Enrico Maria Ferrando Curriculum Vitae

Total Page:16

File Type:pdf, Size:1020Kb

Enrico Maria Ferrando Curriculum Vitae Enrico Maria Ferrando curriculum vitae Luogo e data di nascita: Novi Ligure (AL) il 23/11/1955. Studio e formazione 1985/86 Attestato di compimento del corso triennale di Didattica della Musica (Conservatorio di Alessandria) 1984/85 Diploma di Composizione (Conservatorio di Torino) 1973/74 Maturità Classica (Liceo "Andrea Doria", Novi Ligure) Conoscenze informatiche Finale (videoscrittura e desktop editing musicale) - ottima Microsoft Word - buona Photoshop - elementare Conoscenze linguistiche Inglese (buona, FCE grade A) Tedesco (elementare, Zertifikat Deutsch als Fremdsprache) Francese (scolastico) Insegnamento dal 2006/07 professore di ruolo di Elementi di Composizione (Conservatorio di Torino) dal 1992/93 al 2005/06 professore di ruolo di Elementi di Composizione (Conservatorio di Novara) 1991/92 supplente annuale di Elementi di Composizione (Conservatorio di Novara) 1990/91 supplente annuale di Armonia e Contrappunto (Conservatorio di Cuneo) 1989/90 supplente annuale di Elementi di Composizione (Conservatorio di Novara) 1988/1989 supplente annuale di Armonia e Contrappunto e di Lettura della Partitura (Conservatorio di Alessandria) 1987/88 supplente annuale di Armonia Complementare e di Elementi di Composizione (Conservatorio di Bari) 1986/1987 supplente annuale di Armonia Complementare (Conservatorio di Bari) Premi 1987 2° premio, concorso internazionale di composizione organistica “O. Messiaen”, Bergamo Concorsi 1988 Concorso nazionale per il posto di Archivista Musicale, bandito dal Teatro Regio di Torino – 2° classificato nella graduatoria degli idonei Pubblicazioni musicali Anna, o il percorso della memoria, cantata scenica, Rugginenti editore, Milano 2008 (Libretto di Marco Ravasini. Commissione della Fondazione Teatro Regio di Torino) Per la Casa Editrice Ricordi, Milano: riduzione per canto e pianoforte delle seguenti opere liriche di Lorenzo Ferrero: Mare Nostro 1985 Salvatore Giuliano 1985 Rimbaud 1986 Charlotte Corday 1988 Le bleu-blanc-rouge et le noir 1989 riduzione per due pianoforti del Concerto per pianoforte e orchestra 1990 del medesimo autore. Per Charlotte Corday: realizzazione, sempre per Casa Ricordi, dei materiali d'orchestra (software Professional Composer) Per la Casa Editrice Carrara, Bergamo: composizioni organistiche e corali, apparse in vari numeri di «Celebriamo» e «L'Organista» e in Preludi per Organo ai canti popolari /fasc. IV Pubblicazioni e attività musicologiche Tutti i libretti di Puccini, Garzanti, Milano 1984 (cura) L'ultimo anno di Mozart, Garzanti, Milano 1989 (consulente musicale) Mozart. Gli anni d'oro. 1781-1791, Garzanti, Milano 1989 (consulente musicale e traduttore) Musica. Una breve introduzione, EDT, Torino 2005 (traduttore) Musica da Film. Una breve introduzione, EDT, Torino 2011 (traduttore) Le forme sonata, EDT, Torino 2011 (traduttore) Redazione di voci enciclopediche per: Enciclopedia Europea (Garzanti) Il mondo dei ragazzi (UTET) Casa Mia (Edizioni Paoline) Dal 1999 al 2014: realizzazione della rubrica La struttura dell'opera e l'organico strumentale per i programmi di sala del Teatro Regio di Torino Dal 1989 al 1994: redazione della rivista «I concerti dell'Unione Musicale» Dal 2000 al 2014: collaborazione con «Il Giornale della Musica» (recensioni di novità editoriali musicali) Altri contributi (articoli, saggi, programmi di sala) pubblicati, tra gli altri, da: Teatro Regio, Torino; Teatro La Fenice, Venezia; Unione Musicale, Torino; Settembre Musica, Torino. Altre attività professionali Dal 1992 al 2014 Responsabile dell'Archivio Musicale, Teatro Regio, Torino 2000 Membro della commissione, concorso per il posto di Aiuto-archivista, Teatro Carlo Felice, Genova .
