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The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 123 to Op
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-4-4 Center for Beethoven Research Boston University Contents Foreword 6 Op. 123. Missa Solemnis in D Major 123.1 I. P. S. 8 “Various.” Berliner allgemeine musikalische Zeitung 1 (21 January 1824): 34. 123.2 Friedrich August Kanne. 9 “Beethoven’s Most Recent Compositions.” Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 8 (12 May 1824): 120. 123.3 *—*. 11 “Musical Performance.” Wiener Zeitschrift für Kunst, Literatur, Theater und Mode 9 (15 May 1824): 506–7. 123.4 Ignaz Xaver Seyfried. 14 “State of Music and Musical Life in Vienna.” Caecilia 1 (June 1824): 200. 123.5 “News. Vienna. Musical Diary of the Month of May.” 15 Allgemeine musikalische Zeitung 26 (1 July 1824): col. 437–42. 3 contents 123.6 “Glances at the Most Recent Appearances in Musical Literature.” 19 Caecilia 1 (October 1824): 372. 123.7 Gottfried Weber. 20 “Invitation to Subscribe.” Caecilia 2 (Intelligence Report no. 7) (April 1825): 43. 123.8 “News. Vienna. Musical Diary of the Month of March.” 22 Allgemeine musikalische Zeitung 29 (25 April 1827): col. 284. 123.9 “ .” 23 Allgemeiner musikalischer Anzeiger 1 (May 1827): 372–74. 123.10 “Various. The Eleventh Lower Rhine Music Festival at Elberfeld.” 25 Allgemeine Zeitung, no. 156 (7 June 1827). 123.11 Rheinischer Merkur no. 46 27 (9 June 1827). 123.12 Georg Christian Grossheim and Joseph Fröhlich. 28 “Two Reviews.” Caecilia 9 (1828): 22–45. -
Barbershop: a Cappella's Martial Art by Deke Sharon You're Young, You
Barbershop: A Cappella’s Martial Art By Deke Sharon You're young, you're scrappy. You want to be the best. You started singing in school, like everyone: choir, maybe a couple musicals. Karaoke with some friends, talent shows. Then some collegiate a cappella. But you don't want to just be fine. That's not enough. You want to be great. You want technique, you want moves. You need to learn karate...except contemporary a cappella doesn't have a traditional refined martial art...does it? It does. It's called Barbershop. And you're about to get the best schooling a young'un can, including: BLEND: There's no blend like a barbershop blend. They don't just match their vowels, they align their diphthongs as they sweep from one vowel to the next. Four guys sounding like one guy. Why does blend matter? Because each vowel has a very specific "fingerprint" — frequencies in the harmonic series— and when the vowels are perfectly aligned, it helps lock down... TUNING: You think four voices can only create four notes? Guess again. When you lock your voices into perfect tune with the same vowels you cannot only create additional notes above yours, you can even create the perception of a bass note below the human vocal range. That's right, that's the vocal equivalent of some kind of dark arts ninja magic. But it works, and it happens every day, along with... DYNAMICS: Pop music on the radio has had the life squashed out of it. Learn how to sing quieter than you thought you could, and make a group sound that's louder than you have, without microphones. -
COMPASSION a Festival of Musical Passions JUNE 5–15 GREAT ARCHETYPAL STORIES of SUFFERING, EMPATHY, and HOPE
COMPASSION A FESTIVAL OF MUSICAL PASSIONS JUNE 5–15 GREAT ARCHETYPAL STORIES OF SUFFERING, EMPATHY, AND HOPE CONSPIRARE.ORG 1 COMPASSION Diversify your Assets: FESTIVAL Invest in the Arts. PIETÀ JUNE 5-7, FREDERICKSBURG & AUSTIN CONSIDERING MATTHEW SHEPARD DURUFLÉ – REQUIEM JUNE 8, AUSTIN A GNOSTIC PASSION JUNE 10, AUSTIN J.S. BACH – ST. MATTHEW PASSION JUNE 14-15, AUSTIN We applaud the artists and patrons who invest in our community. CRAIG HELLA JOHNSON Artistic Director & Conductor ROBERT KYR & JOHN MUEHLEISEN Composers & Speakers SEASON SUSTAINING UNDERWRITER tm 2 3 TABLE OF CONTENTS FROM THE ARTISTIC DIRECTOR: WELCOME AND INTRODUCTION WELCOME AND INTRODUCTION .................................................................. 5-6 PROGRAM: PIETÀ ...............................................................................................7 ARTISTS: PIETÀ ..................................................................................................8 PROGRAM NOTES: PIETÀ ............................................................................ 