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Connecting Analysis and Performance: a Case Study for Developing an Effective Approach
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 6 Issue 1 Article 8 October 2013 Connecting Analysis and Performance: A Case Study for Developing an Effective Approach Annie Yih University of California, Santa Barbara Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Theory Commons Recommended Citation Yih, Annie (2013) "Connecting Analysis and Performance: A Case Study for Developing an Effective Approach," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 6 : Iss. 1 , Article 8. Available at: https://trace.tennessee.edu/gamut/vol6/iss1/8 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part IV), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. CONNECTING ANALYSIS AND PERFORMANCE: A CASE STUDY FOR DEVELOPING AN EFFECTIVE APPROACH ANNIE YIH ne of the purposes of teaching music theory is to connect the practice of analysis with O performance. However, several studies have expressed concern over a lack of connec- tion between the two, and they have raised questions concerning the performative qualities of traditional analytic theory.1 If theorists are to achieve one of the objectives of analysis in provid- ing performers with information for making decisions, and to develop what John Rink calls “informed intuition,” then they need to understand what types of analysis—and what details in an analysis—can be of service to performers.2 As we know, notation is not music; notation must be realized as music, and the first step involves score study. -
Hw Biography 2021
HUGH WOOLDRIDGE Director and Lighting Designer; Visiting Professor Hugh Wooldridge has produced, directed and devised theatre and television productions all over the world. He has taught and given master-classes in the UK, Europe, the US, South Africa and Australia. He trained at the London Academy of Music and Dramatic Art (LAMDA) and made his West End debut as an actor in The Dame of Sark with Dame Celia Johnson. Subsequently he performed with the London Festival Ballet / English National Ballet in the world premiere production of Romeo and Juliet choreographed by Rudolph Nureyev. At the age of 22, he directed The World of Giselle for Dame Ninette de Valois and the Royal Ballet. Since this time, he has designed lighting for new choreography with dance companies around the world including The Royal Ballet, Dance Theatre London, Rambert Dance Company, the National Youth Ballet and the English National Ballet Company. He directed the world premieres of the Graham Collier / Malcolm Lowry Jazz Suite Under A Volcano and The Undisput’d Monarch of the English Stage with Gary Bond portraying David Garrick; the Charles Strouse opera, Nightingale with Sarah Brightman at the Buxton Opera Festival; Francis Wyndham’s Abel and Cain (Haymarket, Leicester) with Peter Eyre and Sean Baker. He directed and lit the original award-winning Jeeves Takes Charge at the Lyric Hammersmith; the first productions of the Andrew Lloyd Webber and T. S. Eliot Cats (Sydmonton Festival), and the Andrew Lloyd Webber / Don Black song-cycle Tell Me 0n a Sunday with Marti Webb at the Royalty (now Peacock) Theatre; also Lloyd Webber’s Variations at the Royal Festival Hall (later combined together to become Song and Dance) and Liz Robertson’s one-woman show Just Liz compiled by Alan Jay Lerner at the Duke of York’s Theatre, London. -
Stonyhurst Association Newsletter 306 July 2013
am dg Ston y hurSt GES RU 1762 . B .L 3 I 9 E 5 G 1 E S 1 R 7 7 E 3 M . O 4 T S 9 . 7 S 1 T O ST association news N YHUR STONYHURST newsletter 306 ASSOjulyC 2013IATION 1 GES RU 1762 . B .L 3 I 9 E G StonyhurSt association 5 1 E S 1 R 7 7 E 3 M . O 4 francis xavier scholarships T S 9 newsletter . 7 S 1 T O ST N YHUR The St Francis Xavier Award is a scholarship being awarded for entry to newSlet ter 306 a mdg july 2013 Stonyhurst. These awards are available at 11+ and 13+ for up to 10 students who, in the opinion of the selection panel, are most likely to benefitS from,T andO NYHURST contribute to, life as full boarders in a Catholic boarding school. Assessments for contentS the awards comprise written examinations and one or more interviews. diary of events 4 Applicants for the award are expected to be bright pupils who will fully participate in all aspects of boarding school life here at Stonyhurst. St Francis In memoriam 4 Xavier Award holders will automatically benefit from a fee remissionA of 20%S andS OCIATION thereafter may also apply for a means-tested bursary, worth up to a further 50% Congratulations 5 off the full boarding fees. 50 years ago 6 The award is intended to foster the virtues of belief, ambition and hard work which Francis Xavier exemplified in pushing out the boundaries of the Christian reunions 7 faith. -
The KF International Marcella Sembrich International Voice
