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The Companion to the Edington Music Festival
The Priory Church of Saint Mary, Saint Katharine and All Saints, Edington, near Westbury, Wiltshire THE COMPANION TO THE EDINGTON MUSIC FESTIVAL Sunday, 20 August to Sunday, 27 August 2000 1 Contents Introduction Peter Barley Welcome to the Edington Festival of Music within the Liturgy for the year 2000. Whatever one's views on where the millennium really comes, and whether this is really a great birthday for the Church, it is clearly a momentous milestone, and not least for Edington — the forty-fifth festival and the year that sees the launch of the Festival Association. O worship the Lord in the beauty of holiness! Bow down before him, his glory proclaim. I find these words from the well-known 19th century Epiphany hymn by J.S.B. Monsell (and also familiar from Psalm 96 and settings by Elgar and Wesley) particularly poetic and meaningful when it comes to considering worship at Edington. The beauty of holiness has a special resonance for all those of us lucky enough to be worshippers at this unique Introduction 3 Festival, where we are able to rejoice in, celebrate and relish the quality of our liturgy and worship — its beauty and holiness. Festival & General Information 6 The word 'liturgy' is derived from two Greek words (leitos and ergos) which translate as 'public action'. Thus we have acts of public worship, made up of praise, penitence, prayer Acknowledgements 6 and thanksgiving. Canon Neil Heavisides spoke eloquently and movingly about the life and work of Ralph Dudley on Friends' Day at last year's Festival, and alluded to Dudley's clear vision of liturgy as 'the people's work', where not just music and the spoken word Edington Festival 2001 7 but also deportment was an art. -
The Flutist Quarterly Volume Xxxv, N O
VOLUME XXXV , NO . 2 W INTER 2010 THE LUTI ST QUARTERLY Music From Within: Peter Bacchus Interviews Robert Dick Remembering Frances Blaisdell Running a Chamber Ensemble The Inner Flute: Lea Pearson THE OFFICIAL MAGAZINE OF THE NATIONAL FLUTE ASSOCIATION , INC :ME:G>:C8: I=: 7DA9 C:L =:69?D>CI ;GDB E:6GA 6 8ji 6WdkZ i]Z GZhi### I]Z cZl 8Vadg ^h EZVgaÉh bdhi gZhedch^kZ VcY ÓZm^WaZ ]ZVY_d^ci ZkZg XgZViZY# Djg XgV[ihbZc ^c ?VeVc ]VkZ YZh^\cZY V eZg[ZXi WaZcY d[ edlZg[ja idcZ! Z[[dgiaZhh Vgi^XjaVi^dc VcY ZmXZei^dcVa YncVb^X gVc\Z ^c dcZ ]ZVY_d^ci i]Vi ^h h^bean V _dn id eaVn# LZ ^ck^iZ ndj id ign EZVgaÉh cZl 8Vadg ]ZVY_d^ci VcY ZmeZg^ZcXZ V cZl aZkZa d[ jcbViX]ZY eZg[dgbVcXZ# EZVga 8dgedgVi^dc *). BZigdeaZm 9g^kZ CVh]k^aaZ! IC (,'&& -%%".),"(',* l l l # e Z V g a [ a j i Z h # X d b Table of CONTENTS THE FLUTIST QUARTERLY VOLUME XXXV, N O. 2 W INTER 2010 DEPARTMENTS 5 From the Chair 51 Notes from Around the World 7 From the Editor 53 From the Program Chair 10 High Notes 54 New Products 56 Reviews 14 Flute Shots 64 NFA Office, Coordinators, 39 The Inner Flute Committee Chairs 47 Across the Miles 66 Index of Advertisers 16 FEATURES 16 Music From Within: An Interview with Robert Dick by Peter Bacchus This year the composer/musician/teacher celebrates his 60th birthday. Here he discusses his training and the nature of pedagogy and improvisation with composer and flutist Peter Bacchus. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
Caecilia V91n03 1964