Recommended publications
  • Refractions of Rome in the Russian Political Imagination by Olga Greco
    From Triumphal Gates to Triumphant Rotting: Refractions of Rome in the Russian Political Imagination by Olga Greco A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Comparative Literature) in the University of Michigan 2015 Doctoral Committee: Professor Valerie A. Kivelson, Chair Assistant Professor Paolo Asso Associate Professor Basil J. Dufallo Assistant Professor Benjamin B. Paloff With much gratitude to Valerie Kivelson, for her unflagging support, to Yana, for her coffee and tangerines, and to the Prawns, for keeping me sane. ii TABLE OF CONTENTS Dedication ............................................................................................................................... ii Introduction ............................................................................................................................. 1 Chapter I. Writing Empire: Lomonosov’s Rivalry with Imperial Rome ................................... 31 II. Qualifying Empire: Morals and Ethics of Derzhavin’s Romans ............................... 76 III. Freedom, Tyrannicide, and Roman Heroes in the Works of Pushkin and Ryleev .. 122 IV. Ivan Goncharov’s Oblomov and the Rejection of the Political [Rome] .................. 175 V. Blok, Catiline, and the Decomposition of Empire .................................................. 222 Conclusion ........................................................................................................................... 271 Bibliography .......................................................................................................................
    [Show full text]
  • A History of the French in London Liberty, Equality, Opportunity
    A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.
    [Show full text]
  • SILVANA SINTOW Roberto Scandiuzzi Bass
    Silvana Sintow Classicalia International Promotions & Management Schleibingerstrasse 8 - 81669 München - Germany • Tel: + 49-89- 44 21 89 00 e-mail: [email protected] • www.classicalia-international.com • Fax: + 49-89- 44 21 89 03 Roberto Scandiuzzi Bass Roberto Scandiuzzi studied with Anna Maria Bicciato in his native Treviso and made his debut at La Scala in Milan in 1982 with „Le nozze di Figaro“ under the direction of Riccardo Muti. Shortly thereafter he achieved his first great international success as Fiesco in „Simon Boccanegra“ at the Royal Opera House Covent Garden conducted by Georg Solti. Today he is one of the most renowned singers of the operatic world and enthuses the audience with his vocal beauty, his round and noble timbre and his electrifying stage presence. He is often compared with famous basses such as Ezio Pinza and Cesare Siepi, by whom he was strongly influenced. Roberto Scandiuzzi frequently appears at the most prestigious opera houses worldwide: at the Metropolitan Opera, the Opéra-Bastille in Paris, Royal Opera House Covent Garden, State Operas of Vienna and Munich, the San Francisco Opera and Zürich Opera House as well as with the leading symphonic orchestras such as the Berlin and Vienna Philharmonic, Royal Philharmonic Orchestra, London Philharmonic Orchestra, the Orchestras of Chicago, San Francisco, Philadelphia, Boston and Los Angeles, the Orchestra Filarmonica della Scala, Maggio Musicale Fiorentino, the Accademia Nazionale di Santa Cecilia, Orchestre National de Paris and Orchestre National de France, the Symphony Orchestra of Bavarian Radio and the Munich Philharmonic. The vast list of conductors he worked with includes celebrities such as Claudio Abbado, Sir Colin Davis, Valéry Gergiev, Christoph Eschenbach, Gian Luigi Gelmetti, James Levine, Fabio Luisi, Lorin Maazel, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Myung Whun Chung, Giuseppe Sinopoli, Georges Prêtre, Marcello Viotti and Wolfgang Sawallisch.