9-10 PROGRAM: CONSIDERING MATTHEW SHEPARD/REQUIEM .......................... 11 Welcome to the Conspirare comPassion Festival. ARTISTS: CONSIDERING MATTHEW SHEPARD/REQUIEM .............................. 12 Whether you find yourself in the middle of a PROGRAM NOTES: CONSIDERING MATTHEW SHEPARD/REQUIEM .............. 13 performance or at a workshop, I invite you to PROGRAM: A GNOSTIC PASSION.................................................................... 14 take this time to deeply experience -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
Wells Fargo Center for the Arts Welcomes the SING-OFF LIVE! Tour Thursday, April 9, 2015 Featuring Bay Area’S Own Sanfran6
Media Contact: James Smith | Charles Zukow Associates 415.296.0677 or [email protected] Print quality images available: http://wellsfargocenterarts.org/media/ Wells Fargo Center for the Arts welcomes THE SING-OFF LIVE! Tour Thursday, April 9, 2015 Featuring Bay Area’s Own SanFran6 FAN FAVORITES VoicePlay, Street Corner Symphony and The Exchange FROM THE HIT NBC A CAPPELLA MUSIC COMPETITION WILL ALSO APPEAR Tickets on sale now! Santa Rosa, CA (March 12, 2015)— Wells Fargo Center for the Arts (50 Mark Spring Road in Santa Rosa) welcomes a one-night-only performance of The Sing-Off Live! Tour on Thursday April 9, 2015 at 8:00 pm. The Sing-Off, NBC’s number one rated a cappella music competition is on a 55-city national tour. Tickets for The Sing-Off Live! Tour are $45 and $35, and are on sale now. They may be purchased online at wellsfargocenterarts.org, by phone at 707.546.3600, and in person at 50 Mark West Springs Road in Santa Rosa. The Sing-Off Live Tour! will feature The Sing-Off fan favorite groups VoicePlay (season 4) and Street Corner Symphony (season 2), plus this season’s The Exchange, and the Bay Area’s own San Fran6. On tour the groups will perform their a cappella versions of this year’s chart topping hits as well as favorite arrangements from the TV show. The stage performance will offer the ultimate a cappella experience, giving fans of the TV show the rare opportunity to see their favorite groups perform live, and offer a cappella music aficionados (or enthusiasts) an incredible evening of some of the country’s top talent. -
Abstract Phd a Cappella Arraning English
Abstract: „Contemporary A Cappella - Arranging and Producing“ My PhD-thesis gives an insight into contemporary a cappella arranging. It focuses on two a cappella groups of the United States who emerged from the a cappella boom since the foundation of Contemporary A Cappella Society by Deke Sharon in the year 1991. Both Groups, each won the a cappella casting show The Sing off - Pentatonix in 2011 and Home Free in 2012 - and started/continued their career as professional a cappella singers. I will mainly focus on the arrangements of Pentatonix and Home Free in terms of writing- and production process and in what way the Music is released as media (CD, Spotify, iTunes, music video and sheet music). By using music analysis I am trying to understand how the arrangements of the above mentioned groups are processed and what techniques they use. With this knowledge I plan to explore these ideas via qualitativ empirical methods in the field of contemporary a cappella: interviews with arrangers, producers and a cappella singers, participating observation through camps, rehearsals and concerts, and being part of production-, mixing- and mastering sessions with the a cappella groups, arrangers and audio engineers. After gathering these informations I’m planing to transform them into a (german) „how to…“-guide for music teachers and conductors to create their own arrangement „in the style of …“. My central aim is to combine popular music research with music pedagogy to feed back knowledge I achieved to the actors in the field. Keywords: a cappella, arrangement, contemporary, popular music, Pentatonix, Home Free Max Stadler is a professional a cappella arranger, singer and conductor. -
Beethoven (1819-1823) (1770-1827)
