Danse Macabre
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Waltz from the Sleeping Beauty
Teacher Workbook TABLE OF CONTENTS Letter from Jessica Nalbone .................................................................................2 Director of Education, North Carolina Symphony Information about the 2012/13 Education Concert Program ............................3 North Carolina Symphony Education Programs .................................................4 Author Biographies ..............................................................................................6 Carl Nielsen (1865-1931) .......................................................................................7 Oriental Festival March from Aladdin Suite, Op. 34 Wolfgang Amadeus Mozart (1756-1791) ..........................................................15 Symphony No. 39 in E-flat Major, K.543, Mvt. I or III (Movements will alternate throughout season) Claude Debussy (1862-1918) ..............................................................................28 “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra Piotr Ilyich Tchaikovsky (1840-1893) ..................................................................33 Waltz from The Sleeping Beauty Igor Stravinsky (1882-1971) ...............................................................................44 “Dance of the Young Girls” from The Rite of Spring Loonis McGlohon (1921-2002) & Charles Kuralt (1924-1997) ..........................52 “North Carolina Is My Home” Richard Wagner (1813-1883) ..............................................................................61 Overture to Rienzi -
Come Celebrate the 15Th Year Aniversary of the Alameda Point Antiques Faire
The Official Faire Magazine and Program Guide FREE! Volume 4 Issue 9 SUNDAY, SEPTEMBER 2, 2012 come early for the faire and stay for the auction! Visit Our Website to Discover How to Shop the Faire 365 days a Year MICHAAN’S AUCTIONS PRESENTS Come Celebrate the 15th Year Aniversary of The Alameda Point Antiques Faire Details Inside! • Detailed Booth Maps for Antiques Faire • Additional Maps with Alternate • Partial Sellers Directories Routes to Freeways • Details About Our Rain-Out Policy • Fun and Informative Articles Antiques By The Bay, Inc. • 510-522-7500 Michaan’s auctions • 510-740-0220 www.alamedapointantiquesfaire.com www.michaans.com 2900SEPTEMBER Navy Way 2, (at 2012 Main Street) Alameda, CA 94510 2751 Todd Street, Alameda, CA 94501 1 Michaan’s Auctions presents Now Accepting Quality Consignments for our Upcoming Auctions. We are looking for consignments of fine art, American and European furniture, decorations, Asian art, fine jewelry and timepieces for our auctions. To schedule a private appointment or to inquire about consigning please contact Tammie Chambless at (510) 227-2530. 1. Hermann Herzog (American 1832-1932) Farallon Islands, Pacific Coast Sold for $43,875 2. A Finely Carved Rhinoceros Horn ‘Lotus’ Libation Cup, 17th/18th Century Sold for $70,200 3. Philip & Kelvin LaVerne Studios Chan Coffee Table Sold for $6,435 Ph. (800) 380-9822 • (510) 740-0220 2751 Todd Street, Alameda, California 94501 Bond #70044066 Michaan’s Auctions presents The Official Magazine and Program Guide of the Alameda Point Antiques Faire * The Alameda Point Antiques Faire and Alameda Point Vintage Fashion Faire are not affiliated with any other antique shows. -
Rachel Barton Violin Patrick Sinozich, Piano DDD Absolutely Digital™ CDR 90000 041 INSTRUMENT of the DEVIL 1 Saint-Saëns: Danse Macabre, Op