caeci la Verdict on Victoria VOL. 91, NO. 3 FALL, 1964 5 CAECILIA Puhlished four times a year, Spring, Summer, Autumn and Wintel'. Second-Class Postage Paid at Omaha, Nebraska Subscription Price-43.00 per year AU articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norhert Letter Change of, address should he sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. caeci la TABLE OF CONTENTS Editorials - --_------_-_ ---- __ -- ----- ---- -- -- --__ --- -- -- -- --- -- -- -__ ----- __ 87 Verdict on Victoria --- . -_ ---_ -- __ --_ ---- -__ ------- -- -- -_ _ 91 Reflections on the Use of Sacred Chant 118 N ewslitter - __ 121 Pictures Peloquin Receives Medal 126 Church Musicians Meet -- -__ 127 Review-Recitals and Mass ----________________ 128 British Texts for Gloria and Creed 132 VOL. 91, NO.3, FALL, 1964 RONCKA BROS.~OMAHA. NEBR. CAECILIA A Quarterly Review devoted to the liturgical music apostolate. Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Summer, Autumn and Winter. Established in 1874 by John B. Singenberger, K.C.S.G., K.C.S.S. (1849-1924). Editor Very Rev. Msgr. Francis P. Schmitt CONTRIBUTING EDITORS Francis A. Brunner, C.Ss.R. Elmer Pfeil Louise Cuyler Richard Schuler David Greenwood Lavern Wagner Paul Koch Roger Wagner Paul Manz Abbot Rembert Weakland, O.S.B. C. Alexander Peloquin James Welch CAECILIA ASSOCIATES Dr. Caspar Koch, Pittsburgh, Pa. The Hon.Arthur Reilly, Boston, Mass. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Alonso Lobo Sacred Vocal Music
95789 ALONSO LOBO SACRED VOCAL MUSIC Coro Victoria Ana Fernández-Vega Alonso Lobo (1555-1617) Sacred Vocal Music 1. Ave Regina Caelorum a 5 3’00 7. Regina Caeli Laetare 2’30 From Missa Simile est regnum caelorum 14. Ego Flos Campi 2’07 13. Agnus Dei 4’10 From Missa O Rex Gloriae 8. Credo Romano 6’45 Agnus Dei II a 6: Élia Casanova · Manon 15. O quam suavis est Domine 2. Kyrie 2’40 Incipit: Jagoba Fadrique baritone Chauvin sopranos Bonus Track 3’53 Christe: Èlia Casanova soprano Hugo Bolívar countertenor Élia Casanova soprano Julieta Viñas mezzo soprano 9. Cum audisset Ioannes Francisco Braojos tenor Manuel Minguillón vihuela Francisco Braojos tenor in vinculis 2’31 Jagoba Fadrique · Oriol Mallart baritones Jagoba Fadrique baritone 3. Gloria 3’51 From Missa Petre ego pro te rogavi Incipit: Jagoba Fadrique baritone 10. Sanctus-Benedictus 4’24 Benedictus: Élia Casanova · Manon 4. Ave Maria a 8 4’01 Chauvin sopranos Élia Casanova · Manon Chauvin Julieta Viñas mezzo soprano sopranos Francisco Braojos tenor Julieta Viñas · Beverley Green mezzo Élia Casanova · Manon Chauvin & Cristina Teijeiro sopranos Julieta Viñas · Beverley Green mezzo sopranos sopranos 11. Versa est in luctum a 6 4’25 Hugo Bolívar countertenor Hugo Bolívar countertenor Élia Casanova · Manon Chauvin Francisco Braojos · Emiliano Cano tenors sopranos Francisco Braojos · Emiliano Cano & Jesús Navarro tenors Pablo Acosta bass Hugo Bolívar countertenor Jagoba Fadrique · Oriol Mallart baritones Francisco Braojos · Emiliano Cano tenors Pablo Acosta bass 5. Vivo Ego, dicit Dominus 2’32 Jagoba Fadrique baritone Ana Fernández-Vega conductor 6. Erunt signa in sole 3’13 12. -
The Choir of King's College London
The Choir of King’s College London Gareth Wilson The Choir of King’s College London Gareth Wilson IN MEMORIAM Alexander May, Graham Thorpe organ 1 William Byrd (1539/40–1623) Laudibus in sanctis [5:18] 9 Robert Busiakiewicz (b. 1990) Ego sum resurrectio et vita [2:27] 2 Matthew Kaner (b. 1986) Duo seraphim [5:09] Rob Keeley (b. 1960) Magnificat & Nunc dimittis Eleanor Williams, Mimi Doulton, Elizabeth Gornall, Eleanor Wood sopranos 10 Magnificat [4:15] Ben Taylor-Davies, Billie Hylton, Caitlin Goreing, Jacob Werrin, Rosanna Goodall altos 11 Nunc dimittis [2:52] James Rhoads, Miles Ashdown tenors Alexander May organ Freddie Benedict, Alex Pratley basses Antony Pitts (b. 1969) Pie Jesu (Prayer of the Heart) Gareth Wilson (b. 1976) Magnificat & Nunc dimittis (Collegium Regale) 12 I [6:55] 3 Magnificat [5:33] 13 II [5:38] 4 Nunc dimittis [5:27] Ciara Power, Lindsey James sopranos