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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Film, Television and Video Productions Featuring Brass Bands
Film, Television and Video productions featuring brass bands Gavin Holman, October 2019 Over the years the brass bands in the UK, and elsewhere, have appeared numerous times on screen, whether in feature films or on television programmes. In most cases they are small appearances fulfilling the role of a “local” band in the background or supporting a musical event in the plot of the drama. At other times band have a more central role in the production, featuring in a documentary or being a major part of the activity (e.g. Brassed Off, or the few situation comedies with bands as their main topic). Bands have been used to provide music in various long-running television programmes, an example is the 40 or more appearances of Chalk Farm Salvation Army Band on the Christmas Blue Peter shows on BBC1. Bands have taken part in game shows, provided the backdrop for and focus of various commercial advertisements, played bands of the past in historical dramas, and more. This listing of 450 entries is a second attempt to document these appearances on the large and small screen – an original list had been part of the original Brass Band Bibliography in the IBEW, but was dropped in the early 2000s. Some overseas bands are included. Where the details of the broadcast can be determined (or remembered) these have been listed, but in some cases all that is known is that a particular band appeared on a certain show at some point in time - a little vague to say the least, but I hope that we can add detail in future as more information comes to light. -
Sheku Kanneh-Mason
Sheku Kanneh-Mason Sheku Kanneh-Mason is the 2016 BBC Young Musician, a title he won with a stunning performance of the Shostakovich Cello Concerto at London’s Barbican Hall with the BBC Symphony Orchestra. In April 2017, Sheku returned to the hall for another performance of the concerto, this time with the National Youth Orchestra and Carlos Miguel Prieto after which the Guardian wrote that “technically superb and eloquent in his expressivity, he held the capacity audience spellbound with an interpretation of exceptional authority” and the Telegraph acknowledged “what a remarkable musician he already is, bringing other- worldly tone to the haunting slow movement and displaying mature musicianship in his handling of the extended cadenza” Only eighteen years old, Sheku’s international career is developing very quickly with engagements in the 2017/18 and 2018/19 seasons including the CBSO, the Philharmonia Orchestra at the Newbury Spring Festival, a return to the Royal Liverpool Philharmonic, Zurich Tonhalle Orchestra, Barcelona Symphony, Netherlands Chamber Orchestra (his debut at the Concertgebouw), Los Angeles Chamber Orchestra (Sheku’s concerto debut in North America), Louisiana Philharmonic, and the Seattle and Atlanta symphonies. He will also return to the BBC Symphony Orchestra to perform the Elgar Concerto in his hometown of Nottingham and make his debut at the Vienna Konzerthaus with the Japan Philharmonic. In recital, Sheku has several concerts across the UK with highlights over the next two seasons including his debuts at Kings Place as part of their Cello Unwrapped series, Milton Court, and Wigmore Hall. He will also perform a series of concerts in Canada in December 2017, and further recitals at the Zurich Tonhalle, and the Lucerne Festival. -
Myfanwy Mynyddog (Richard Davies), Joseph Parry
CANTABILE – THE LONDON QUARTET THE GREAT BRITISH A CAPPELLA SONGBOOK EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 1 110/8/20120/8/2012 1:06:361:06:36 PPMM Cantabile − The London Quartet is managed by artist management A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin. Arranged by Cantabile − The London Quartet. © 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA. Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved. Pomp and Circumstance by Edward Elgar. Words © 2012 by Margarete and Julian Forsyth. Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet. © Copyright 2012 by Cantabile − The London Quartet. All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet. Peters Edition Limited 2−6 Baches Street London N1 6DN Tel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: [email protected] Internet: www.editionpeters.com CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 2 110/8/20120/8/2012 1:07:041:07:04 PPMM CONTENTS Foreword . 4 Vorwort . 5 About the Songs . 6 Über die Stücke . 8 Pastime with Good Company King Henry VIII of England . 11 Greensleeves Traditional English . 14 Oranges and Lemons Traditional English . 22 Myfanwy Mynyddog (Richard Davies), Joseph Parry . 30 Danny Boy, ‘I Would be True’ Traditional Irish (Londonderry Air) Frederic E. Weatherly, Howard Walter . 35 A Man’s a Man for A’ That Traditional Scottish / Robert Burns (‘Lady McIntosh’s Reel’) . -
