RAMEAU (I6s3-I 764)
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Wednesday Playlist
September 25, 2019: (Full-page version) Close Window “Art and life are not two separate things.” — Gustav Mahler Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Sibelius The Swan of Tuonela Boston Symphony/Davis Philips 446 160 028944616026 Awake! 00:11 Buy Now! Elgar The Sanguine Fan, Op. 81 London Philharmonic/Boult EMI 63133 077776313320 00:30 Buy Now! Mozart Piano Quartet No. 2 in E flat, K. 493 Bronfman/Zukerman/Marks/Forsyth RCA Red Seal 88697160442 886971604429 01:00 Buy Now! Gershwin Lullaby for Strings Cincinnati Pops/Kunzel Telarc 80503 089408050329 01:10 Buy Now! Bach English Suite No. 4 in F, BWV 809 Glenn Gould Sony 52606 n/a 01:28 Buy Now! Strauss, R. Le Bourgeois Gentilhomme Suite Chicago Symphony/Reiner RCA 5721 07863557212 01:59 Buy Now! Mozart Overture ~ The Magic Flute, K. 620 Academy of St. Martin-in-the-Fields/Marriner EMI 47014 077774701426 Virgin Classics 02:07 Buy Now! Rameau Fourth Concert (for harpsichord and strings) Trio Sonnerie 90749 07567907492 Digital 02:19 Buy Now! Beethoven Piano Concerto No. 5 in E flat, Op. 73 "Emperor" Arrau/Dresden State Orchestra/Davis Philips 416 215 028941621528 03:01 Buy Now! Mascagni Intermezzo ~ Cavalleria rusticana Philadelphia Orchestra/Ormandy Sony 48260 07464482602 03:05 Buy Now! Shostakovich Cello Concerto No. 1 in E flat, Op. 107 Kanneh-Mason/CBSO/Grazinyte-Tyla Decca 483 2948 028948329489 03:38 Buy Now! Telemann Paris Quartet No. 10 Kuijken Bros/Leonhardt Sony 63115 074646311523 03:59 Buy Now! Chopin Scherzo No. -
To the Parliamentary Subcommittee on Law Enforcement
TO THE PARLIAMENTARY SUBCOMMITTEE ON LAW ENFORCEMENT INQUIRY INTO TRADE IN ELEPHANT IVORY AND RHINO HORN SUBMISSION FROM THE CELTIC PIPING CLUB (INC.) June 2017 http://www.celticpipingclub.com INTRODUCTION The Celtic Piping Club (Inc.) is a network for devotees of various bagpipes including the Irish uilleann pipes, Scottish smallpipes, Northumbrian pipes, Border pipes, musette de cour, pastoral pipes, and the Galician gaita; to name some of the more than 200 different types of mouth-blown and bellows-blown bagpipes. The Highland pipes are not a priority for the club as there are many other resources and opportunities available for players of that instrument. With regard to the aforementioned pipes, some have traditionally had ivory mounts and ferrules, particularly the uilleann pipes, Northumbrian pipes, and musette de cour. We, therefore, take this opportunity to express our concerns should an outright ban on domestic trade of objects containing ivory come into place. We support a total ban on trade in rhinoceros horn. Our submission reflects those from musical instrument dealers, antiques traders, etc., e.g., Submissions 26 and 32. Despite our concerns set out below, we strongly support all functional and effective efforts to eliminate the slaughter of elephants and rhinoceros and threats to their species. BACKGROUND From the end of the 16th century, some forms of bagpipes became musical instruments favoured by royal courts and the aristocracy, especially in France. They evolved into elaborate and sophisticated instruments and ivory was employed in their manufacture. By the end of the 18th century, the uilleann and Northumbrian pipes were fashionable among the gentry of Britain and Ireland. -