Cedille Records CDR 90000 041 Rachel Barton violin Patrick Sinozich, piano DDD Absolutely Digital™ CDR 90000 041 INSTRUMENT OF THE DEVIL 1 Saint-Saëns: Danse Macabre, Op. 40 (7:07) Tartini: Sonata in G minor, “The Devil’s Trill”* (15:57) 2 I. Larghetto Affectuoso (5:16) 3 II. Tempo guisto della Scuola Tartinista (5:12) 4 III. Sogni dellautore: Andante (5:25) 5 Liszt/Milstein: Mephisto Waltz (7:21) 6 Bazzini: Round of the Goblins, Op. 25 (5:05) 7 Berlioz/Barton-Sinozich: Dream of a Witches’ Sabbath from Symphonie Fantastique, Op. 14 (10:51) 8 De Falla/Kochanski: Dance of Terror from El Amor Brujo (2:11) 9 Ernst: Grand Caprice on Schubert’s Der Erlkönig, Op. 26 (4:11) 10 Paganini: The Witches, Op. 8 (10:02) 1 1 Stravinsky: The Devil’s Dance from L’Histoire du Soldat (trio version)** (1:21) 12 Sarasate: Faust Fantasy (13:30) Rachel Barton, violin Patrick Sinozich, piano *David Schrader, harpsichord; John Mark Rozendaal, cello **with John Bruce Yeh, clarinet TT: (78:30) Cedille Records is a trademark of The Chicago Classical Recording Foundation, a not-for-profit foun- dation devoted to promoting the finest musicians and ensembles in the Chicago area. The Chicago Classical Recording Foundation’s activities are supported in part by grants from the WPWR-TV Chan- nel 50 Foundation and the Illinois Arts Council, a state agency. Zig and zig and zig, Death in cadence Knocking on a tomb with his heel, Death at midnight plays a dance tune Zig and zig and zig, on his violin. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Mon, Aug 23, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 12:02 Wagner Die Meistersinger: Selections Chicago 05288 BMG 63301 090266330126 (for orchestra) Symphony/Reiner 00:14:3208:54 Handel Concerto in D English 04894 Archiv 453 451 028945345123 Concert/Pinnock 00:24:26 34:44 Chopin Piano Concerto No. 2 in F Weissenberg/Paris 01070 EMI 69036 077776903620 minor, Op. 21 Conservatory Orchestra/Skrowaczew ski 01:00:40 11:01 Vivaldi Lute Concerto in D, RV 93 Isbin/Pacifica Quartet 13728 Cedille 190 735131919029 01:12:4125:17 Brahms Cello Sonata No. 1 in E minor, Mork/Grimaud 07246 DG 0006904 028947757191 Op. 38 01:38:5819:54 Rachmaninoff Caprice bohemien, Op. 12 Vancouver 03341 CBC 5143 059582514320 Symphony/Comissiona 02:00:2209:26 Geminiani Concerto Grosso in C minor, La Petite 01027 DHM 77010 054727701023 Op. 2 No. 5 Bande/Kuijken 02:10:4834:32 Mozart String Quintet In G minor, K. Beyer/Melos Quartet 01130 DG 419 773 028941977328 516 02:46:2012:15 Bach Trio Sonata in C, BWV 1037 Ida & Ani 12237 CMNW n/a n/a Kavafian/McDermott 03:00:0503:37 Ippolitov-Ivanov Procession of the Sardar from Philadelphia 03983 Sony 62647 074646264720 Caucasian Sketches Orchestra/Ormandy Classical 03:04:4256:53 Schubert Octet in F for Strings & Winds, Fine Arts Quartet/NY 04503 Boston 143 n/a D. 803 Woodwind Quintet Skyline 04:03:0535:15 Raff Symphony No. 10 in F minor, Basel Radio 08615 Tudor 786 761991107862 Op. 213 "In Autumn" Symphony/Travis 1 04:39:2009:45 Strauss Jr. -
Original Paper Leonardo's Skull and the Complex Symbolism Of
Journal of Research in Philosophy and History Vo l . 4, No. 1, 2021 www.scholink.org/ojs/index.php/jrph ISSN 2576-2451 (Print) ISSN 2576-2435 (Online) Original Paper Leonardo’s Skull and the Complex Symbolism of Holbein’s “Ambassadors” Christopher W. Tyler, Ph.D., D.Sc.1 1 San Francisco, CA, USA Received: January 31, 2021 Accepted: February 10, 2021 Online Published: February 19, 2021 doi:10.22158/jrph.v4n1p36 URL: http://dx.doi.org/10.22158/jrph.v4n1p36 Abstract The depiction of memento mori such as skulls was a niche artistic trend symbolizing the contemplation of mortality that can be traced back to the privations of the Black Death in the 1340s, but became popular in the mid-16th century. Nevertheless, the anamorphism of the floating skull in Hans Holbein’s ‘The Ambassadors’ of 1533, though much discussed as a clandestine wedding commemoration, has never been satisfactorily explained in its historical context as a diplomatic gift to the French ambassadors to the court of Henry VIII who were in the process of negotiations with the Pope for his divorce. Consideration of Holbein’s youthful trips to Italy and France suggest that he may have been substantially influenced by exposure to Leonardo da Vinci’s works, and that the skull may have been an explicit reference to Leonardo’s anamorphic demonstrations for the French court at Amboise, and hence a homage to the cultural interests of the French ambassadors of the notable Dinteville family for whom the painting was destined. This hypothesis is supported by iconographic analysis of works by Holbein and Leonardo’s followers in the School of Fontainebleau in combination with literary references to its implicit symbolism. -