    [Show full text]
  • The FRENCH REVOLUTION
    HISTORY IN THE MAKING The FRENCH REVOLUTION BY Georges Pernoud and Sabine Flaissier ,. PREFACE BY ANDRE MAUROIS THE FRENCH REVOLUTION +++++++++++++++++++++++++++++++++++++ THE FRENCH REVOLUTION by GEORGES PERNOUD and SABINE FLAISSIER with a preface by ANDRE MAUROIS translated by RICHARD GRAVES FOUNDED 1138 G. P. PUTNAM'S SONS NEW YORK FIRST AMERICAN EDITION, 1961 ©196 0 BY MARTIN SECKER & WARBURG LTD. Allrights reserved. This book, or parts thereoI, must not be reproduced without permission. Library of Congress Catalog Card Number: 60-13673 MANUFACTURED IN THE UNITED STATES OF AMERICA /"Ii CONTENTS +++++++++++++++++++++++++++++++++++++ CHRONOLOGICAL TABLE 7 PREFACE 9 PREFATORY EXPLANATION 15 THE FOURTEENTH OF JULY 17 THE FIFTH AND SIXTH OF OCTOBER 56 THE FLIGHT TO VARENNES 70 THE EMIGRES 108 LA MARSEILLAISE 123 THE TENTH OF AUGUST 126 THE SEPTEMBER MASSACRES 142 VALMY 160 THE MISFORTUNES OF THE ROYAL FAMILY 174 CHARLOTTE CORDAY 222 THE COLLAPSE OF THE EMIGRES 233 THE TERROR 242 THE SOLDIERS OF YEAR II 281 LA VENDEE 298 THERMIDOR 320 SOURCES 342 INDEX 347 CHRONOLOGICAL TABLE +++++++++++++++++++++++++++++++++++++ 1789 January Louis XVI summons States General May States General meet at Versailles June States General in future called National Assembly July Fall of the Bastille-National Guard formed with Lafayette as Commandant October The Paris mob march on Versailles. King removed to Paris 1790 September Necker resigns as Chief Minister December King gives assent to Civil Constitution of the Clergy 1791 June The flight to Varennes September­
    [Show full text]
  • Opera Catalog
    Opera Catalog E. C. Schirmer Music Company Galaxy Music Corporation Highgate Press Ione Press ECS divisions of PUBLISHING 3 HOW TO USE THIS CATALOG Operas in this catalog are organized alphabetically by the composers’ names. The Table of Contents is divided into the five following categories: Full Length Operas, One Act and Chamber Operas, Church Operas, Operas for Children (performed by adults), and Children’s Operas (performed by children). Performance materials, orchestral scores and parts are available from the ECS Publishing Performance Department. In determining fees, the Performance Department representative will need to know the type of performance group, how long the materials are needed, the number of performances, the admission charge, if any, and the size of the performance venue. Perusal Materials For all of the titles listed in this catalog (except for the Stainer & Bell listings), perusal scores and recordings (for most operas) are available to conductors for a limited period. Requests for perusal materials should be made to the ECS Performance Department: PERFORMANCE DEPARTMENT ECS Publishing 1727 Larkin Williams Road Fenton, Missouri 63026-2024 (800) 647-2117 ext. 110 e-mail: [email protected] website: www.ecspublishing.com Reading the Instrumentation This catalog follows the standard designation of instruments by number and abbreviation in the following order: Winds Brass Percussion Harp and Keyboard Strings Thus, the following instrumentation would be read as follows: 2/2/2/2 4/3/3/1 T P(2) H Pno Str 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 4 Horns, 3 Trumpets, 3 Trombones, 1 Tuba, Timpani, Percussion (2 players), Harp, Piano and Strings A doubling of instruments is indicated by parentheses.