Graham Thorpe organ Caitlin Goreing, David Lee altos Silvina Milstein (b. 1956) ushnarasmou – untimely spring James Rhoads tenor Scott Richardson, Joey Edwards basses 5 ushnarasmou [4:01] 6 kusumaani [4:41] 14 Matthew Martin (b. 1976) An Invocation to the Holy Spirit [2:43] Eleanor Williams, Mimi Doulton solo sopranos Lindsey James, Charlotte Nohavicka ripieno sopranos 15 Giovanni Pierluigi Quam pulchri sunt gressus tui [4:38] Matthew O’Keeffe, Rosanna Goodall solo altos da Palestrina (1525–1594) Billie Hylton, Jacob Werrin ripieno altos Robyn Donnelly soprano Miles Ashdown, James Green solo tenors Jaivin Raj ripieno tenor 16 Jacob Clemens non Papa (c.1510–1555/6) Ego flos campi [5:27] Joey Edwards, Alex Pratley, Dominic Veall ripieno basses 17 Francis Grier (b. -
Late Baroque Ornamentation: Philosophy and Guidelines1
Late Baroque Ornamentation: Philosophy and Guidelines1 David Lasoc~i N THE PRECEDING ARTICLE, Betty Bang ments) served a number of purposes. First, met with the composers' approval. Wit I Mather has set out with admirable it is worth noting that ornamentation was ness those who voiced their belief that simplicity a highly effective method by an essential component of the Baroque performers lacked the qualities of judge which a recorder player can learn to orna aesthetic. This was the great age of visual ment, inventiveness, and insight that ment a slow movement of a late Baroque embellishment. The basic structure of a Quantz specified. As Birnbaum ex})resse:a sonata, using a vocabulary found in Tele painting or church was always covered by it when defendingJ.S. Bach for writing out mann's "methodical" sonatas (in which the the ornamentation; the straight line was all his ornamentation, "only the fewest composer has written out ornamentation masked by the curve. It may be helpful, [performers} have a sufficient knowledge for the slow movements to serve as mod without attempting to make any direct [of the of ornamenting}. The rest, by els). The appeal of this method is that a correlation ofpurpose between music and an inappropriate application of the man ... performer can learn to the visual arts, to think of the melodic ner, spoil the principal melody, and indeed creditable in a short time. The difficulty skeleton of a Baroque slow movement as often introduce such passages as might is that ultimately the performer is forced a straight line and the ornamentation as easily be attributed to an error of the com to rely on his or her (largely intuitive) its curved manifestation. -
Karel Van Steenhoven Talks with Gustavo De Francisco About
This is the continuation of an interview pub- We decided that we should prepare for our lesson and play lished in the Summer 2016 American Recorder. only four-part music. So we dismissed the other two who did You may also listen to this interview, in English, not appear to rehearse and would not let them participate in at www.americanrecorder.org. the next lesson, because we wanted that lesson. In fact that is how the group started. We found each Karel van other in the six-part consort, and two were thrown out. Steenhoven talks Somehow, a magical spark happened. We all felt attracted to with Gustavo the sound of the four of us playing together. We had so de Francisco much fun improvising and laughing together, and so we About the decided we wanted to go on. Amsterdam Loeki Kees told us, “No, you must play six-part again,” and he Stardust Quartet chose two others for the group. We told him, “Okay, we’ll do the six-part for the lessons, but we will continue the quartet The beginning for our own fun.” GdF: You touched on a This was how the group started, and the name came subject that I would like next. We had to introduce ourselves during the first concert to ask you about—the evening for recorder class, to present the group when we professional music scene, played. It was very important that it was a stupid name, had your work with Loeki to be sort of funny, had to be very long because we wanted a Stardust Quartet. -