Nicola Benedetti Interview: ‘It’S Hard When You Feel You’Re Doing Your Part, but Others Aren’T Doing Theirs’
Nicola Benedetti interview: ‘It’s hard when you feel you’re doing your part, but others aren’t doing theirs’ As she launches her new album, the star violinist is frustrated at the restrictions on live performance, but is determined to bring music to the masses regardless Nicola Benedetti at Royal Albert Hall - 21 September 2013 – by Allan Beavis by Jessica Duchen 15/07/2021 Some people quit when faced with lockdown. Others don’t. When the pandemic abruptly smothered live music, the violinist Nicola Benedetti threw her considerable energy into finding new ways to connect people online to music and, through that, to one another. Now the Scottish star soloist is preparing for a Prom, where she will perform Prokofiev’s Violin Concerto No. 2 with the National Youth Orchestra of Great Britain and, at last, a real, live audience. That should make the thrill for the NYOGB youngsters in the Royal Albert Hall even greater. “After a year and a half, with so much cancelled and no opportunity to get together, can you imagine how excited they’re going to be?” Benedetti enthuses. To say that musicians have felt frustrated and dispirited these past months is not saying enough. This summer, sports began to be allowed massive audiences, while theatres and concert halls were hobbled by continued social distancing. Benedetti does not mince her words: “It’s difficult when you see the football with 40,000 to 60,000 people gathering just in official numbers in official venues, never mind millions in the streets, and you look at musicians’ restrictions in that context. -
General Rules of the Eisteddfod
Rhestr Testunau – English Version GENERAL RULES OF THE EISTEDDFOD Please note, the Rules stated below are relevant to every Eisteddfod – Local, Regional and National. Where a clarification of the Rules is necessary, the Welsh language version of the Rules shall be used as the basis for the decision. 1. Language policy The Eisteddfod aims to promote Welsh culture and to protect the Welsh Language. Welsh is the official language of the Eisteddfod. All creative works and competitions must be in Welsh except where noted otherwise for a particular competition. i Where there is no call for knowledge of the Welsh language the competitions are open to any member of the Urdd born in Wales, or any person who has a parent that were born in Wales, or any person living in Wales immediately before the festival or any person who can speak or write in Welsh. Words used in any work must be in Welsh. ii Recitation / Action Song / Dramatic Presentation / Theatre An exception may be made to use another language when there is a need to put part of the work into context. However, over - use of another language will not be permitted. iii Disco/Hip Hop/Street Dancing / Creative Dancing Music with Welsh language vocals or instrumental music only, should be used as an accompaniment. 2. Only full members of Urdd Gobaith Cymru may compete in Local, County/Regional and National Eisteddfodau. No one shall be considered a full member unless the membership fee has been paid and a Membership Card and number have been received for the year 2014/15. -
Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello
University of Minnesota Morris Digital Well University of Minnesota Morris Digital Well Music Publications Faculty and Staff choS larship 2-12-2016 Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello Follow this and additional works at: https://digitalcommons.morris.umn.edu/music Part of the Other History Commons, and the Other Music Commons Musical Athleticism: Victorian Brass Band Contests and the Shaping of Working-Class Men Denise Odello Department of Music, University of Minnesota, Morris In June of 1884, Brass Band News, published an anecdote about an apparent lack of drinking of a small village in Dorset. When the musical rector of the village noted that he “hadn’t a drunken man in the village,” the author responded by questioning