    [Show full text]
  • Making a New World David and the Revolution
    Making a New World David and the Revolution 'Never was any such event so inevitable yet so completely unforeseen', was how the great historian Alexis de Tocqueville characterized the coming of the French Revolution. From a distance of more than two hundred years, we can see that the Revolution was the result of a series of social, economic and political pressures which, though manageable in themselves, had the cumulative effect of toppling the monarchy and chang- ing the course of French and European history. By the mid-1780s the whole framework of the ancien regime seemed close to breakdown. As a legacy of its expensive involvement in the American War of Independence (1778-83), 70 Let's Hope that France was facing bankruptcy and the government was forced this Game Ends Soon, to borrow more and more money to cover its deficits. The 1789 . Coloured public was also aware of how the lavish and extravagant engraving ; 36-5 - 24cm, expenditure of the court added to the nation's debts, and they 141e" 9 1 zin were outraged at the waste. Tensions also existed between the aristocracy and the emerging middle classes, with the latter group trying hard to gain social acceptance and a rise in their influence and status . Of course these issues of politics and class were of little importance to the poor, the vast majority of whom lived in degradation and misery trying to scratch a living from the land. They laid the blame for their misfortunes squarely at the feet of the Church and the aristocracy which claimed crip- pling tithes and feudal dues (70).
    [Show full text]
  • I Pomeriggi Musicali Lorenzo Ferrero a LIFE in WAVES
    klanglogo Lorenzo Ferrero A LIFE IN WAVES I Pomeriggi Musicali A LIFE IN WAVES LorENZO FErrEro MUsiC for CHamBER ORCHESTra Lorenzo Ferrero (1951) Four Modern Dances (1990) für Orchester • for orchestra 1 Allegro moderato 4:46 2 Allegretto 5:48 3 Andante 5:09 4 Allegro 5:48 5 Intermezzo Notturno 4:56 aus • from „Mare Nostro“ (1985) für Orchester • for orchestra Igor Riva, Solovioline • solo violin 6 Parodia (1990) 9:52 für Orchester • for orchestra 7 Paesaggio con Figura (1994) 13:41 für Orchester • for orchestra 8 My Blues (1982) 7:17 für Streicher • for strings Gesamtspielzeit • total time 57:17 Memphis (2014) I Pomeriggi Musicali Carlo Boccadoro, Dirigent • conductor Garten Spielfeld und Gedanken-Raum, in dem Ide- wartungen kommen zusammen aus dem einzigen Künstler im Publikum erleben oder sogar persönlich Semantik, Kraft und en gesät, sprießen und Wurzeln schlagen können. Grund, gemeinsam Musik zu machen – und zwar kennenlernen, die für ihn später prägend werden Und dann kommt ein typischer Lorenzo-Satz, dem unter der Prämisse einer über die Jahrhunderte ver- sollten. Massimo Bruni ermutigte ihn, Musik zu stu- die Schönheit der Form das ironische Augenblitzen schon eingeprägt ist: feinerten Kunst des Musizierens, einer ganz eige- dieren. Der Philosoph Gianni Vattimo – Spezialist für Lorenzo Ferreros Musik „Ist es nicht eine zutiefst befriedigende Erfahrung, nen Semantik und Artikulation, wenn man so will: Nietzsche und Heidegger sowie Mitbegründer des buchstäblich die Familie zu ernähren?“ „Nicht immer geschieht das Wunder, aber wenn, „Schwachen Denkens“ – wurde zur zentralen Figur für Kammerorchester Der Garten illustriert Lorenzo Ferreros Persön- dann staune ich immer wieder aufs Neue: Wie ma- während des Studiums.
    [Show full text]
  • Foreign Rights
    Music 2020 FOREIGN RIGHTS 1 SERIES v The Manuals The Piano THE CURATOR Ala Botti Caselli, Ala Botti Caselli co-ordinator and curator of the volume, was Holder of the Chair of History of music at the Academy of La Spezia and, from 1984 to 2007, at the Academy of Perugia. Since 2012 she has been a consultant at the Vatican Museums. 3 All there is to know about the most popular musical instrument, used in all settings and musical types, explained clearly by the top experts of the national panorama. Born in collaboration with the Società Italiana di Musicologia (Italian Society of Musicology), the volume presents the piano from a variety of historical, technical and constructive aspects, without forgetting the profession of the pianist and the various repertoires which the musician nowadays has to measure up to, from Romanticism to jazz. A volume useful both for one’s personal culture and for the pianist’s professional training, updated to the most recent historic and didactic acquisitions, overflowing with theoretic and practical content, of great interest for every aspiring pianist, whether professional or amateur. In the tradition of the Manuals studied in collaboration with the Italian Society of Musicology, a wide-ranging book, updated and complete, edited by the best experts in the sector, with all the theoretic and practical information for studying the piano and the life of the pianist. The History of the piano from its origins to the present day (by Giovanni Paolo Di Stefano) The instrument in the eighteenth Century in Italy and Germany and its diffusion in Vienna, London, Paris and North America in the Eighteenth and Nineteenth Centuries, the refusal of the Steinway grand piano with crossed wires (1859); the contribution of pianists to the modi- fications which are gradually made on the instrument; the piano from the artisanal workshop to industrialization and internationalization of the most advanced technologies.