TRACKLIST P.4 ENGLISH P.8 FRANÇAIS P.21 ESPAÑOL P.31 DEUTSCH P.41
MENU — TRACKLIST p.4 ENGLISH p.8 FRANÇAIS p.21 ESPAÑOL p.31 DEUTSCH p.41 Cover illustration: Diego Velázquez, Self-portrait, c. 1640, Valencia, Museo de Bellas Artes © Album / Oronoz / akg images. Booklet illustration: Diego Velázquez, Th e musicians, Berlin, Staatliche Museum. © Album / Oronoz / akg-images Th e excerpts used in this CD have been taken from recordings made by Ricercar between 2008 and 2012; tracks 6-9 have been taken from CDs made by Glossa. Les musiques réunies ici sont issues d'enregistrements réalisés par le label Ricercar entre 2008 et 2012 ; les plages 6 à 9 proviennent d'enregistrement édités par Glossa. VELÁZQUEZ AND THE MUSIC OF HIS TIME CAPPELLA MEDITERRANEA CLEMATIS CHŒUR DE CHAMBRE DE NAMUR Leonardo García Alarcón: direction & organ LA FENICE / Jean Tubéry SYNTAGMA AMICI ENSEMBLE LA ROMANESCA LA REAL CÁMARA Menu Matheo Romero (c. 1575-1637) 1. Entre dos mansos arroyos, romance a 4 6'42 2. Romerico fl orido, folía a 2 3'52 3. ¡Ay, qué muero de zelos!, letrilla a 3 4'31 CAPPELLA MEDITERRANEA Mariana Flores & Capucine Keller: sopranos Fabían Schofrin: counter-tenor Fernando Guimarães: tenor CLEMATIS Stéphanie de Failly: violine Rodrigo Calveyra: recorder & cornet François Joubert-Caillet: treble & bass viol Margaux Blanchard: bass viol Th omas Dunford & Vincent Flückiger: vihuelas Marie Bournisien: harp Th ierry Gomar: percussions Leonardo García Alarcón: direction & organ Fray Bartolomé de Selma y Salaverde (c. 1580/90-after 1638) 4. Canzon prima a doi, Basso e Soprano 5'17 SYNTAGMA AMICI Stéphanie de Failly: violine Jérémie Papasergio: bassoon Angélique Mauillon: harp Jean-Marc Aymes: harpsichord & organ Hernando de Cabezon (1541-1601) 5. -
Music & Entertainment Life & People in East Asia
Music & Entertainment Life & People in East Asia -- A brief introduction History & Musical Instruments • Chinese History is very long!! • Pre-dynastic: flutes, ocarinas, bronze bells, stone chimes • Shang (16 th -11 th c. BC) and Zhou (11 th -221 BC): Sophisticated stringed instruments • Qin (221 BC-207 BC) and Han (206 BC – 220 AD): portable plucked instruments • Wei (220 – 265) Jin (265 – 420) through Tang: double reeds, bowed fiddles. • Song, Yuan, Ming, Qing: fiddle popularity Court, Religious, Folk • Music seen by Kongzi(Confucious) as ritual, vital to the regulation of the state: the material of the instruments expressed the material of the universe • Foreign Influences (trade routes, captives, ethnic groups) on “folk” and “urban” entertainment • Buddhist chant • Don’t forget the 20 th century! Areas of Chinese Influence Instruments • The eight categories are: silk, bamboo, wood, stone, metal, clay, gourd and hide . • (Western instruments are: wind, brass, percussion, strings ) Silk | Guqin (Zither) • Seven strings, no frets, no bridges • Associated with the literati (a man's instrument) • Made from a special wood • Called the koto in Japan • Dates from the Warring States Period • Joy of Gods and Men 神人畅 (http://youtube.com/watch?v=VO9S5pHxaA8 ) Silk | plucked • Guzheng (古箏) – 16-26 stringed zither with movable bridges High Mountain and Flowing Water (http://youtube.com/watch?v=UBbUuvGl8kc ) • JAPAN: Koto (http://www.youtube.com/watch?v=dhxl QlZafvY ) • KOREA: Kayageum , Kumongo Silk | plucked • Pipa (琵琶) - 4 or 5 stringed pear-shaped