C4 Music Guide
C4 Music Rights and Clearances Guide Part 1 – What do I need to clear and how much does it cost? Page. 1. Recording, Publishing and Performers Rights explained 3 2. Publishing a) Clearing publishing rights under the IPC scheme 3 b) Paying for publishing rights under the IPC scheme 4 c) Publishing Rights rate card 5 d) What about Broadcast rights? 7 3. Recordings a) Clearing recording rights 7 b) Paying for recording rights 8 4. Performers a) Clearing performers’ rights 8 b) Paying for performers’ rights 8 5. Cue Sheets and Music License forms 9 Part 2 – Clearing outside of C4’s blanket deals 1. Exceptions and Restrictions a) Respect the blankets! 11 b) Exempted artists 11 c) Appropriate Usage 11 d) Titles/Signature Music 12 e) Sponsorship and Advertising 12 f) Dramatico Musical Works 13 2. Help! My track won’t clear! a) I can’t find the track on the PRS/PPL databases 13 b) Copyright control / Non Society shares 13 c) International collecting societies 14 d) Out of copyright / Traditional / Public Domain 14 e) Sample suspense 15 3. How to clear non PRS/PPL repertoire a) Things to consider 16 i) Time Consuming 16 ii) Problematic 16 iii) Confusing 16 iv) Costly 16 b) Alternatives i) Use another track 17 ii) Use a library track 17 c) Negotiating a license i) Clearing PRS/PPL repertoire 17 ii) Clearing Non PRS/PPL repertoire 18 iii) MFN (Most Favoured Nations) 18 iv) Await Claim 18 1 Part 3 – Specialist music uses 1. Other music uses Cont…… a) Live performances by cast members 19 b) Live performances by artists or bands 19 c) Music Videos VPL 19 d) Music based shows 20 e) Dramatico Musical Works 20 f) Promos and Trailers 21 g) Online and ‘New Make’ 21 h) Clearing for DVD and DTO i) Publishing 21 ii) Recordings 22 iii) Reporting 22 2. -
Post-Human Nightmares
Post-Human Nightmares Mark Player 13 May 2011 A man wakes up one morning to find himself slowly transforming into a living hybrid of meat and scrap metal; he dreams of being sodomised by a woman with a snakelike, strap-on phallus. Clandestine experiments of sensory depravation and mental torture unleash psychic powers in test subjects, prompting them to explode into showers of black pus or tear the flesh off each other's bodies in a sexual frenzy. Meanwhile, a hysterical cyborg sex-slave runs amok through busy streets whilst electrically charged demi-gods battle for supremacy on the rooftops above. This is cyberpunk, Japanese style : a brief filmmaking movement that erupted from the Japanese underground to garner international attention in the late 1980s. The world of live-action Japanese cyberpunk is a twisted and strange one indeed; a far cry from the established notions of computer hackers, ubiquitous technologies and domineering conglomerates as found in the pages of William Gibson's Neuromancer (1984) - a pivotal cyberpunk text during the sub-genre's formation and recognition in the early eighties. From a cinematic standpoint, it perhaps owes more to the industrial gothic of David Lynch's Eraserhead (1976) and the psycho-sexual body horror of early David Cronenberg than the rain- soaked metropolis of Ridley Scott's Blade Runner (1982), although Scott's neon infused tech-noir has been a major aesthetic touchstone for cyberpunk manga and anime institutions such as Katsuhiro Otomo's Akira (1982- 90) and Masamune Shirow's Ghost in the Shell (1989- ). In the Western world, cyberpunk was born out of the new wave science fiction literature of the sixties and seventies; authors such Harlan Ellison, J.G. -
Graduate Recital Final Draft