Peter Walker and Christa Patton Peter Walker – Musette De Cour, Voice Christa Patton – Baroque Harp, Flute
Gotham Early Music Scene (GEMS) presents Thursday, September 3, 2020 1:15 pm Recorded at John Cage House in Stony Point, NY and streamed to YouTube and Facebook Peter Walker and Christa Patton Peter Walker – musette de cour, voice Christa Patton – baroque harp, flute L’Isle enchantée Les Idées françoises (Paris, c. 1750) Nicolas Chédeville (1705−1782) L’Isle enchantée Pièces pour la Muzette (Paris, 1722) Jean Hotteterre (c. 1666−1720) Ouverture le Festin Sarabande l'Himen 1ère Marche pour la Nopce Champêtre Airs sérieux et à boire (Paris, 1740) François Bouvard (1684−1760) Dans ces belles retraites Pièces pour la Muzette (Paris, 1722) Hotteterre Entrée Pièces de Clavecin, Livre Second (Paris, 1703) Louis Marchand (1669−1732) Prélude Pièces de Clavecin, Bauyn Manuscript (c. 1658) Louis Couperin (1626−1661) Allemande Amusements champêtres, Livre 2 (Paris, 1731) Chédeville Musette la rivière de Bagnolet Musette les Jardins Premier Recueil de Vaudevilles, Menuets, Esprit Phillipe Chédeville (1696−1762) Contredanses et Autres Airs Choisis Pour la Musette (Paris, 1732) Première Suitte (excerpts) Midtown Concerts are produced by Gotham Early Music Scene, Inc., and are made possible with support from St. Bartholomew’s Church, The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural affairs in partnership with the City Council; the Howard Gilman Foundation; and by generous donations from audience members. Next piece Gotham Early Music Scene, 340 Riverside Drive, Suite 1A, New York, NY 10025 (212) 866-0468Composer, Dates Joanne Floyd, Midtown Concerts Manager Paul Arents, House Manager Live-stream staff: Adolfo Mena Cejas, Dennis Cembalo, Paul Ross Etc…. -
Boston Symphony Orchestra Concert Programs, Summer, 1954-1956
contltictA me «L$o4tim ^ymfmtmu &^cAe4t^a RCA Victor recreates all the eloquence of his interpretations in these brilliant "New Orthophonic ' High Fidelity recordings **Berlioz:The Damnation of Faust (complete)—Suzanne Danco, Soprano; David Poleri, Tenor; Martial Singher, Baritone **Berlioz: Romeo and Juliet (complete)—Margaret Roggero, Contralto; Leslie Chabay, Tenor; Yi-Kwei Sze, Bass **Brahms: Piano Concerto No. 2, in B Flat, op. 83—Artur Rubinstein, Piano *Beethoven: Symphony No. 7, in A, op. 92 **Chopin: Piano Concerto No. 2, in F Minor. **Saint-Saens: Piano Concerto No. 4, in C Minor—Alexander Brailowsky, Piano. **"New Orthophonic' High Fidelity. *High Fidelity. rcaVictor D I D MUSIC ill ^i1 s i ? » "• I *> ". :, Pv ^H—JL i i ~.~z~ BOSTON SYMPHONY ORCHESTRA CHARLES MUNCH, Music Director Berkshire Festival, Season 1955 (EIGHTEENTH SEASON) TANGLEWOOD, LENOX, MASSACHUSETTS FIRST WEEK Concert Bulletin, with historical and descriptive notes by John 1\. Burk copyright. l955, by boston symphony orchestra, inc. Trustees of the Boston Symphony Orchestra, Inc. Henry B. Cabot, President Jacob J. Kaplan, Vice-President Richabd C. Paine, Treasurer Talcott M. Banks, Jr. \lvan I. Fuller C. D. Jackson Charles H. Stockton John Nicholas Brown Francis W. Hatch Michael T. Kelleher Ldward A. Taft Theodore P. Ferris Harold D. Hodgkinson Palfrey Perkins Raymond S. Wilkins Oliver Wolcott Trustees Emeritus Philip B. \lleiv M. A. DeWolfe Howe N. Penrose Hallowell Lewis Perry Tanglewood Advisory Committee \i.\n J. Blai Henry W. Dwight F. Anthony Hanlon George E. Mole Lenges Bi m George W. Edman Lawrence K. Miller Whitney S. Stoddard Jesse L. Thomason Bobert K. Wheeler H. -
