Erik Krohg Baritone Age 24

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Erik Krohg Baritone age 24 Baritone Erik Krohg, a native of Bloomington, Minnesota, is a recent graduate of Indiana University, where he served as an Associate Instructor in Voice while earning his Master of Music in Voice Performance as a student of Timothy Noble. At Indiana, he performed the roles of Schaunard in La Bohème and Captain Corcoran in H.M.S. Pinafore with the IU Opera Theater. He also made several concert appearances as the baritone soloist in Haydn’s Paukenmesse in a performance with the University Singers, the baritone soloist in Benjamin Britten’s War Requiem under the direction of Michael Palmer, and as the soloist in Vaughan Williams’ Five Mystical Songs with the IU Summer Chorus conducted by Dominick DiOrio. Krohg earned a Bachelor of Music Summa Cum Laude in Vocal Performance from Concordia College in Moorhead, Minnesota, where he studied with Peter Halverson. At Concordia, he was heard as Jesus in Bach’s St. Matthew Passion and as a baritone soloist in Carmina Burana. In 2011, Krohg performed as the baritone soloist in a performance of Rene Clausen’s Memorial with the Northern Symphony Orchestra with the composer conducting. Krohg has performed in several productions with the Fargo-Moorhead Opera Company, including Il Barbiere di Siviglia, in which he performed the role of Fiorello. In 2013, Krohg was an Associate Fellow at the Tanglewood Music Center, where he performed in Benjamin Britten’s Curlew River and Henry Purcell’s Dido and Aeneas under the direction of Mark Morris and conducted by Stefan Asbury. Krohg has also performed in competitions, earning 3rd place at the Orpheus Competition and 2nd place in the Oratorio Society of New York Solo Competition in 2015. http://erikkrohgbaritone.weebly.com/ http://erikkrohgbaritone.weebly.com/media.html.

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Curlew River a PARABLE for CHURCH PERFORMANCE Op
The Yale School of Music, Robert Blocker, Dean and The Institute of Sacred Music, Margot Fassler, Dean present in partial fulfillment of the requirements for the Master of Music degree: The Yale Recital Chorus BENJAMIN BRITTEN Curlew River A PARABLE FOR CHURCH PERFORMANCE Op. 71 Libretto based on the medieval Japanese No-play Sumidagawa of Juro Motomasa (1395-1431) by WILLIAM PLOMER Christopher Hossfeld, conductor 5:00 pm 25 January 2004 Christ Church, New Haven 2 No production can go on without the help of many others and this one is no exception. I owe countless thanks and immeasurable gratitude to those who have made today’s recital possible: To my teachers, Maggi Brooks and Simon Carrington, for the guidance in exploring Curlew River and the tools to bring it to the ears of others. To my manager, Evan, for the legwork that brought everything together. To Robert Lehman and Christ Church, for allowing us to use this wonderful space. To my colleagues, Chuck, Holland, Rick, Kim, Joe, David, Michael, Evan, and Richard, for their time, musicality, advice, and expertise to learn this difficult music and make it happen. To my parents, Linda and Rod, my sister, Emily, my fiancé, Jimmy, and all the family and friends who made the journey to New Haven today, for their constant and enduring love and support. 3 PERFORMERS who make up the cast of the Parable: The Madwoman Charles Kamm, Tenor The Ferryman Holland Jancaitis, Baritone The Traveller Rick Hoffenberg, Baritone The Spirit of the Boy Kimberly Dunn, Soprano The Abbot Joseph Gregorio, Bass
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Britten's Acoustic Miracles in Noye's Fludde and Curlew River
Britten’s Acoustic Miracles in Noye’s Fludde and Curlew River A thesis submitted by Cole D. Swanson In partial fulfillment of the requirements for the degree of Master of Arts in Music TUFTS UNIVERSITY May 2017 Advisor: Alessandra Campana Readers: Joseph Auner Philip Rupprecht ii ABSTRACT Benjamin Britten sought to engage the English musical public through the creation of new theatrical genres that renewed, rather than simply reused, historical frameworks and religious gestures. I argue that Britten’s process in creating these genres and their representative works denotes an operation of theatrical and musical “re-enchantment,” returning spiritual and aesthetic resonance to the cultural relics of a shared British heritage. My study focuses particularly on how this process of renewal further enabled Britten to engage with the state of amateur and communal music participation in post-war England. His new, genre-bending works that I engage with represent conscious attempts to provide greater opportunities for amateur performance, as well cultivating sonically and thematically inclusive sound worlds. As such, Noye’s Fludde (1958) was designed as a means to revive the musical past while immersing the Aldeburgh Festival community in present musical performance through Anglican hymn singing. Curlew River (1964) stages a cultural encounter between the medieval past and the Japanese Nō theatre tradition, creating an atmosphere of sensory ritual that encourages sustained and empathetic listening. To explore these genre-bending works, this thesis considers how these musical and theatrical gestures to the past are reactions to the post-war revivalist environment as well as expressions of Britten’s own musical ethics and frustrations.