    [Show full text]
  • Composers of the 18Th Slowind Festival 2016
    Composers of the 18th Slowind Festival 2016 45 the British College of Music in London, Centre Acanthes in Avignon, CNSM in Lyon, CNR in Strasbourg, the Tchaikovsky Conservatory in Moscow, Ircam in Paris, and the Toho Gakuen School of Music and College of Music in Tokyo, among many others. In 2000, he was awarded the honour of Ivan Fedele (b . 1953) Chevalier de l’Ordre des Lettres et des Arts by the French Ministry of Culture. In Ivan Fedele was born in Lecce, Italy. 2007, the Italian Ministry of Instruction, He studied piano with Bruno Canino, University and Research (MIUR) Vincenzo Vitale and Ilonka Deckers, entrusted him with the Professorship of and composition under the guidance of Composition at the Accademia Nazionale Renato Dionisi, Azio Corghi and Franco di Santa Cecilia. In 2007, he was awarded Donatoni. At the same time, he studied the Abbiati Prize by the Italian Music philosophy at the University of Milan. Critics Association for his opera Antigone, He owes to his father, a mathematician, commissioned for the inauguration of the his passion for mathematics, as becomes Maggio Musicale Fiorentino. evident in his compositional research, From 2009 to 2011, Ivan Fedele was including the examination and use of Artistic Director of the Orchestra I the concept of “spatialisation”, and the Pomeriggi Musicali from Milan. He has formulation of a “library” of creative been appointed Director of the Music processes. Section of the Venice Biennale for the A fundamental role was played by his five-year period 2012–2016. In 2016, the collaborations with eminent figures from Fondation de France awarded him the Prix the world of music, such as Luciano Berio International Arthur Honegger, for his and Pierre Boulez.
    [Show full text]
  • Art As Revolutionary Propaganda in David's the Death of Marat
    H. SPENCER BEAUMONT Art as Revolutionary Propaganda in David’s The Death of Marat PHYSICIAN, SCIENTIST, POLITICAL PHILOSOPHER, journalist, diseased misanthrope, paranoid, regicide, inciter of mass murder – Jean-Paul Marat shed his skin several times before discovering a talent for fanaticism. By mid-1790, however, anyone whose revolutionary fervor did not burn as ferociously as his was a reactionary who must be eliminated. His newspaper, ironically called L’Ami du Peuple (The Friend of the People), was a fiery pulpit of revolutionary propaganda, his sacred podium for the denunciation of the people’s enemies. While belonging to no political party himself, Marat led the Jacobin assault against the nobility, saying that Louis XVI’s death would be good for the people. He also used his paper to blast the Girodin party, portraying them as foes of republicanism. His greatest contribution to the French Revolution still awaited, however. In the summer heat of 1793, Marat’s assassination set the stage for his ultimate metamorphosis. The catalyst of this transfiguration was a work of revolutionary art, the greatest tableau of one of France’s most celebrated painters, War, Literature & the Arts: an international journal of the humanities / Volume 30 / 2018 Jacques-Louis David. Poignantly, his triumph would also prove his undoing. The masterpiece that caused viewers to swoon at its unveiling eventually precipitated the exile of its creator in 1814. At his death in 1825, only David’s heart was permitted burial in France. His body was laid to rest in Brussels and his infamous painting, The Death of Marat, had been kept in seclusion for 30 years, viewable by appointment only.