Jean-Philippe Rameau 讓-菲利普·拉摩
18th Century French Keyboard Music & Ornamentation 生平 • 1683年-1764年 • 生涯分早期(1683-1732)與後期(1733-1764) • 法國人 生平-早期(1) • 早期為1683年-1732年。 • 生於法國第戎(Dijon)。 • 父親在教堂擔任管風琴手；母親(Claudine Demartinécourt)來 自貴族家庭。 • 家中共有11個小孩，5個女生和6個男生，拉摩排名第7。 • 拉摩幼年時被送往戈德朗斯(Godrans)的耶穌會學院學習法律， 但他真正喜愛的是音樂和作曲，在決定未來要成為一位音樂 家後，他父親便讓他前往義大利米蘭學習音樂。 生平-早期(2) • 1706年，在米蘭的拉摩出版了他知名的作品《大鍵琴曲集》 (Pièces de clavecin)第一部。 • 1709年，他回到第戎並接手他父親在巴黎聖母院管風琴手 的職位，還創作了不少供教堂表演的經文歌和世俗清唱劇。 • 1722年，他前往巴黎，出版了他此 生最重要的理論作品《和聲學》 (Traité de l‘harmonie)，因而聲名大噪。 生平-早期(3) • 1726年，拉摩又發表了另外一本理論作品《音樂理論的新 體系》(Nouveau système de musique théorique)。 • 1726年二月，他娶了19歲的 瑪麗-路易絲·芒戈(Marie- Louise Mangot)為妻，她是一 位出色的歌手及器樂家，他 們共生了4個小孩，2男2女。 生平-後期(1) • 後期為1733年-1764年。 • 直到拉摩50歲，才開始了他的歌劇創作生涯。 • 1732年，受到Montéclair的歌劇作品“Jephté”影響，他開始 著手他的法國歌劇創作─抒情悲劇(tragédie en musique)。 • 1733年，他的第一部歌劇《希波呂托斯與阿里奇埃》 (Hippolyte et Aricie)於10月1日公演而造成轟動，被眾人認 為是繼盧利之後，最偉大的歌劇作品。 生平-後期(2) • 《希波呂托斯與阿里奇埃》問世後，觀眾反應兩極，有 一派認為這部作品不僅有拉摩自己的原創性，還做了許 多創新；另一派則指出這部作品在和聲上的創新是不和 諧的，認為拉摩牴觸了法國的傳統音樂。 • 此後，兩派便發展成所謂的「盧利派」(Lullyistes)，以及 「拉摩派」(Rameauneurs)，也因為這個事件爭吵了至少 十年之久。 生平-後期(3) • 這段時期，他還認識了一個很有勢力的財主Alexandre Le Riche de La Pouplinière(後來在1753年時成為拉摩的贊助者)。 • 1731年，拉摩擔任La Pouplinière的私人樂團指揮，長達22 年之久，也藉此認識了很多當時文化的領導人物。 • 後來拉摩也將他新式的音樂風格移植到歌劇芭蕾(opéra- ballet)去創作，像是作品《殷勤的印第安人》(Les Indes galantes)獲得很高的評價。 生平-後期(4) • 1737年與1739年，創作抒情悲劇《雙子星卡斯托耳與波呂 丟刻斯》(Castor et Pollux)以及《達耳達諾斯》(Dardanus) 。 • 同年，還創作另一部歌劇芭蕾─《赫伯的節日或抒情天才》 (Les fêtes d‘Hébé)。這些都被視為拉摩最出色的歌劇作品。 • 1741年，他創作了此生唯一的室內樂作品《大鍵琴合奏曲 集》(Les pièces de clavecin en concert)。 生平-後期(5) • 1745年他被任命為王家室內樂作曲家（Compositeur de -
Dardanus De Jean-Philippe Rameau Direction Musicale Emmanuelle Haïm Mise En Scène Claude Buchvald Chorégraphie Daniel Larrieu Chœur Et Orchestre Du Concert D’Astr Ée
Dossier pédagogique Opéra / Nouvelle production DARDANUS DE JEAN-PHILIPPE RAMEAU DIRECTION MUSICALE EMMANUELLE HAÏM MISE EN SCÈNE CLAUDE BUCHVALD CHORÉGRAPHIE DANIEL LARRIEU CHŒUR ET ORCHESTRE DU CONCERT D’ASTR ÉE Du 16 au 24 octobre 2009 Contacts Service des relations avec les publics [email protected] Dossier réalisé avec la collaboration de Sébastien Bouvier, enseignant missionné à l’Opéra de Lille Septembre 2009 Sommaire Préparer votre venue à l’Opéra 3 DARDANUS Résumé 4 Synopsis 5 La musique baroque 6 La tragédie lyrique ou « tragédie en musique » 7 Les instruments baroques 10 La danse dans l’opéra baroque 12 Guide d’écoute 14 Vocabulaire 21 Références 22 DARDANUS À L’OPÉRA DE LILLE Distribution 23 Notes d’intention de mise en scène 24 Repères biographiques 25 POUR ALLER PLUS LOIN La Voix à l’opéra 27 Qui fait quoi à l’opéra ? 