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ORGELSTUNDE Sonnabend 26.09.2020 15.30 Uhr · Großer Saal BEN VAN OOSTEN Orgel
ORGELSTUNDE Sonnabend 26.09.2020 15.30 Uhr · Großer Saal BEN VAN OOSTEN Orgel Louis Vierne zum 150. Geburtstag (am 8.10.2020) Louis Vierne (1870–1937) „Marche épiscopale“ – Improvisation, rekonstruiert von Maurice Duruflé „Aubade“ op. 55 Nr. 1 und „Hymne au soleil“ op. 53 Nr. 3 (aus „Pièces de Fantaisie“) „Stele pour un enfant défunt“ (aus „Triptyque“ op. 58) Sergej Rachmaninow (1873–1943) Prélude cis-Moll op. 3 Nr. 2, für Orgel übertragen von Louis Vierne Louis Vierne Sinfonie Nr. 2 e-Moll op. 20 ALLEGRO RISOLUTO MA NON TROPPO VIVO CHORAL. LARGO SCHERZO. QUASI PRESTO CANTABILE. LARGHETTO FINAL. MAESTOSO HINWEISE ZUR PANDEMIE Bitte beachten Sie die allgemeine Hygiene-, Husten- und Nies-Etikette. Beim Betreten des Konzerthauses bitte Mund- und Nasen-Bedeckung tragen, erst nach Einnahme des Sitzplatzes und Schließen der Saaltüren abnehmen sowie beim Verlassen des Platzes wieder anlegen. Bitte Mindestabstand von 1,5 Metern sowie die Wegführung beim Betreten und Verlassen im Haus beachten. Serviceleistungen wie Garderobendienst und Foyer- Gastronomie sind zur Zeit eingestellt. Mäntel und Jacken können über die gesperrten Plätze neben dem eigenen Sitzplatz gelegt werden. Die Entwertung der Parkservicemarken finden Sie in der Kutschendurchfahrt. Mobiltelefon ausgeschaltet? Vielen Dank! Cell phone turned off? Thank you! Wir machen darauf aufmerksam, dass Ton- und/oder Bildaufnahmen unserer Aufführungen durch jede Art elektronischer Geräte strikt untersagt sind. Zuwiderhandlungen sind nach dem Urheberrechtsgesetz strafbar. Louis Vierne zum 150. -
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THE DIAPASON FEBRUARY 2021 Quimby Pipe Organs, Inc. 50th Anniversary Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 2, 20 Under 30 Whole No. 1335 We thank the many people who submitted nominations for FEBRUARY 2021 our 20 Under 30 Class of 2021. Nominations closed on Feb- Established in 1909 ruary 1. We will reveal our awardees in the May issue, with Stephen Schnurr ISSN 0012-2378 biographical information and photographs! 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, A gift subscription is always appropriate. the Harpsichord, Carillon, and Church Music Remember, a gift subscription of The Diapason for a In this issue friend, colleague, or student is a gift that is remembered each Gunther Göttsche surveys organs and organbuilding in the CONTENTS month. (And our student subscription rate cannot be beat at Holy Land. There are approximately sixty pipe organs in this FEATURES $20/year!) Subscriptions can be ordered by calling our sub- region of the world. -
The Curtis Sesquicentennial Exposition Organ
The Curtis Sesquicentennial Exposition Organ Opus 1416, Austin Organ Co., Hartford, Connecticut Opus 1416 was built in 1926 for the Sesquicentennial International Exposition held in Philadelphia. Afterward, the organ was purchased by publisher Cyrus Curtis, donated to the University of Pennsylvania, and installed in the newly-built Irvine Auditorium in 1928-29. It was named the Cyrus H. K. Curtis Organ in honor of Mr. Curtis. Opus 1416, at four manuals, 162 ranks (10,731 pipes) residing in Irvine Auditorium of the University of Pennsylvania, is the magnum opus (executed under a single contract) of the Austin firm. Built for Sesquicentennial Exposition in Philadelphia (in only six months!), it is a masterpiece of Symphonic organ building, remaining one of the very few, if not uniquely, unchanged symphonic instruments of the period. Gilt bust of Benjamin Franklin and Proscenium and principal stenciling detail. University Seal on proscenium beam. Irvine Auditorium: Interior. A grand