The KF is excited to announce the winners of the 2015 Marcella Sembrich International Voice Competition: 1st prize – Jakub Jozef Orlinski, counter-tenor; 2nd prize – Piotr Buszewski, tenor; 3rd prize – Katharine Dain, soprano; Honorable Mention – Marcelina Beucher, soprano; Out of 92 applicants, 37 contestants took part in the preliminary round of the competition on Saturday, November 7th, with 9 progressing into the final round on Sunday, November 8th at Ida K. Lang Recital Hall at Hunter College. This year's competition was evaluated by an exceptional jury: Charles Kellis (Juilliard, Prof. emeritus) served as Chairman of the Jury, joined by Damon Bristo (Vice President and Artist Manager at Columbia Artists Management Inc.), Markus Beam (Artist Manager at IMG Artists) and Dr. Malgorzata Kellis who served as a Creative Director and Polish song expert. About the KF's Marcella Sembrich Competition: Marcella Sembrich-Kochanska, soprano (1858-1935) was one of Poland's greatest opera stars. She appeared during the first season of the Metropolitan Opera in 1883, and would go on to sing in over 450 performances at the Met. Her portrait can be found at the Metropolitan Opera House, amongst the likes of Luciano Pavarotti, Placido Domingo, and Giuseppe Verdi. The KF's Marcella Sembrich Memorial Voice Competition honors the memory of this great Polish artist, with the aim of popularizing Polish song in the United States, and discovering new talents (aged 18-35) in the operatic world. This year the competition has turned out to be very successful, considering that the number of contestants have greatly increased and that we have now also attracted a number of International contestants from Japan, China, South Korea, France, Canada, Puerto Rico and Poland. -
„Nowhere to Go but Up“? Die Gattungsmerkmale Des Musicals
„Nowhere to Go But Up“? Die Gattungsmerkmale des Musicals Dissertation zur Erlangung des Grades der Doktorin der Philosophie an der Fakultät für Geisteswissenschaften der Universität Hamburg im Promotionsfach Historische Musikwissenschaft vorgelegt von Sarah Baumhof Hamburg, 2021 Tag der Disputation: 21.1.2021 Vorsitzende der Prüfungskommission: Prof. Dr. Ivana Rentsch Erstgutachterin: Prof. Dr. Ivana Rentsch Zweitgutachter: Prof. Dr. Oliver Huck Anmerkungen zu Begrifflichkeiten, Schreibweisen und Quellenangaben ............................................ IV 1 Einleitung .......................................................................................................................... 1 1.1 Ziel und Titel der Dissertation .................................................................................... 1 1.2 Aktueller Forschungsstand ......................................................................................... 2 1.2.1 Sekundärliteratur: Umfang und Publikationsart ..................................................... 2 1.2.2 Subjektivität und qualitative Mängel ...................................................................... 6 1.2.3 Geographische Zentrierung .................................................................................. 11 1.2.4 Fehlende Musikanalyse ........................................................................................ 13 1.2.5 Determiniertheit .................................................................................................... 15 1.3 Fragestellung und -
The Chopin Foundation of the United States Presents Prizewinner of the Second American National Chopin Competition
RICE UNIVERSITY The Chopin Foundation of the United States presents ELlER SUAREZ, piano Prizewinner of the Second American National Chopin Competition Sunday, March 30, 1980 SSM 8:00p.m. in Hamman Hall 81 ._.30 iW~ PROGRA M -Oiapm eci1a1 - --..:.....;: - ._ Four Etudes: in .C-sharp minor, Dp. 2,5, No. 7 in A-flat, Op. _10, No. 10 in G-flat, GJp, lO, No. 5 in B-minor, Op. 25, No. 10 Nocturne in E-jlal Major, Op. 55, No. 2 Pownaise in F-sharp Minor, Op. 44 Interm ission Four Mazurkas, Op. 41 Sonata in B-f/a t Mi1zor, Op. 35 Grave .Scherzo Marche Funebre Finale: Presto Photographing and sound recording are prohibited. We further regret that audible paging devices not be used during performance. Paging armngtmJents may be made with ushers. ELlER SUAREZ was born in 1952 in Havana, Cubo. He received his Bachelor of Music from the University of Miami under full scholarship, and his Master of Music from The Juilliard School under Honorary Scholarship. He has studied with Eva Suarez, Claudina Mendez, Sergei Tamowsky, George Roth, Ivan Davis and Adele Marcus. Mr. Suarez has performed with both the Miami Beach Symphony and tile Miami Symphonic Society Orchestra, as well as the Dallas Symphony and ihe Florida Philharmonic. Currently, Mr. Suarez is a teaching assistant to Adele Marcus at The Juilliard School. THE INTERNATIONAL CHOPIN COMPETITION The first F. Chopin International Piano Competition was held in Jammry, 1927, at the hall of the Warsaw Philharmonic. The Jury consisted of a dozen eminent Polish pianists and pedagogues, and 17 of the 27 contestants were Polish. -
A Study of Select World-Federated International Piano Competitions: Influential Actf Ors in Performer Repertoire Choices
