Concerts 1984 to 2004
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Role of Harmony and Timbre in Maurice Ravel's Cycle Gaspard De
Miljana Tomić The role of harmony and timbre in Maurice Ravel’s cycle Gaspard de la Nuit in relation to form A thesis submitted to Music Theory Department at Norwegian Academy of Music in partial fulfilment of the requirements of the degree of Master’s in Applied Music Theory Spring 2020 Copyright © 2020 Miljana Tomić All rights reserved ii I dedicate this thesis to all my former, current, and future students. iii Gaspard has been a devil in coming, but that is only logical since it was he who is the author of the poems. My ambition is to say with notes what a poet expresses with words. Maurice Ravel iv Table of contents I Introduction ............................................................................................................ 1 1.1 Preface ........................................................................................................................... 1 1.2 Presentation of the research questions ..................................................................... 1 1.3 Context, relevance, and background for the project .............................................. 2 1.4 The State of the Art ..................................................................................................... 4 1.5 Methodology ................................................................................................................ 8 1.6 Thesis objectives ........................................................................................................ 10 1.7 Thesis outline ............................................................................................................ -
Sounding Nostalgia in Post-World War I Paris
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing. -
Paris, 1918-45
un :al Chapter II a nd or Paris , 1918-45 ,-e ed MARK D EVOTO l.S. as es. 21 March 1918 was the first day of spring. T o celebrate it, the German he army, hoping to break a stalemate that had lasted more than three tat years, attacked along the western front in Flanders, pushing back the nv allied armies within a few days to a point where Paris was within reach an oflong-range cannon. When Claude Debussy, who died on 25 M arch, was buried three days later in the Pere-Laehaise Cemetery in Paris, nobody lingered for eulogies. The critic Louis Laloy wrote some years later: B. Th<' sky was overcast. There was a rumbling in the distance. \Vas it a storm, the explosion of a shell, or the guns atrhe front? Along the wide avenues the only traffic consisted of militarr trucks; people on the pavements pressed ahead hurriedly ... The shopkeepers questioned each other at their doors and glanced at the streamers on the wreaths. 'II parait que c'ctait un musicicn,' they said. 1 Fortified by the surrender of the Russians on the eastern front, the spring offensive of 1918 in France was the last and most desperate gamble of the German empire-and it almost succeeded. But its failure was decisive by late summer, and the greatest war in history was over by November, leaving in its wake a continent transformed by social lb\ convulsion, economic ruin and a devastation of human spirit. The four-year struggle had exhausted not only armies but whole civiliza tions. -
Marie Collier: a Life
Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family. -
Elektra at San Francisco Opera Encore
Turandot 2017 cover.qxp_Layout 1 8/23/17 9:17 AM Page 1 2017–18 SEASON GIACOMO PUCCINI WHO YOU WORK WITH MATTERS Consistently ranked one of the top 25 producers at Sotheby’s International Realty nationally, Neill Bassi has sold over $133 million in San Francisco this year. SELECT 2017 SALES Address Sale Price % of Asking Representation 3540 Jackson Street* $15,000,000 100% Buyer 3515 Pacific Avenue $10,350,000 150% Seller 3383 Pacific Avenue $10,225,000 85% Buyer 1070 Green Street #1501 $7,500,000 101% Seller 89 Belgrave Avenue* $7,500,000 100% Seller 1164 Fulton Street $7,350,000 101% Seller 2545-2547 Lyon Street* $6,980,000 103% Seller 3041 Divisadero Street $5,740,000 118% Seller 2424 Buchanan Street $5,650,000 94% Buyer 3984 20th Street $4,998,000 108% Seller 1513 Cole Street $4,250,000 108% Seller 1645 Pacific Avenue #4G* $2,750,000 97% Buyer *Sold off market NOW ACCEPTING SPRING 2018 LISTINGS Request a confidential valuation to find out how much your home might yield when marketed by Neill Bassi and Sotheby’s International Realty. NEILL BASSI Associate Broker 415.296.2233 [email protected] | neillbassi.com “Alamo Square Victorian Sale CalBRE#1883478 Breaks Neighborhood Record” Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, CURBED Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. -