space for a grand instrument. The majority of the organ is installed behind the stenciled scrims visible at left and right. A portion only of the Pedal Division is housed behind the non-speaking façade pipes. Grey reflector panels were installed in the 1997-2002 renovations. Opus 1416 was relocated to Irvine Auditorium during the building’s construction, occupying the two side second-balconies, originally designated to seat 600. Installation delayed the opening of the hall by nearly two years. The organ also happens to be the second largest instrument in Philadelphia area (after the Wanamaker Organ)! While comparatives and lists change and Irvine Auditorium: Exterior (pre-restoration). -
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The Focus-Abengoa Foundation celebrates the 22nd edition of the master concerts series in the chapel of the Hospital de los Venerables • The series entitled, “The baroque organ: a means of communication between peoples”, will be given by Guy Bovet, Paolo Crivellaro and Carolyn Shuster, three eminent and admired European organists. • These annual performances, which feature the world’s most respected organists and composers, have made the Los Venerables organ one of the most important and prestigious platforms in the world. Seville, 4th February 2013.- Tomorrow Tuesday 5th February, the Focus-Abengoa Foundation will open the 22nd edition of the master concerts series, which has become an essential event in the diaries of the world’s finest organists. The new series, entitled The baroque organ: a means of communication between peoples will feature Guy Bovet, Paolo Crivellaro and Carolyn Shuster, three brilliant and well-known organists who have studied at some of the most important schools in the world. The first concert will be on Tuesday 5th February and will be given by Guy Bovet from Switzerland, a renowned organist who was titular at the Colegial de Neuchâtel church in Switzerland until 2009. On Tuesday 12th February, the baton will be handed over to the Italian, Paolo Crivellaro, professor of organ at Universität der Künste , Berlin’s university of the arts. Finally, Tuesday 19th February will be the turn of the Franco- American organist and musicologist, Carolyn Shuster, renowned for her clear and precise technique. The repertoire chosen by the organists includes works from their countries of origin designed to showcase new cultures, styles and musical influences. -
BEN VAN OOSTEN DUDELANGE MARDI 15.10 Ben Van Oosten Beschäftigte Sich Eingehend Mit Der Symphonischen Französischen Orgel- ÉGLISE SAINT-MARTIN 20H15 Musik
BEN VAN OOSTEN DUDELANGE MARDI 15.10 Ben van Oosten beschäftigte sich eingehend mit der symphonischen französischen Orgel- ÉGLISE SAINT-MARTIN 20H15 musik. Seine Gesamteinspielungen der Orgelwerke von César Franck, Camille Saint-Saëns, Alexandre Guilmant, Louis Vierne, Charles-Marie Widor und Marcel Dupré wurden mit mehreren internationalen Schallplattenpreisen ausgezeichnet (u.a. Echo Klassik, Preis der deutschen Schallplattenkritik, Choc du Monde de la Musique und Diapason d’Or). Wegen Récital d’orgue par seiner Verdienste um die französische Orgelkultur erhielt Ben van Oosten 1980, 1987 und 1998 ehrenvolle Auszeichnungen durch die Société Académique Arts, Sciences, Lettres in Paris. Die französische Regierung erhob ihn in den Rang des Chevalier (1998) und Officier Ben van Oosten (2011) dans l’Ordre des Arts et des Lettres. Im Jahre 2010 wurde er von der damaligen Königin der Niederlande, Königin Beatrix, zum Ritter in den Orden des Niederländischen Löwen LOUIS VIERNE (1870 – 1937) berufen. Aus “Trois Improvisations”: Gesamteinspielungen der Orgelwer- Marche épiscopale ke von César Franck, Camille Saint- (rekonstruiert von Maurice Duruflé) Saëns, Alexandre