    [Show full text]
  • Revolutionary Events: Jean-Paul Marat and His Role
    Western Michigan University ScholarWorks at WMU Honors Theses Lee Honors College 4-18-2012 Revolutionary Events: Jean-Paul Marat and His Role Kiri D. Johnson Western Michigan University Follow this and additional works at: https://scholarworks.wmich.edu/honors_theses Part of the History Commons Recommended Citation Johnson, Kiri D., "Revolutionary Events: Jean-Paul Marat and His Role" (2012). Honors Theses. 2047. https://scholarworks.wmich.edu/honors_theses/2047 This Honors Thesis-Open Access is brought to you for free and open access by the Lee Honors College at ScholarWorks at WMU. It has been accepted for inclusion in Honors Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. WESTERN MICHIGAN UNIVERSITY The Carl and Winifred Lee Honors College THE CARL AND WINIFRED LEE HONORS COLLEGE CERTIFICATE OF ORAL DEFENSE OF HONORS THESIS Kiri Johnson, having been admitted to the Carl and Winifred Lee Honors College in the fall of 2010, successfully completed the Lee Honors College Thesis on April 18, 2012. The title of the thesis is: Revolutionary Events: Jean-Paul Marat and His Role \ Dr. Marion W. Gray, History Dr. Molly Lynde-Recchia, Foreign Languages 1903 W. Michigan Ave., Kalamazoo, Ml 49008-5244 PHONE: (269) 387-3230 FAX: (269) 387-3903 www.wmich.edu/honors Table of Contents Chapter One: Background and Context Page 1 Chapter Two: Historiography Page 14 Chapter Three: Marat as Revolutionary Page 23 1 Chapter One: Background and Context The French Revolution occurred because of an aggravated mix of growing ideas regarding the institutions of monarchy and religion, a poor economic climate exacerbated by poor harvests and involvement in costly wars like the American Revolution, and a variety of complaints from each of the different French social classes against their government.
    [Show full text]
  • Kronosquartet 25Years
    KronosQuartet 25Years David Harrington, violin John Sherba, violin Hank Dutt, viola Joan Jeanrenaud, cello Table of Contents Track listing 4 Chronology 15 Notes by: Alan Rich 15 Robert Hurwitz 25 K. Robert Schwarz 35 Commissions / Premieres 68 Texts: Missa Syllabica 74 Different Trains 78 Discography 81 Credits 86 Opposite, clockwise from top left: David Harrington, John Sherba, Hank Dutt, Joan Jeanrenaud Disc Two Ken Benshoof (b. 1933, near Newman Grove, Nebraska) 1 Traveling Music (1973) (18:57) 2 Arvo Pärt 1. I. Gentle, easy (2:15) (b. 1935, Paide, Estonia) 2. II. Moderate (8:19) 3. III. Driving (8:19) 12. Fratres (1977/1989) (9:25) 4. Song of Twenty Shadows (1994) (11:17) Disc One 13. Psalom (1985/1991, rev. 1993) (2:00) Ken Benshoof John Adams 14. Summa (1977/1991) (5:11) (b. 1947, Worcester, Massachusetts) Astor Piazzolla Missa Syllabica (1977) (12:38) (b. 1921, Mar del Plata, Argentina; d. 1992, Buenos Aires, Argentina) John’s Book of Alleged Dances (1994) (33:16) 15. Kyrie (2:06) 1. Judah to Ocean (2:22) 16. Gloria (2:45) Five Tango Sensations (1989) (26:46) 2. Toot Nipple (1:13) 17. Credo (4:27) 5. Asleep (5:23) 3. Dogjam (2:30) 18. Sanctus (0:55) 6. Loving (6:11) 4. Pavane: She’s So Fine (6:29) 19. Agnus Dei (1:45) 7. Anxiety (4:52) 5. Rag the Bone (2:59) 20. Ite, missa est (0:25) 8. Despertar (6:03) 6. Habanera (4:46) Ellen Hargis, soprano 9. Fear (4:00) 7. Stubble Crotchet (2:39) Suzanne Elder, alto 8.
    [Show full text]