Friday, May 10, 2019, at 8:00 PM Saturday, May 11, 2019, at 3:00 PM MISSA SOLEMNIS IN D, OP. 123 Ludwig van Beethoven (1819-1823) (1770-1827) Tami Petty, soprano Helen KarLoski, mezzo-soprano Dann CoakwelL, tenor Joseph Beutel, bass-baritone Kyrie GLoria Credo Sanctus and Benedictus* Agnus Dei * Jorge ÀviLa, violin solo Approximately 80 minutes, performed without intermission. PROGRAM NOTES The biographer Maynard SoLomon him to conceptuaLize the Missa as a work described the Life of Ludwig van of greater permanence and universaLity, a Beethoven (1770-1827) as “a series of keystone of his own musicaL and creative events unique in the history of personaL Legacy. mankind.” Foremost among these creative events is the Missa Solemnis The Kyrie and GLoria settings were (Op. 123), a work so intense, heartfeLt and largely complete by March of 1820, with originaL that it nearly defies the Credo, Sanctus, Benedictus and categorization. Agnus Dei foLLowing in Late 1820 and 1821. Beethoven continued to poLish the work Beethoven began the Missa in 1819 in through 1823, in the meantime response to a commission from embarking on a convoLuted campaign to Archduke RudoLf of Austria, youngest pubLish the work through a number of son of the Hapsburg emperor and a pupiL competing European houses. (At one and patron of the composer. The young point, he represented the existence of no aristocrat desired a new Mass setting for less than three Masses to various his enthronement as Archbishop of pubLishers when aLL were one and the Olmütz (modern day Olomouc, in the same.) A torrent of masterworks joined Czech RepubLic), scheduLed for Late the the Missa during this finaL decade of following year. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sun, Sep 13, 2020 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 07:52 Schubert Entr'acte No. 3 from Minneapolis 05051 Mercury 462 954 028946295427 Rosamunde, D. 797 Symphony/Skrowacze wski 00:10:2208:46 Humperdinck Dream Pantomime from Hansel Philharmonia/Klemper 07382 EMI 13073 n/a and Gretel er 00:20:0838:41 Beethoven Piano Concerto No. 5 in E flat, Curzon/Vienna 04349 London 421 616 028942161627 Op. 73 "Emperor" Philharmonic/Knappert sbusch 01:00:19 12:38 Smetana The Moldau from Ma Vlast (My Berlin 03600 EMI 69005 077776900520 Fatherland) Philharmonic/Karajan 01:13:5718:05 Bach Brandenburg Concerto No. 1 in Il Giardino 04810 Teldec 6019 745099844226 F, BWV 1046 Armonico/Antonini 01:33:02 25:28 Mozart Symphony No. 39 in E flat, K. North German Radio 02135 RCA Red 60714 090266071425 543 Symphony/Wand Seal 02:00:0010:56 Weber Invitation to the Dance, Op. 65 National 00266 London 411 898 02894189820 Philharmonic/Bonynge 02:11:56 37:14 Brahms Clarinet Quintet in B minor, Op. Leister/Leipzig String 10273 MDG Gold 307 0719 760623071923 115 Quartet 02:50:1008:00 Beethoven Piano Sonata No. 24 in F Wilhelm Kempff 01310 DG 415 834 028941583420 sharp, Op. 78 "For Therese" 02:59:40 29:21 Karlowicz Violin Concerto, Op. 8 Danczowka/Polish 02170 Harmonia 278 1088 314902505612 National Radio-TV Mundi 2 Orchestra/Wit 03:30:0111:19 Wagner Prelude to Act 1 from Parsifal Royal 01626 Philips 420 886 028942088627 Concertgebouw/Haitink 03:42:2016:47 Bach French Suite No. -
COLLEGIATE a CAPPELLA NEWSLETTER L October, 1990 "How Can You Guys Make Music Without Any Instruments?" VOZIHYIB 1, Number 1 |
COLLEGIATE A CAPPELLA NEWSLETTER l October, 1990 "How can you guys make music without any instruments?" VOZIHYIB 1, Number 1 | Welcome. are more adventuresome at resembling a brochure-type You now have in your hands heart, we will be offering 1/6, "press release." We all have a the One artifact 0f Westem 1/3,1/2, and full page ads for pretty good idea of how great Civilization that is even close $10, $15, $20, and $30, re- we all are..- to being as ubiquitous among spectively. Albums and con- We 11180 have 8 00111918 a cappella circles as a Nylons certs aren't the only things of "open columns": Road Trip album. you can advertise. If you're Tales, Arranger's Corner. Inside you'll nd con- planning a tour in another Anyone can contribute, and if tributions, from a number of part of the country and want you can think up any other different groups, in the form people to know about it, take interestingtopics, let us know. of articles,notices, editorials, outanad. Ifyou area supplier If you're so inclined to columns, personals, adver- or demander of a cappella editorialize, there's always tisements, and letters to the arrangements, an ad in the "Kick the Can", our letters to editor. Eventually, as every- CAN will surely prove to be continued on page 15 one becomes more involved, worthwhile. The deadline for the newsletter will serve as a advertising in our next issue Contents; forum for inter-group dia- (December lst) is November ' logue. 15th. Call the CAN, or send Pg_2 KICK THE CAN your ad (doesn't have to be letters to the editors The. -