Guilmant, Louis Vierne, Charles-Marie Widor und Après le concert, Ben van Oosten sig- Marcel Dupré wurden mit mehreren nera son CD enregistré à Dudelange, CÉSAR FRANCK (1822 – 1890) internationalen Schallplattenpreisen publié en 2011 et couronné par un Prière op. 20 ausgezeichnet (u.a. Echo Klassik, « Diapason d’Or » Preis der deutschen Schallplattenkri- CHARLES-MARIE WIDOR (1844 – 1937) tik, Choc du Monde de la Musique und Diapason d’Or). Symphonie no 8 en si majeur, op. 42/4 (1887) Ausserdem ist er Autor der umfas- – Allegro risoluto senden Widor-Biographie „Charles- – Moderato cantabile Marie Widor – Vater der Orgelsym- – Allegro phonie“ (1997). -
BE NOT AFRAID! PRACTICAL TIPS for IMPROVISATION Organ Improvisation Masterclass with Jeffrey Smith
2004 October 2018 BE NOT AFRAID! PRACTICAL TIPS FOR IMPROVISATION Organ Improvisation Masterclass with Jeffrey Smith Tuesday, October 9 at 7:30 PM River Road Presbyterian Church 8960 River Road Richmond, VA 23229 Please join us on Tuesday, October 9 at 7:30 PM, for our second gathering of the 2018-19 program year. Dr. Jeffrey Smith of St. Paul’s Epis- copal Church, K Street, Washington DC will lead us in a masterclass of organ improvisation. We have three brave volunteers: Ryan Tibbetts, Jacob Temple, and Charles Lindsey, who will perform in the masterclass. Dr. Smith will also have some handouts available with practical tips for anyone and any level! We hope to see you there. 6:00 PM Gathering 6:30 PM Dinner ($12) 7:00 PM Meeting 7:30 PM Program Reservations: Reservations are required for all meals. Please contact Paul Honaker at [email protected] by Friday, October 5 at 5:00 PM to reserve a meal. Please note that each reservation will be confirmed by return email. If the reservation is not confirmed, please call 804- 272-0036 (home) to verify your reservation. If you make a reservation and are unable to attend, you will be responsible for payment. Jeffrey Smith has served Saint Paul's from 1992 to 2004 and was reappointed in 2017. He was previously on the faculty of the Jacobs School of Music at Indiana University and Director of Music at Christ Church Cathedral, Lexington and Grace Cathedral, San Francisco. He holds a doctorate from Yale University and is a Fellow of the American Guild of Organists, the Royal School of Church Music, and the Guild of Church Musicians. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
FRAUENKIRCHE KREUZKIRCHE KULTURPALAST Tickets Willkommen
2020 FRAUENKIRCHE KREUZKIRCHE KULTURPALAST Tickets Willkommen Eintritt Liebe Freunde der Kreuzkirche 7,- € ermäßigt 5,- € Orgelmusik, Frauenkirche 8,- € Kulturpalast 10,- € ermäßigt 8,- € in diesem Jahr begrüßen wir Sie in etwas dezimierter Runde, geänderter Eintrittspreis bei folgendem Konzert: weil die Kathedrale und ihre Silbermannorgel wegen Bauar- 2. Dez. 2020 Kreuzkirche 10,- € ermäßigt 8,- € beiten nicht nutzbar sind. Dennoch bieten wir Ihnen wieder ein abwechslungsreiches und hochkarätiges Programm. In vielen Konzerten steht der große französische Romantiker und Impressionist Louis Vierne anlässlich des Jubiläums Ticketservice Frauenkirche Dresden seines 150. Geburtstags auf dem Programm, oftmals darge- Georg-Treu-Platz 3, 01067 Dresden boten von Kennern der französisch-sinfonischen Orgelkunst Montag bis Freitag 9 – 18 Uhr, Samstag 9 – 15 Uhr wie den heutigen Pariser Organisten Daniel Roth, Olivier Telefon- und Onlinebuchungen Latry, Ben van Oosten und anderen. Vor allem in den Inter- Telefon 0351/65606-701 | Telefax 0351/65606-108 nationalen Orgelfestwochen sind von Juni bis August Gäste [email protected] | www.frauenkirche-dresden.de aus dem europäischen Ausland und aus Übersee zu erleben, Abendkasse: Eingang D | jeweils 1 Stunde vor Konzertbeginn die oft einen programmatischen