Oh the Horror of Song! Louis Tiemann, baritone Sung-Soo Cho, piano Bard Conservatory of Music Sunday, May 9th 2021, 3pm Graduate Degree Recital Murderous Bookends The Peculiar Case of Dr. H.H. Holmes (2010) Libby Larsen (b.1950) I. I state my case II. As a young man III. I build my business (a polka) IV. Thirteen ladies and three who got away (grand waltz macabre) V. Evidence Requiescat A Kingdom by the Sea (1901) Arthur Somervell (1863-1937) The clock of the years Gerald Finzi (1901-1956) from Earth and Air and Rain (1936) The choirmaster’s burial Benjamin Britten (1913-1976) from Winter Words (1956) short 10min pause Die Volksgeschichten Waldesgespräch Robert Schumann (1810-1856) from Liederkreis, Op. 39 (1840) Der Feuerreiter Hugo Wolf (1860-1903) from Mörikelieder (1888) Der Erlkönig Carl Loewe (1796-1869) from Drei Balladen (1817) Der Doppelgänger Franz Schubert (1797-1828) from Schwanengesang (1828) Horreur La vague et la cloche (1871) Henri Duparc (1848-1933) Danse macabre (1872) Camille Saint-Saëns (1835-1921) Murderous Bookends After Hearing a Waltz by Bartók (2013) Zachary Wadsworth (b.1983) Oh the Horror of Song! When I was a child, I was deeply afraid of the dark. So much so that I refused to sleep in my own room, opting instead to sleep in the living room, always with a light or the TV on. One day during my undergraduate studies I decided that I was going to overcome my fears. One night, when I was alone in my dorm, I turned off all of the lights, ordered a pizza, and put on the scariest movie I could think of at that time: The Evil Dead. -
Danse Macabre Online
kfynS (Read ebook) Danse Macabre Online [kfynS.ebook] Danse Macabre Pdf Free Stephen King audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #162520 in Audible 2016-08-11 2016-08-11Format: UnabridgedOriginal language:EnglishRunning time: 1088 minutes | File size: 58.Mb Stephen King : Danse Macabre before purchasing it in order to gage whether or not it would be worth my time, and all praised Danse Macabre: 5 of 5 people found the following review helpful. Stephen King: the ultimate guide to horror and the macabre!By Kendall GilesSome of us love stories that leave us listening fearfully for shuffling footsteps in the dark, or movies that make us spray our popcorn about the room when the bogeyman leaps from the shadows, on reflection, we may wonder just what it is about scary stories that causes such fearful reactions. Those who scoff at the horror genre, who flinch at any mention of anything bad happening in a story and whose entertainment choices revolve around TV shows like American Idol, may wonder what all the excitement over the horror genre is about. The balm for both these groups is Stephen King's Danse Macabre, an homage, exploration, and critical analysis of the horror genre during the period 1950-1980, a period that experienced the cultivation and development of the scary story form through radio, TV, movie, and book formats.Lest the very idea of a thirty-year overview of the horror genre conjure up fears of a stale, academic, and tedious exposition, rest assured that this tour through the spooky and macabre is conducted by the perfect guide-King is an award-winning author of more than 49 horror novels and short stories with many movie and TV adaptations. -
The Grotesque of the Gothic: from Poe to the Present
Phillips 1 The Grotesque of the Gothic: From Poe to the Present A Four-Week Instructional Unit Plan designed by Amy Dyster Phillips ELAN 7408 Dr. Smagorinsky University of Georgia Fall, 2007 The Grotesque of the Gothic Phillips 2 Amy Phillips Dr. Smagorinsky ELAN 7408 Unit Rationale: The Grotesque of the Gothic: From Poe to the Present “Gothic” or “Goth” is a term still used today, but where did it come from? What does Gothic really mean? Why does dressing “Goth” imply wearing all or mostly black? And why are spooky images associated with both? Edgar Allen Poe had a lot to do with this. The Gothic genre, though having originated in England, was brought to America by Poe and the literary culture as we then knew it was transformed. This four-week unit is designed to outline for students the historical background of the Gothic, including biographical information on Poe’s life. Students will examine and analyze how the Gothic has changed from Poe’s