A Study of Ravel's Le Tombeau De Couperin
SYNTHESIS OF TRADITION AND INNOVATION: A STUDY OF RAVEL’S LE TOMBEAU DE COUPERIN BY CHIH-YI CHEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University MAY, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music ______________________________________________ Luba-Edlina Dubinsky, Research Director and Chair ____________________________________________ Jean-Louis Haguenauer ____________________________________________ Karen Shaw ii ACKNOWLEDGEMENTS I would like to express my tremendous gratitude to several individuals without whose support I would not have been able to complete this essay and conclude my long pursuit of the Doctor of Music degree. Firstly, I would like to thank my committee chair, Professor Luba Edlina-Dubinsky, for her musical inspirations, artistry, and devotion in teaching. Her passion for music and her belief in me are what motivated me to begin this journey. I would like to thank my committee members, Professor Jean-Louis Haguenauer and Dr. Karen Shaw, for their continuous supervision and never-ending encouragement that helped me along the way. I also would like to thank Professor Evelyne Brancart, who was on my committee in the earlier part of my study, for her unceasing support and wisdom. I have learned so much from each one of you. Additionally, I would like to thank Professor Mimi Zweig and the entire Indiana University String Academy, for their unconditional friendship and love. They have become my family and home away from home, and without them I would not have been where I am today. -
Boston Symphony Orchestra Concert Programs, Season 125, 2005-2006
Tap, tap, tap. The final movement is about to begin. In the heart of This unique and this eight-acre gated final phase is priced community, at the from $1,625 million pinnacle of Fisher Hill, to $6.6 million. the original Manor will be trans- For an appointment to view formed into five estate-sized luxury this grand finale, please call condominiums ranging from 2,052 Hammond GMAC Real Estate to a lavish 6,650 square feet of at 617-731-4644, ext. 410. old world charm with today's ultra-modern comforts. BSRicJMBi EM ;\{? - S'S The path to recovery... a -McLean Hospital ', j Vt- ^Ttie nation's top psychiatric hospital. 1 V US NeWS & °r/d Re >0rt N£ * SE^ " W f see «*££% llffltlltl #•&'"$**, «B. N^P*^* The Pavijiorfat McLean Hospital Unparalleled psychiatric evaluation and treatment Unsurpassed discretion and service BeJmont, Massachusetts 6 1 7/855-3535 www.mclean.harvard.edu/pav/ McLean is the largest psychiatric clinical care, teaching and research affiliate R\RTNERSm of Harvard Medical School, an affiliate of Massachusetts General Hospital HEALTHCARE and a member of Partners HealthCare. REASON #78 bump-bump bump-bump bump-bump There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like less invasive and more permanent cardiac arrhythmia treatments. And other innovative ways we're tending to matters of the heart in our renowned catheterization lab, cardiac MRI and peripheral vascular diseases units, and unique diabetes partnership with Joslin Clinic. From cardiology and oncology to sports medicine and gastroenterology, you'll always find care you can count on at BIDMC. -
Le Tombeau De Couperin I
