 April 1903 in Berlin, to a family that was Jewish on his father’s side: he was the son of the composer and church musician Georg Raphael (1865–1904), who Recorded in the Kammermusiksaal der Hochschule für Musik und Theater, Rostock, had converted to Protestantism and was director of music at the Matthai Kirche in Berlin. -
2015 Washington, D.C
of Out Many, August 13–16, 2015 Washington, D.C. !,, 9/5.%%$ 4/+./7 !"/54 &,54%).352!.#% WWWFLUTEINSURANCECOM ,AKEVIEW$RIVE 3UITE! 3EBRING &,53! SERVICE ANDERSON GROUPCOM &,,ICENSE,s),,ICENSEs#!,ICENSE) 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 3 nfaonline.org LET’S PLAY FLUTE! AN INNOVATIVE METHOD FOR STUDENTS OF ANY AGE by Elizabeth Weinzierl & Edmund Waechter Let’s Play Flute! is a new English adaptation of a successful method by noted *HUPDQÀXWLVWVDQGSHGDJRJXHV WITH PLAY-ALONG ONLINE AUDIO: 50600096 • Method Book 1 • 50600097 • Method Book 2 • 50600098 • Repertoire Book 1 • 50600099 • Repertoire Book 2 • 50600124 • Piano accompaniments for Method Books 1 & 2 • SPECIAL CONFERENCE OFFER FOR FLUTE TEACHERS Get a FREE copy of Method Book 1 at the Hal Leonard exhibit booth #417 while supplies last. 4 43RD ANNUAL NATIONAL FLUTE ASSOCIATION CONVENTION, WASHINGTON D.C., 2015 nfaonline.org rself Indulge you Choose your Powell and never look back. connect with us at booth #131. Follow us at #PowellFlutesDC. ® VERNE Q. POWELL® FLUTES INC. One Clock Tower Place, Maynard, MA 01754 USA 978.461.6111 www.PowellFlutes.com Table of Contents Letter from the President ................................................................................9 Officers, Directors, Staff, Convention Volunteers, and Competition Coordinators............................................................................14 Welcome Letter from the Mayor of Washington, D.C.............................18 From the Convention Program Chair..........................................................20