Music of the Baroque Chorus and Orchestra War and Peace
Music of the Baroque Chorus and Orchestra War and Peace Jane Glover, Music Director Jane Glover, conductor William Jon Gray, chorus director Soprano Violin 1 Flute Laura Amend Robert Waters, Mary Stolper Sunday, May 17, 2015, 7:30 PM Alyssa Bennett concertmaster Pick-Staiger Concert Hall, Evanston Bethany Clearfield Kevin Case Oboe Sarah Gartshore* Teresa Fream Robert Morgan, principal Monday, May 18, 2015, 7:30 PM Katelyn Lee Kathleen Brauer Peggy Michel Harris Theater, Chicago (Millennium Park) Hannah Dixon Michael Shelton McConnell Ann Palen Clarinet Sarah Gartshore, soprano Susan Nelson Steve Cohen, principal Kathryn Leemhuis, mezzo-soprano Anne Slovin Violin 2 Daniel Won Ryan Belongie, countertenor Alison Wahl Sharon Polifrone, Zach Finkelstein, tenor Emily Yiannias principal Bassoon Roderick Williams, baritone Fox Fehling William Buchman, Alto Ronald Satkiewicz principal Te Deum for the Victory of Dettingen, HWV 283 George Frideric Handel Ryan Belongie* Rika Seko Lewis Kirk (1685–1759) Julie DeBoer Paul Vanderwerf 1. Chorus: We praise Thee, o God Julia Elise Hardin Horn 2. Soli (alto, tenor) and Chorus: All the earth doth worship Thee Amanda Koopman Viola Jon Boen, principal 3. Chorus: To Thee all angels cry aloud Kathryn Leemhuis* Elizabeth Hagen, Neil Kimel 4. Chorus: To Thee Cherubim and Seraphim Maggie Mascal principal 5. Chorus: The glorious company of the apostles Emily Price Terri Van Valkinburgh Trumpet 6. Aria (baritone) and Chorus: Thou art the King of Glory Claudia Lasareff-Mironoff Barbara Butler, 7. Aria (baritone): When Thou tookest upon Thee Tenor Benton Wedge co-principal 8. Chorus: When Thou hadst overcome Madison Bolt Charles Geyer, 9. Trio (alto, tenor, baritone): Thou sittest at the right hand of God Zach Finkelstein* Cello co-principal 10. -
SAMUEL BARBER Evening During Term in the College Chapel and Presents an Annual Concert Series
559053bk Barber 15/6/06 9:51 pm Page 5 Choir of Ormond College, University of Melbourne Deborah Kayser Deborah Kayser performs in areas as diverse as ancient Byzantine chant, French and German Baroque song and In June and July of 2005 the Choir of Ormond College gave its eleventh international concert tour, visiting classical contemporary music, both scored and improvised. Her work has led her to tour regularly both within AMERICAN CLASSICS Switzerland, Germany, Denmark, Poland and Italy. Other tours have included New Zealand, Singapore, Japan, Australia, and internationally to Europe and Asia. She has recorded, as soloist, on numerous CDs, and her work is Holland, England, Scotland, Switzerland and Belgium. These tours have received outspoken praise from the public frequently broadcast on ABC FM. As a member of Jouissance, and the contemporary music ensembles Elision and and critics alike. The choir was formed by its Director; Douglas Lawrence, Master of the Chapel Music, in 1982. Libra, she has performed radical interpretations of Byzantine and Medieval chant, and given premières of works There are 24 Choral Scholars: ten sopranos, four altos, four tenors, and six basses. The choir sings each Sunday written specifically for her voice by local and overseas composers. Her performance highlights include works by SAMUEL BARBER evening during term in the College chapel and presents an annual concert series. Each year a number of outside composers Liza Lim, Richard Barrett and Chris Dench, her collaboration with bassist Nick Tsiavos, and oratorio and engagements are undertaken. These have included concerts for the Australian Broadcasting Commission, Musica choral works with Douglas Lawrence. -
Graduate-Dissertations-21
Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.