27 Season 2016-2017 Thursday, November 10, at 8:00 The Philadelphia Orchestra Friday, November 11, at 2:00 Saturday, November 12, Yannick Nézet-Séguin Conductor at 8:00 Benjamin Beilman Violin Westminster Symphonic Choir Joe Miller Director Ravel Le Tombeau de Couperin I. Prélude II. Forlane III. Menuet IV. Rigaudon ProkofievViolin Concerto No. 1 in D major, Op. 19 I. Andantino—Andante assai II. Scherzo: Vivacissimo III. Moderato Intermission Ravel Daphnis and Chloé (complete ballet) This program runs approximately 1 hour, 55 minutes. LiveNote™, the Orchestra’s interactive concert guide for mobile devices, will be enabled for these performances. The November 10 concert is sponsored by Kay and Harry Halloran. The November 12 concert is sponsored by Mr. and Mrs. Peter Shaw. The Philadelphia Orchestra acknowledges the presence of the Hermann Family at the November 11 concert, with gratitude for their donation, made in memory of Myrl Hermann, of a C.G. Testore violin (ca. 1700). Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit WRTI.org to listen live or for more details. 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra Philadelphia is home and impact through Research. is one of the preeminent the Orchestra continues The Orchestra’s award- orchestras in the world, to discover new and winning Collaborative renowned for its distinctive inventive ways to nurture Learning programs engage sound, desired for its its relationship with its over 50,000 students, keen ability to capture the loyal patrons at its home families, and community hearts and imaginations of in the Kimmel Center, members through programs audiences, and admired for and also with those who such as PlayINs, side-by- a legacy of imagination and enjoy the Orchestra’s area sides, PopUP concerts, innovation on and off the performances at the Mann free Neighborhood concert stage. -
A Conductor's Analysis of Amaral Vieira's Stabat Mater, Op.240: an Approach Between Music and Rhetoric Vladimir A
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric Vladimir A. Pereira Silva Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Pereira Silva, Vladimir A., "A conductor's analysis of Amaral Vieira's Stabat Mater, op.240: an approach between music and rhetoric" (2005). LSU Doctoral Dissertations. 3618. https://digitalcommons.lsu.edu/gradschool_dissertations/3618 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S ANALYSIS OF AMARAL VIEIRA’S STABAT MATER, OP. 240: AN APPROACH BETWEEN MUSIC AND RHETORIC A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Vladimir A. Pereira Silva B.M.E., Universidade Federal da Paraíba, 1992 M. Mus., Universidade Federal da Bahia, 1999 May, 2005 © Copyright 2005 Vladimir A. Pereira Silva All rights reserved ii In principio erat Verbum et Verbum erat apud Deum et Deus erat Verbum. Evangelium Secundum Iohannem, Caput 1:1 iii ACKNOWLEDGMENTS This dissertation would have not been possible without the support of many people and institutions throughout the last several years, and I would like to thank them all for a great graduate school experience. -
Shepherd School Chamber Orchestra
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DSpace at Rice University SHEPHERD SCHOOL CHAMBER ORCHESTRA LARRY RACHLEFF, music director CRISTIAN MACELARU, conductor Sunday, October 31, 2010 4:00 p.m. Stude Concert Hall l975 -20 l0 Cel e b ratin g '.C- Years THE SHEPHERD SCHOOL~ o; M l sIC RICE UNIVERSITY PROGRAM Melodien (Melodies) Gyorgy Ligeti (1923-2006) Points of Departure Michael Gandolfi Spirale (b. 1956) Strati Visione Ritorno INTERMISSION Sinfonietta Francis Poulenc Allegro con fuoco (1899-1963) Molto vivace Andante cantabile Finale. Prestissimo et tres gai The reverberative acoustics of Stude Concert Hall magnify the slightest sound made by the audience. Your care and courtesy will be appreciated. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Double Bass (cont.) Trumpet Eric Siu, Annabella Leslie Jeffrey Northman concertmaster Rosemary Salvucci Douglas Surber Derek Powell Myoung-Ji Jang Flute Trombone Regina Dyches Kathryn Ladner Samuel Jackson Ying Fu Maria Popova Meghan Nenniger Natalie Zeldin Tuba Austin Howle Violin II Piccolo Kathryn Ladner Joanna Becker, Harp principal Oboe Meghan Caulkett Sol Jin Erica Overmyer Seth Freeman Michelle Pan Piano and Celeste Lijia Phang Emily Snyder Aya Yamamoto Kimia Ghaderi Tara Slough Oboe d'Amore Timpani Michael McGowan Ethan Ahmad Viola Lonnie Dobbs Andrew Griffin, Clarinet principal Erika Cikraji Percussion Padua Canty Daniel Goldman Lonnie Dobbs Alicia Valoti Jared Hawkins Aaron Guillory Jordan Warmath LeTriel White Robert McCullagh Tatiana Trono Micah Wright Orchestra Manager Cello Bassoon and Librarian Clara Yang, Kevin Judge Kaaren Fleisher principal MichaelMatushek Caroline Nicolas Production Manager Jesse Christeson Horn Mandy Billings Lachezar Kostov Katharine Caliendo Rebekah Daley Assistant Production Double Bass Tyler Holt Manager Jonathan Reed, John Turman Ryan Retartha principal Alena Zidlicky Francis Schmidt STRING SEATING CHANGES WITH EACH CONCERT. -