how such a feat was possible. He asked, “Have you no public-house, and is all the village tee- total?” The musical rector answered: “Teetotal! [N]o, not at all; I have a band and choral society, and the members are too busy practicing to find time for immoderate drinking, and the village generally is musical, consequently music, as a means of relaxation and recreation, carries the day.” The Dorset rector’s faith represents the broader assumption of Victorians that music, in this case both instrumental and vocal ensembles, was not only an outlet for recreation but also an agent of morality, “the true end and aim of music” (2). The British brass band of the nineteenth and early twentieth centuries is a particularly notable example of music as a morally edifying activity, as referenced in the anecdote above. -
Amaryllis Fleming Concert Hall Maxim Vengerov Conductor Roberto Ruisi Violin Maria Gîlicel Violin Line Faber Violin RCM Symphony Orchestra
ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin Maria Gîlicel violin Line Faber violin RCM Symphony Orchestra ORCHESTRAL MASTERCLASS WITH MAXIM VENGEROV Thursday 28 June 2018, 7pm | Amaryllis Fleming Concert Hall Maxim Vengerov conductor Roberto Ruisi violin (movement i) Maria Gîlicel violin (movement ii) Line Faber violin (movement iii) RCM Symphony Orchestra Beethoven Violin Concerto in D major op 61 (1770–1827) i Allegro ma non troppo INTERVAL ii Larghetto iii Rondo. Allegro RCM Polonsky Visiting Professor of Violin Maxim Vengerov returns to the College for another highly anticipated masterclass. One of the greats of the repertoire, RCM violinists and the RCM Symphony Orchestra explore Beethoven’s Violin Concerto. This masterclass will be live streamed to www.rcm.ac.uk/live. Beethoven Violin Concerto in D major op 61 Although Beethoven completed only one concerto for violin, he certainly began work on another. All that survives of the earlier attempt is the opening section of a first movement in C major, but the condition of manuscript is such that it is entirely possible that the rest once existed, but has since been lost. The fragment probably dates from the early 1790s and reveals a confident treatment of the soloist, and a penchant for the upper reaches of the instrument’s range that anticipates one of the notable features of the masterpiece that was to follow more than a decade later. The exact circumstances of the D major Concerto’s commissioning are not known, but it was evidently written for Franz Clement, a very distinguished Viennese conductor (notably at the Theater an der Wien) and violinist. -
Promotional Folder
EAGLEY BAND Established 1850 Musical Director - Chris Wormald Principal Cornet - Geoff Gliddon EAGLEY BAND CD “Eagley At Christmas” A Christmas Fantasy, Polar Express Suite, It’s Beginning To Look A Lot Like Christmas, Sleigh Ride, Merry Christmas Everybody, Silver Bells, Last Christmas, Silent Night, ...and many more... www.eagleyband.co.uk BAND PRESIDENT - MR GERRY RUSSELL Eagley Band President Mr Gerry Russell has lived and worked in Bolton for over fifty years and was one of the five people responsible for the design, creation and building of the town’s World famous Octagon Theatre which opened in 1967. Born in 1944 in the West Midlands town of Wolverhampton, Gerry designed the initial lighting and sound systems for the Octagon Theatre from the outset of its planning in 1965 whilst still a student at Loughborough Teacher Training College. When the Octagon Theatre was completed and opened remarkably quickly, within two years, Gerry moved to Bolton and from 1967 through to 1969 he was the theatre’s first ever electrician. By that time, Gerry had decided that Bolton would be his permanent home for the rest of his life, but sought a fresh challenge in the town as a young man still only in his mid-twenties. By 1982, Gerry had started his own highly successful business in Bolton, GN Systems Ltd., which he ran for over thirty years until retiring in November 2013. Gerry is very proud, honoured and delighted to be the President of Eagley Band and also a Trustee of the band. A WARM WELCOME TO EAGLEY BAND Eagley Band was formed way back in the winter of 1850, initially as the Eagley Sunday School Band attached to the local Eagley Mills, a group of textile mills situated to the north of Bolton town centre off the main road towards Blackburn. -
CHAMPIONSHIP RESULTS • MAYERS. & HARRISON Ltd