29 L’Opéra de Lille, un lieu, une histoire 30 ANNEXES Les instruments de l’orchestre 34 Annexe : frise chronologique sur Rameau et son époque 35 2 Préparer votre venue Ce dossier vous aidera à préparer votre venue avec les élèves. L’équipe de l’Opéra de Lille est à votre disposition pour toute information complémentaire et pour vous aider dans votre approche pédagogique. Si le temps vous manque, nous vous conseillons, prioritairement, de : - lire la fiche résumé et le synopsis détaillé - faire une écoute des extraits représentatifs de l’opéra (guide d’écoute) Recommandations Le spectacle débute à l’heure précise, 20h ou 16h le dimanche. Il est donc impératif d’arriver au moins 30 minutes à l’avance, les portes sont fermées dès le début du spectacle. -
Download Booklet
MAG IC L A N T Sophie Daneman ~ soprano Beth Higham-Edwards ~ vibraphone E D Alisdair Hogarth ~ piano Anna Huntley ~ mezzo-soprano R A George Jackson ~ conductor Sholto Kynoch ~ piano O N Anna Menzies ~ cello Edward Nieland ~ treble H Sinéad O’Kelly ~ mezzo-soprano Natalie Raybould ~ soprano - T S E Collin Shay ~ countertenor Philip Smith ~ baritone Nicky Spence ~ tenor A Mark Stone ~ baritone Verity Wingate ~ soprano C L N A E R S F L Y R E H C Y B S G N O S FOREWORD Although the thought of singing and acting in front of an audience terrifies me, there is nothing I enjoy more than being alone at my piano and desk, the notes on an empty page yet to be fixed. Fortunately I am rarely overheard as I endlessly repeat words and phrases, trying to find the music in them: the exact pitches and rhythms needed to portray a particular emotion often take me an exasperatingly long time to find. One of the things that I love most about writing songs is that I feel I truly get to know and understand the poetry I am setting. The music, as I write it, allows me to feel as if I am inhabiting the character in the poem, and I often only discover what the poem really says to me when I reach the final bar. This disc features a number of texts either written especially for me (Kei Miller, Tamsin Collison, Andrew Motion, Stuart Murray), or already in existence (Kate Wakeling, Ian McMillan, 4th century Aristotle). -
Rameau's Imaginary Monsters: Knowledge, Theory, And
Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte et Aricie Author(s): Charles Dill Source: Journal of the American Musicological Society, Vol. 55, No. 3 (Winter 2002), pp. 433- 476 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/10.1525/jams.2002.55.3.433 . Accessed: 04/09/2014 11:26 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society. http://www.jstor.org This content downloaded from 128.104.46.206 on Thu, 4 Sep 2014 11:26:08 AM All use subject to JSTOR Terms and Conditions Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte etAricie CHARLES DILL dialectic existed at the heart of Enlightenment thought, a tension that sutured instrumentalreason into place by offering the image of its irra- JL A1tional other. Embedded within the rationalorder of encyclopedicen- terpriseslay the threat posed by superstition,both religious and unlettered; contained and controlled by the solid foundations of social contractswas the disturbing image of chaos, evoked musically by Jean-FeryRebel and Franz Joseph Haydn, and among the nobly formed figures of humankind and nature there lurked deformity and aberration,there lurked the monster. -
© in This Web Service Cambridge University