Cohesion of Composer and Singer: the Female Singers of Poulenc
COHESION OF COMPOSER AND SINGER: THE FEMALE SINGERS OF POULENC 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 Susan Joanne Musselman, B.M., M.M. ***** The Ohio State University 2007 Document Committee: J. Robin Rice, Adviser Approved by: Hilary Apfelstadt Wayne Redenbarger ________________________ Adviser Graduate Program in Music Copyright by Susan Joanne Musselman 2007 ABSTRACT Every artist’s works spring from an aspiring catalyst. One’s muses can range from a beloved city to a spectacular piece of music, or even a favorite time of year. Francis Poulenc’s inspiration for song-writing came from the high level of intimacy he had with his close friends. They provided the stimulation and encouragement needed for a lifetime of composition. There is a substantial amount of information about Francis Poulenc’s life and works available. We are fortunate to have access to his own writings, including a diary of his songs, an in-depth interview with a close friend, and a large collection of his correspondence with friends, fellow composers, and his singers. It is through these documents that we not only glean knowledge of this great composer, but also catch a glimpse of the musical accuracy Poulenc so desired in the performance of his songs. A certain amount of scandal surrounded Poulenc during his lifetime and even well after his passing. Many rumors existed involving his homosexuality and his relationships with other male musicians, as well as the possible fathering of a daughter. The primary goal of this document is not to unearth any hidden innuendos regarding his personal life, however, but to humanize the relationships that Poulenc had with so many of his singers. -
Boston Symphony Orchestra Concert Programs, Season 121, 2001-2002
BOSTON SYMPHONY CHAMBER PLAYERS Sunday, October 28, 2001, at 3 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin William R. Hudgins, clarinet Steven Ansell, viola Richard Svoboda, bassoon Jules Eskin, cello James Sommerville, horn Edwin Barker, double bass Charles Schlueter, trumpet Jacques Zoon, flute Ronald Barron, trombone John Ferrillo, oboe Everett Firth, percussion with Elizabeth Ostling, flute Cathy Basrak, viola Thomas Rolfs, trumpet Stephen Drury, piano Haldan Martinson, violin Ludovic Morlot, conductor BRITTEN Sinfonietta, Opus 1 Poco presto e agitato Variations. Andante lento — Tarantella. Presto vivace Ms. OSTLING, Messrs. FERRILLO, HUDGINS, SVOBODA, and SOMMERVILLE; Messrs. LOWE, MARTINSON, ANSELL, ESKIN, and BARKER WYNER Serenade for seven instruments (1958) Nocturne I Toccata Capriccio; Aria Nocturne II Messrs. ANSELL and ESKIN, Ms. OSTLING, Messrs. SOMMERVILLE, ROLFS, BARRON, and DRURY LUDOVIC MORLOT, conductor INTERMISSION MOZART Quintet in C for two violins, two violas, and cello, K.515 Allegro Menuetto. Allegretto; Trio Andante Allegro Messrs. LOWE, MARTINSON, and ANSELL, Ms. BASRAK, Mr. ESKIN Baldwin piano Nonesuch, DG, Philips, RCA, and New World records Benjamin Britten (1913-1976) Sinfonietta for flute, oboe, clarinet, bassoon, horn, and string quintet, Opus 1 Today we think of Britten primarily as a composer of vocal music—of operas, choral works, church parables, canticles, folk song arrangements, the War Requiem, and so on. Even works with "instrumental" titles, like the Spring Symphony, are in fact primarily vocal compositions, however brilliant and colorful the instrumental part. But eighteen of Britten's first twenty-five large works are for instruments alone, and they were gener- ally bigger and more noticeable pieces than the vocal works of the time.