NOVEMBER PER AA ANNUAL SUBSCRIPTION REGISTERED FOR LIVERPOOL, 1, 1945 PRJCE 3d. POST�· • Poat Free. No. 770 TRANSMISS'ION ABROAD 4/- BESSON ANOTHER CHAMPIONSHIP MUSIC STANDS B. & H. Rigid, yet light : weighing only 3-lb. Size 15" x 10t'' At the Royal Albert Hall, London, on October 6th, 1945 Price I 8s. 6d. post free. , BESSON, Department 19, West Street The "Daily Herald, National Brass Band Championship Charing Cross Road, LONDON, W.C. 2 WAS WON Band Teachers, Adjudicators and Soloists BY THE ••• WORKS BAND WILLIAM POLLARD FAIREY AVIATIONCONGRATULA TIONS ON A FINE ACHIEVEMENT. Under their popular Conductor, Mr. HARRY MORTIMER. CORNET SOLOIST, BAND TEACHER, AND ADJUDICATOR I PARROCK ST., CRAWSHAWBOOTH T 11 THEY WERE USING B. & H. INSTRUMENTS AND EQUIPM EN ROSSEND ALE J. A. GREENWOOD with you Soon, we hope, there will be fewer restrictions, and we shall be able to supply YOUR Band the equipment need BAND TEACHER AND ADJUDICATOR 19 NORTHWOOD ROAD, PRE)l"TON BIRKENHEAD Tel�phone : B!RKENHEAD 3��4_ GEO. H._ MERCER TRUMPET, CORNET, BAND TEACHER AND CONTEST ADJUDICATOR Address- MONA VILLA, BURNGREAVE STREET SHEFFIELD TOM EASTWOOD Associated Teaclicr to th� B� ndsman's College of Music lads I ( he Easy Way," by post) "T Tell the about SOLO CORNET, CORNET "MUTES BAND TEACHER AND ADJUDICATOR ALTON HOUSE, BROUGHAM ROAD Torpedo, 11/9; Wow-Wow, 11/9; Hush-Hush, 18/6; MARSDEN, Near HUDDERSFIELD Compactum, 9/6 (A/I post free) NOEL THORPE SOLO CORNET, BAND TEACHER, AND ADJUDICATOR Stock of Accessories Now Available c/o. THE COMM:ERCIAL HOTEL SLAITHWAITE, near HUDDERSFIELD Slide or Valve Oil per bottle ls. -
STEPHEN HOUGH One of Today’S Most Outstanding Virtuosos, the British Pianist Is Also a Brilliantly Free-Thinking Communicator
The James Naughtie interview STEPHEN HOUGH One of today’s most outstanding virtuosos, the British pianist is also a brilliantly free-thinking communicator. But, he tells James Naughtie, performers do still need to maintain a certain distance and tradition photography ROB SCOTT tephen Hough is considering allow him to extend his repertoire, but a change in his routine on the the Russian master also spoke about the concert platform that would be benefits of the discipline of not relying radical. He doesn’t intend to on memory. A piece firmly bolted down Swear jeans, nor to engage his audience in in the mind, ready to be unlocked at faux-friendly banter before playing. But the flick of a switch, may hold in it the he may place his music on the piano, and danger of formulaic repetition. Hough read from the score. ‘Memory has become wonders whether Liszt – who invented too much of an Olympic challenge, a the form of the solo recital we know so macho thing. I’m wondering whether it well, with the piano at right angles to the might be better to change that.’ audience and no music to be seen – put The reason lies quite deeply inside royal albert hough: himself under so much pressure that it him, and is far more than an irritation the British pianist is a led to his decision to cut short his own with the number of people who ask regular at the Proms performing career, so that by the time he after a concert ‘how do you remember was in his forties even that monumental it all?’ when that has so little to do with the figure was turning down invitations to play. -
Guildhall School Gold Medal 2020 Programme
Saturday 3 October 2020 5pm Milton Court Concert Hall Junior Guildhall Lutine Prize 2020 Final Round Samuel Frith Ellen Baumring-Gledhill Marlon Barrios Araya George Smith Sasha Canter Viviane Ghiglino Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams AM Director of Guildhall Young Artists and Safeguarding Alison Mears BMus PGCE FGS Head of Junior Guildhall Rosie Whitfield ARCM DipRCM PGCE BIFF Head of Junior Music Courses Nigel Springthorpe PhD BMus FLCM PGCert. RCM PGCE Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Lutine Prize The Lutine Prize is the Junior Guildhall’s equivalent of the senior school’s Gold Medal competition. Six students are selected from a preliminary round to perform in the final and the winner is given the opportunity to perform a concerto with one of the Junior Guildhall ensembles, in addition to a cash prize. The Lutine Prize was founded in 1982, originally supported by Lloyds of London, who named the competition after their Lutine bell. The bell was formerly rung at the insurers’ offices to announce the loss of a ship or other news of great importance to the underwriters. Previous winners of the Prize include Thomas Ades, Thomas Poster and Annabel Thwaite, and many have gone on to have professional careers in