Cambridge University Press 978-1-107-02156-3 - Dramatic Expression in Rameau’s Tragédie en Musique: Between Tradition and Enlightenment Cynthia Verba Index More information Index accompanied recitative chromatics, 27, 38, 62, 68, 69, 72, 75–76, 78, as tonal anchors, 32 80, 86, 88–89, 92–93, 140, 147, 148, in Dardanus, 131, 194–196, 203 169, 175, 176, 179, 185, 186, 193, 196, in Hippolyte et Aricie, 66, 67, 72, 79–80, 90, 210, 244, 249, 286, 291 115 classical models of tragedy, 85, 181 (see also in Les Bor´eades, 218 Aristotelian poetics) in Zoroastre, 292–295 Cohen, David E., 30–31 airs contrary duos, 67–68, 69–71, as tonal anchors, 32, 34, 36 251–253 in Castor et Pollux, 124 Cowart, Georgia, 8–10 in Dardanus, 129, 196–199, 291–292 in Hippolyte et Aricie, 51–53, 54–62, 65, 74, da capo arias, 4, 144, 163, 183–188, 200–203, 79, 80–84, 86, 90–93 210, 212, 247–249 in Les Bor´eades, 169, 171–172, 175, 178–179, terminology, x 214–216, 217–218 D’Alembert,JeanleRond,2–3 in Lully’s operas, 7, 17–18 deities in Zoroastre, 134, 137, 140–141, 147, interventions, imposed by deities, 84, 148–149, 152, 153–154, 155, 203–207 89–90, 116, 117, 118, 119, 123–124, terminology, x, 56 127, 129, 145, 161, 170, 175, 177, 179, Allanbrook, Wye Jamison, 32 301–302 ancien r´egime, 1, 7, 9–11, 14, 16, 108, 109, 314, invocations, addressing deities, 79–84, 316–317 85–89, 112, 115, 116, 125, 146–147, Anthony, James, 16, 20, 21 152–153, 174, 200–203 ariettes, 117, 124, 144, 163–167, 170, 172, 176, Diderot, Denis, 2, 3, 20, 31–32 302 Dill, Charles, 5, 8, 19, 21–22, 44, -
Rameau, Jean-Philippe
Rameau, Jean-Philippe (b Dijon, bap. 25 Sept 1683; d Paris, 12 Sept 1764). French composer and theorist. He was one of the greatest figures in French musical history, a theorist of European stature and France's leading 18th-century composer. He made important contributions to the cantata, the motet and, more especially, keyboard music, and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera. 1. Life. 2. Cantatas and motets. 3. Keyboard music. 4. Dramatic music. 5. Theoretical writings. WORKS BIBLIOGRAPHY GRAHAM SADLER (1–4, work-list, bibliography) THOMAS CHRISTENSEN (5, bibliog- raphy) 1. Life. (i) Early life. (ii) 1722–32. (iii) 1733–44. (iv) 1745–51. (v) 1752–64. (i) Early life. His father Jean, a local organist, was apparently the first professional musician in a family that was to include several notable keyboard players: Jean-Philippe himself, his younger brother Claude and sister Catherine, Claude's son Jean-François (the eccentric ‘neveu de Rameau’ of Diderot's novel) and Jean-François's half-brother Lazare. Jean Rameau, the founder of this dynasty, held various organ appointments in Dijon, several of them concurrently; these included the collegiate church of St Etienne (1662–89), the abbey of StSt Bénigne (1662–82), Notre Dame (1690–1709) and St Michel (1704–14). Jean-Philippe's mother, Claudine Demartinécourt, was a notary's daughter from the nearby village of Gémeaux. Al- though she was a member of the lesser nobility, her family, like that of her husband, included many in humble occupations. -
The Celtic Legacy of the Gaita in Galician Music