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 2020 A Study of Select World-Federated International Piano Competitions: Influential actF ors in Performer Repertoire Choices Yuan-Hung Lin Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Lin, Yuan-Hung, "A Study of Select World-Federated International Piano Competitions: Influential actF ors in Performer Repertoire Choices" (2020). Dissertations. 1799. https://aquila.usm.edu/dissertations/1799 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A STUDY OF SELECT WORLD-FEDERATED INTERNATIONAL PIANO COMPETITIONS: INFLUENTIAL FACTORS IN PERFORMER REPERTOIRE CHOICES by Yuan-Hung Lin A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Elizabeth Moak, Committee Chair Dr. Ellen Elder Dr. Michael Bunchman Dr. Edward Hafer Dr. Joseph Brumbeloe August 2020 COPYRIGHT BY Yuan-Hung Lin 2020 Published by the Graduate School ABSTRACT In the last ninety years, international music competitions have increased steadily. According to the 2011 Yearbook of the World Federation of International Music Competitions (WFIMC)—founded in 1957—there were only thirteen world-federated international competitions at its founding, with at least nine competitions featuring or including piano. One of the founding competitions, the Chopin competition held in Warsaw, dates back to 1927. -
Nyco Renaissance
NYCO RENAISSANCE JANUARY 10, 2014 Table of Contents: 1. Executive Summary ...................................................................................................................... 2 2. History .......................................................................................................................................... 4 3. Core Values .................................................................................................................................. 5 4. The Operatic Landscape (NY and National) .............................................................................. 8 5. Opportunities .............................................................................................................................. 11 6. Threats ......................................................................................................................................... 13 7. Action Plan – Year 0 (February to August 2014) ......................................................................... 14 8. Action Plan – Year 1 (September 2014 to August 2015) ............................................................... 15 9. Artistic Philosophy ...................................................................................................................... 18 10. Professional Staff, Partners, Facilities and Operations ............................................................. 20 11. Governance and Board of Directors ......................................................................................... -
Andrew Lloyd Webber's Musicals
MASARYK UNIVERSITY Faculty of Education Department of English Language and Literature ANDREW LLOYD WEBBER’S MUSICALS Diploma Thesis Brno 2009 Radka Adamová Supervisor: Mgr. Lucie Podroužková, PhD. 1 BIBLIOGRAPHICAL ENTRY Adamová, Radka. Andrew Lloyd Webber’s Musicals Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2007. Diploma thesis supervisor Mgr. Lucie Podroužková, Ph. D. ANNOTATION This diploma thesis deals with British musical composer Andrew Lloyd Webber and his works. The first part of the thesis introduces Lloyd Webber’s biography, his close collaborators as well as his production company the Really Useful Group and description of all his works. The main part of the thesis is aimed at his musicals Joseph and the Amazing Technicolor Dreamcoat and Jesus Christ Superstar , rather their origin and development, the main plot and their main characters that have many things in common. Both these musicals are based on topics from the Bible. The thesis also deals with the librettos and their translation into Czech. ANOTACE Diplomová práce se zabývá britským hudebním skladatelem Andrew Lloyd Webberem a jeho díly. První část práce seznamuje s Lloyd Webberovým životopisem, jeho blízkými spolupracovníky, stejně jako s jeho produkční společností Really Useful Group a popisem všech jeho děl. Hlavní část práce je zaměřena na muzikály Josef a jeho úžasný pestrobarevný plášť a Jesus Christ Superstar , přesněji řečeno jejich vznik a vývoj, hlavní dějovou linii a jejich hlavní postavy, které mají mnoho společného. Oba tyto muzikály jsou založeny na příbězích z Bible. Práce se také zabýva librety obou muzikálů a jejich překladem do češtiny. 2 I declare that I have worked on this thesis on my own and used only the sources listed in the Bibliography. -
LA VESTALE GASPARE SPONTINI Alessandro De Marchi & Eric Lacascade