Akzent aus ihren Ländern mitbringen. Den festlichen Abschluss der Konzertsaison 2020 bildet wieder das traditionelle Weihnachtliche Orgelkon- Konzertkasse der Kreuzkirche Dresden zert in der Kreuzkirche, das dieses Mal in die Welt des 18. Jahrhunderts entführt und die Orgel im Zusammenspiel mit An der Kreuzkirche 6, 01067 Dresden Barockorchester erlebbar werden lässt. Vor den Konzerten in Montag bis Freitag 10 – 18 Uhr, Samstag 10 – 14 Uhr der Kreuzkirche sind die Künstler bei den Einführungsveran- Telefon 0351/439 39 39 | Telefax 0351/439 39 40 staltungen „Unter der Stehlampe“ hautnah zu erleben. -
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T H E DIAPASON APRIL 2019 American Organ Institute University of Oklahoma Norman, Oklahoma Cover feature on pages 22–23 PHILLIP TRUCKENBROD CONCERT ARTISTS ANTHONY & BEARD ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE CONTE & ENNIS DUO LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD SIMON THOMAS JACOBS MARTIN JEAN HUW LEWIS RENÉE ANNE LOUPRETTE LOUPRETTE & GOFF DUO ROBERT MCCORMICK BRUCE NESWICK ORGANIZED RHYTHM RAéL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN ROBIN & LELEU DUO BENJAMIN SHEEN HERNDON SPILLMAN CAROLE TERRY JOHANN VEXO BRADLEY HUNTER WELCH JOSHUA STAFFORD THOMAS GAYNOR 2016 2017 LONGWOOD GARDENS ST. ALBANS WINNER WINNER IT’S ALL ABOUT THE ART ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ 860-560-7800 ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚͬWŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Tenth Year: No. 4, 20 Under 30 Whole No. 1313 We thank all those who submitted nominations for our Class APRIL 2019 of 2019. We are impressed by the number of f ne nominations Established in 1909 for the brightest and most promising our young leaders in the Stephen Schnurr ISSN 0012-2378 f eld of the organ, church music, harpsichord, and carillon. 847/954-7989; [email protected] To see the 20 Under 30 Class of 2019, visit The Diapason www.TheDiapason.com An International Monthly Devoted to the Organ, website (www.thediapason.com, click on “20 Under 30”). Next the Harpsichord, Carillon, and Church Music month’s issue will include in-depth entries and photographs of In “Harpsichord Notes,” Larry Palmer reprises various front- each member of the class. -
Ringer Socialisation & Interaction Activities Fun Non-Ringing Team
Ringer Socialisation & Interaction Activities Fun non-ringing team-building activities for a handbell group Permission granted for reprinting by: Malcolm C Wilson, Dunblane www.ringinpraise.org.uk Continued from Part 1 posted May 2010 in ringEr-Notes Introduction Are you looking for a fun activity that has a handbell theme? Perhaps for a short break from regular ringing rehearsals or at a gathering of many ringer groups, or a ringer party. The idea of a handbell group being a team, working together as one unit and every ringer getting to know each other better can be nurtured by activities such as those that follow. Each of the games below can incorporate further interaction as part of the game e.g. by making it part of the game for each ringer to introduce themselves to the others in their team or perhaps to say something about themselves. And the accent is on fun! Many more familiar games can be given a handbell "twist" - have a "brainstorming" session with other ringers once they've seen the games and your imagination is the only limit! Have fun! Looking for more quick and easy ideas for your choir? Check out Tips & Tools each month in Overtones! Members you can log in now at our website www.agehr.org to see digital archived copies of Overtones. Benefits of Membership Local, Area and National opportunities rolled-up into 1 AGEHR Membership “AGHER is a great organization and provides us with LOTS of continuing information. The handbell world is changing and we need to know what is new out there. -