time until now, and wrestle with questions such as “what is attractive about the emotional experience of fear”? In other words, “why do you enjoy scary movies?” Gothic (or gothick), a term originally used to describe that which was barbaric or barbarian, comes from the word Goth, the name of the Germanic tribes who destroyed Rome and wreaked havoc on the rest of Europe in the third through fifth centuries. Later, because of the architecture that flourished in Europe during the Middle Ages known for its non-classical style, the term Gothic came to take on other meanings, synonymous with Middle Ages and medieval. -
Midrashic Commentaries on the Phantasmagoria That Is History
Tide and Time: Midrashic Commentaries on the Phantasmagoria that is History Norman Simms Introduction A midrashic story is not conceived as something that exists outside of the text; rather, it is continuous with it. Midrash implies the failure of the sources from which it comes to evoke a final answer, As metonymy, rather than metaphor—extension rather than representation—midrash reveals the gaps it seeks to fill and extends the primary text in which they exist. It reminds us of the voids that precede it.1 What Nietzsche saw as a barbaric tide of cultural erasure, Wagner saw as a tide of cultural renewal.2 The phantasmagoria, an elaborated magic lantern show developed in the final years of the eighteenth century, quickly became a metaphorical model for insights into human character, psychology and social relationship at the same time. It drew deeply from folklore and popular entertainments and helped to shape the genres to come in an industrial age. By projecting old- fashioned imagery of Monarchy, Church and Science, emotions suppressed by the French Revolution of 1789 as superstition and rural stupidity, re- emerged under controlled conditions, forming moments of entertainment, since audiences understood this was an artful illusion. The spectacle—with music, flashing lights, shuddering furniture and eerie speeches—was able to present the mind as something more and other than merely a bourgeois field of conscious activities. The once familiar fears and desires now felt as uncanny phantoms themselves could be assigned to mechanical tricks and, at the same, experienced as originating in the dark recesses of self. -
“Thriller”--Michael Jackson (1982) Added to the National Registry: 2007 Essay by Joe Vogel (Guest Post)*
“Thriller”--Michael Jackson (1982) Added to the National Registry: 2007 Essay by Joe Vogel (guest post)* Original album Original label Michael Jackson Michael Jackson’s “Thriller” changed the trajectory of music—the way it sounded, the way it felt, the way it looked, the way it was consumed. Only a handful of albums come anywhere close to its seismic cultural impact: the Beatles’ “Sgt. Pepper,” Pink Floyd’s “Dark Side of the Moon,” Nirvana’s “Nevermind.” Yet “Thriller” remains, by far, the best-selling album of all time. Current estimates put U.S. sales at close to 35 million, and global sales at over 110 million. Its success is all the more remarkable given the context. In 1982, the United States was still in the midst of a deep recession as unemployment reached a four-decade high (10.8 percent). Record companies were laying people off in droves. Top 40 radio had all but died, as stale classic rock (AOR) dominated the airwaves. Disco had faded. MTV was still in its infancy. As “The New York Times” puts it: “There had never been a bleaker year for pop than 1982.” And then came “Thriller.” The album hit record stores in the fall of ‘82. It’s difficult to get beyond the layers of accolades and imagine the sense of excitement and discovery for listeners hearing it for the first time--before the music videos, before the stratospheric sales numbers and awards, before it became ingrained in our cultural DNA. The compact disc (CD) was made commercially available that same year, but the vast majority of listeners purchased the album as an LP or cassette tape (the latter of which outsold records by 1983).