e-Keltoi: Journal of Interdisciplinary Celtic Studies Volume 6 The Celts in the Iberian Peninsula Article 18 9-10-2007 The eltC ic Legacy of the Gaita in Galician Music Xosé Lois Foxo Director, Real Banda-Escuela de Ourense Follow this and additional works at: https://dc.uwm.edu/ekeltoi Part of the Celtic Studies Commons, English Language and Literature Commons, Folklore Commons, History Commons, History of Art, Architecture, and Archaeology Commons, Linguistics Commons, and the Theatre History Commons Recommended Citation Foxo, Xosé Lois (2007) "The eC ltic Legacy of the Gaita in Galician Music," e-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol. 6 , Article 18. Available at: https://dc.uwm.edu/ekeltoi/vol6/iss1/18 This Article is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in e-Keltoi: Journal of Interdisciplinary Celtic Studies by an authorized administrator of UWM Digital Commons. For more information, please contact open- [email protected]. e-Keltoi: Journal of Interdisciplinary Celtic Studies Volume 6 The Celts in the Iberian Peninsula Article 18 9-10-2007 The eltC ic Legacy of the Gaita in Galician Music Xosé Lois Foxo Director, Real Banda-Escuela de Ourense Follow this and additional works at: https://dc.uwm.edu/ekeltoi Recommended Citation Foxo, Xosé Lois (2007) "The eC ltic Legacy of the Gaita in Galician Music," e-Keltoi: Journal of Interdisciplinary Celtic Studies: Vol. 6 , Article 18. Available at: https://dc.uwm.edu/ekeltoi/vol6/iss1/18 This Article is brought to you for free and open access by UWM Digital Commons. -
FALL 2020 Until Audiences Can Return to Our Superb, Intimate GOTHAM EARLY MUSIC SCENE EVERY Venue in the Chapel at St
FALL 2020 Until audiences can return to our superb, intimate GOTHAM EARLY MUSIC SCENE EVERY venue in the Chapel at St. Bartholomew’s Episcopal presents Church on Park Avenue in New York City, enjoy our concerts online via Facebook and YouTube. As THURSDAY conditions allow, we all will return to the Chapel, conforming to any applicable regulations for masks, AT 1:15 PM sanitization, and social distancing. September 3, 2020 – We look forward to seeing you online and/or in person, and having you join our loyal audiences on June 24, 2021 Thursday afternoon. Welcome to the largest and most diverse series of free chamber music concerts in the nation, comprising weekly performances by over 40 different professional for the latest updates ensembles & artists. CLICK HERE Our 23rd season begins with all-new recorded performances as well as live on artists & locations. concerts that are streamed to you as they happen! View them all on both Facebook or YouTube channels. Then join us for post-concert chats with the artists via Zoom. Our specialty is early music. Early Music is the beautiful and uplifting music of the period from the Middle Ages through the 18th century. The series includes seasoned artists with international reputations earned over decades, as well as recent graduates of the most prestigious conservatories. Enjoy a wide range of instrumental and vocal ensembles, virtuoso soloists, narrators, and dancers. Hear instruments you won’t find in the usual concert hall, including theorbo, cornetto, sackbut, clavisimbalum, piston horn, and recorder, as well as harpsichord, viola da gamba, baroque strings and winds.