Italian Harpsichord-Building in the 16Th and 17Th Centuries by John D
Italian Harpsichord-Building in the 16th and 17th Centuries by John D. Shortridge (REPRINTED WITH CHANGES—1970) CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY UNITED STATES NATIONAL MUSEUM BULLETIN 225 · Paper 15, Pages 93–107 SMITHSONIAN INSTITUTION PRESS · WASHINGTON, D.C. · 1970 Figure 1.—OUTER CASE OF ALBANA HARPSICHORD. Italian Harpsichord-Buildingin the 16th and 17th Centuries By John D. Shortridge The making of harpsichords flourished in Italy throughout the 16th and 17th centuries. The Italian instruments were of simpler construction than those built by the North Europeans, and they lacked the familiar second manual and array of stops. In this paper, typical examples of Italian harpsichords from the Hugo Worch Collection in the United States National Museum are described in detail and illustrated. Also, the author offers an explanation for certain puzzling variations in keyboard ranges and vibrating lengths of strings of the Italian harpsichords. THE AUTHOR: John D. Shortridge is associate curator of cultural history in the United States National Museum, Smithsonian Institution. PERHAPS the modern tendency to idealize progress has been responsiblefor the neglect of Italian harpsichords and virginals during the present day revival of interest in old musical instruments. Whatever laudable traits the Italian builders may have had, they cannot be considered to have been progressive. Their instruments of the mid-16th century hardly can be distinguished from those made around 1700. During this 150 years the pioneering Flemish makers added the four-foot register, a second keyboard, and lute and buff stops to their instruments. However, the very fact that the Italian builders were unwilling to change their models suggests that their instruments were good enough to demand no further improvements. -
The Importance of Music in Different Religions
The Importance of Music in Different Religions By Ruth Parrott July 2009 Silverdale Community Primary School, Newcastle-under-Lyme. Key Words Spirituality Greetings Calls to Worship Blessings Dance in Hindu Worship Celebrations 2 Contents Introduction p4 The Teaching of RE in Staffordshire Primary Schools p6 Music and Spirituality p7 Assembly – ‘Coping with Fear’ p11 Suggestions for Listening and Response p14 Responses to Music and Spirituality p16 Worksheet – ‘Listening to Music’ KS2 p18 Worksheet – ‘Listening to Music’ KS1 p19 Judaism p20 Christianity p24 Islam p26 Sikhism p30 Hinduism p34 Welcomes, Greetings and Calls to Prayer/Worship p36 Lesson Plan – ‘Bell Ringing’ p38 Judaism – ‘The Shofar p42 Islam – ‘The Adhan’ p44 Lesson Plan – ‘The Islamic Call to Prayer’ p45 Celebrations p47 Lesson Plan – Hindu Dance ‘Prahlad and the Demon’ p50 Lesson Plan – Hindu Dance ‘Rama and Sita’ (Diwali) p53 Song: ‘At Harvest Time’ p55 Song: ‘Lights of Christmas’ p57 Blessings p61 Blessings from different religions p65 Lesson Plan – ‘Blessings’ p71 Conclusion p74 Song: ‘The Silverdale Miners’ p75 Song: ‘The Window Song’ p78 Acknowledgements, Bibliography p80 Websites p81 3 Introduction I teach a Y3 class at Silverdale Community Primary School, and am also the RE, Music and Art Co-ordinator. The school is situated in the ex- mining village of Silverdale in the borough of Newcastle- under-Lyme on the outskirts of Stoke-on-Trent and is recognised as a deprived area. The school is a one class entry school with a Nursery, wrap-around care and a breakfast and after school club. There are approximately 200 children in the school: 95% of pupils are white and 5% are a variety of mixed ethnic minorities.