PRESS FILE OPERA LA VESTALE GASPARE SPONTINI Alessandro de Marchi & Eric Lacascade 13, 15, 17, 20, 22 October 2015 20:00 25 October 2015 15:00 CIRQUE ROYAL / KONINKLIJK CIRCUS Opéra en trois actes, version française Livret de Victor-Joseph Etienne de Jouy Premiere Salle Montsansier, Paris, 15/12/1807 NEW PRODUCTION I – INTRODUCTION WITH BIOGRAPHIES THE FLAMES OF THE VESTAL ALTAR SET THE SCORE ALIGHT Since La Vestale, not a note of music has been written that wasn’t stolen from my scores!’ Gaspare Spontini was himself aware of how innovative and influential his score was. He turned opera in a new direction by conceiving the whole score on the basis of a compelling dramatic conception involving naturalistic effects, orchestration, and musical form, thereby pointing the way for such opera composers as Rossini, Wagner, Berlioz, and Meyerbeer. As a grand opera it was ahead of its time and was full of spectacular scenes showing a Vestal Virgin’s forbidden love for a Roman general; it made Spontini the most important composer of the Napoleonic period. Here directing his first opera, the French stage director Éric Lacascade focuses on a highly topical subject: ‘More than passionate love, what is at stake in this opera is the liberation of a woman who frees herself from the power of religious authority.’ COMPOSER & WORK Born in 1774 in Italy, Gaspare Spontini (1774-1851) imposed a new style to French music, mixing his Neapolitan inspiration to the genre of French lyric tragedy and thus creating what may be termed as Grand Historic Opera. The Italian composer, who became French in 1817, began a brilliant career in Rome and Venice after his studies at the Royal Conservatory of Naples. -
Cats Study Guide TABLE of CONTENTS
Name:______________________________ Date: / / 1 Cats Study Guide TABLE OF CONTENTS PLOT SUMMARY………………………………………………………………………………………………………… 3 PRODUCTION HISTORY…………………………………………………………………………………………. 5 CAST LIST & ABOUT THE DIRECTOR……………………………………………………………….. 7 THEATRE ETIQUETTE………………………………………………………………………………………………. 8 STUDENT ACTIVITIES WORD SEARCH…………………………………………………………………………………………… 9 CRITIQUE SHEET…………………………………………………………………………………………. 10 ALIGNMENT TO STANDARDS……………………………………………………………………………… 11 Cats Music by Andrew Lloyd Webber Based on Old Possum's Book Of Practical Cats by T.S. Eliot Directed and Choreographed by Sarah Wilcoxon Other showtimes: 25-26, 28 October 7:30 PM 27 October 2:30 PM Craig Hall Coger Theatre Cats Study Guide 3 Plot Summary Cats begins with the gathering of the cats of the Jellicle tribe onstage to explain a bit about their lives and their purpose. After the group describes how they assign names to each cat in the tribe, they assemble in preparation to take part in the annual festival of cat-dom...they send out invitations to attend the Jellicle Ball! At the Ball, each cat tries to prove to Old Deuteronomy (the leader of the Jellicle tribe) why he or she deserves to go the Heavyside Layer – a heavenly feline afterlife. Munkustrap, the show’s feline narrator, introduces the cats one by one starting with Jennyanydots. The Rum Tum Tugger, the wild and inconstant Elvis-esque cat, interrupts her presentation with his grand entrance; he feels no obligation to other cats and does as he feels. Following Tugger’s exuberant performance, the old and greying Grizabella makes her way through the group causing the tribe to scatter. The other cats dislike the lowly Grizabella and somberly sing of her sad state. As Grizabella sulks off into the night, the fat and renowned Bustopher Jones sings of his elite status among his fellow cats. -
Season 2012-2013
Conductor Jaap van Zweden has regrettably withdrawn from the April 4-6 performances due to family reasons. This Thursday, April 4, and Friday, April 5, Philadelphia Orchestra Music Director Yannick Nézet-Séguin will conduct. On Saturday, April 6, Associate Conductor Cristian Măcelaru will lead the ensemble in his Philadelphia Orchestra subscription debut. As a result, the repertoire has been changed slightly. Brahms’s Piano Concerto No. 1 and Strauss’s Suite from Der Rosenkavalier will remain on the program, while Schoenberg’s Transfigured Night will be replaced by Strauss’s Death and Transfiguration. Season 2012-2013 Thursday, April 4, at 8:00 Friday, April 5, at 2:00 The Philadelphia Orchestra Saturday, April 6, at 8:00 Yannick Nézet-Séguin Conductor (April 4 and 5) Cristian Măcelaru Conductor (April 6) Garrick Ohlsson Piano Brahms Piano Concerto No. 1 in D minor, Op. 15 I. Maestoso II. Adagio III. Rondo: Allegro non troppo Intermission Strauss Death and Transfiguration, Op. 24 Strauss Suite from Der Rosenkavalier, Op. 59 This program runs approximately 1 hour, 55 minutes. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 2 PM. Visit www.wrti.org to listen live or for more details. 224 Story Title The Philadelphia Orchestra Jessica Griffin Renowned for its distinctive Philadelphia is home and Carnegie Hall and the sound, beloved for its the Orchestra nurtures Kennedy Center while also keen ability to capture the an important relationship enjoying a three-week hearts and imaginations not only with patrons who residency in Saratoga of audiences, and admired support the main season Springs, N.Y., and a strong for an unrivaled legacy of at the Kimmel Center but partnership with the Bravo! “firsts” in music-making, also those who enjoy the Vail festival.