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Benjamin Britten(1913–76)
Benjamin Britten (1913–76) Curlew River: A Parable for Church Performance (1964) A virtuous wife raped by the vicious son of a an artist who, for all his deep curiosity about Roman tyrant; a Japanese mother, maddened other cultures, was grounded in the tradition by grief perhaps, in search of her abducted set in train by the Enlightenment, that West was son. How much can The Rape of Lucretia and probably best. However, neither The Rape of Curlew River have in common? For a start Lucretia nor Curlew River attempts to synthesise there’s a span of 18 years between the first the European past and present or East and performances of each work, during which time West; both are simultaneously and separately Benjamin Britten’s interests moved in different present in each work and are somehow brought directions. Then The Rape of Lucretia is described together within the performance itself. Indeed as an opera, while Curlew River was subtitled ‘performance’ may be said to act as a bridge ‘A Parable for Church Performance’. It’s true that between these two worlds. So the principal both works tell their tales within a specifically action of the church parable has the Madwoman Christian framework, with the man and woman and the Traveller being ferried across the Curlew of the chorus in Lucretia struggling to relate River, while in the chamber opera Tarquinius her rape and eventual suicide to Christian must ride from his army camp outside Rome ideas about suffering and redemption, and into the heart of the city to ravish Lucretia.
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Peter Thickett Set & Costume Designer Crispin Lord Lighting Designer Edward Saunders Marketing Manager Thea Waxman
Curlew River Benjamin Britten Cast The Madwoman Richard Robbins The Ferryman Ben Bevan The Traveller Ivo Almond The Abbot Tom Herring The Spirit James Bennett Chorus Tenors Philip Barrett Liam Connery Gethin Lewis Chorus Baritones James Edwards Jevan McAuley Jonny Venvell Chorus Basses Shaun Aquilina Max Loble Production Team Producer / Musical Director Frederick Waxman Artistic Director Peter Thickett Set & Costume Designer Crispin Lord Lighting Designer Edward Saunders Marketing Manager Thea Waxman Ante Terminum Productions Benjamin Britten (1914 - 1976) Several decades after his death, we have a more complete picture of Benjamin Britten as a composer than during his lifetime. Works from his youth and works that he suppressed have been played and published; the late music can now be seen as a distinct phase, in some ways as forward looking and as influential as Stravinsky’s. Above all, Britten’s central place in the history of 20th-century music seems more and more assured. He is one of very few composers born in the last century whose whole output - from operas to solo pieces - has gained a secure place in the repertoire. Britten was born into a middle-class family in Lowestoft, Suffolk, on 22 November 1913. His mother encouraged him to learn the piano and the viola, and to compose; by the age of fourteen he had written over 100 works. Little of this abundant juvenilia has so far been heard, but Britten himself selected Five Waltzes for piano, composed between 1923 and 1925, for publication in 1969: they are not simply charming but have the feel of genuine music.
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Fair Lane Festival
FAIR LANE FESTIVAL THE BURNING FIERY FURNACE The Second Parable for Church Performance By BENJAMIN BRITTEN Text by WILLIAM PLOMER THURSDAY EVENING, JULY 6, 1967, AT 8:30 FAIR LANE, DEARBORN CAMPUS, THE UNIVERSITY OF MICHIGAN Characters The Abbot, Twelve Monks, Four Acolytes and Eight Lay Brothers who make up the cast of the Parable N ebuchadnezzar ANDREA VELlS The Astrologer (Abbot) EDWARD PIERSON Ananias WILLIAM METCALF Misael JOHN LANKSTON Azarias ARA BERBERIAN The Herald and Leader of the Courtiers DAVID FORSSEN The Chorus of Courtiers William Caniff, Richard Christopher, Richard Eikenberry, David Forssen, Seth McCoy, Neil Raber, Richard Shadley, Richard Vogt Four Assistants (including Angel, Tumbler, Entertainers, Pages, etc.) Steven Chall, Douglas Hughes, Patrick Malone, Charles Nutile The Instrumentalists (Lay Brothers) Arthur Granick, viola; James Brennand, bass; John Wion, flute; William Brown, horn; Raymond DesRoches, percussion*; Francesca Corsi, harp; Robert Hauck, alto trombone; Julius Rudel, organ * Small untuned drums, anvil (small untuned steel plate), two tuned wood blocks, portable glocken spiel, Babylonian drum, multiple whip This performance is made possible with the support of the New York State Council on the Arts. SIXTH PROGRAM 1967 FAIR LANE FEsTIVAL COMPLETE SERIES 3571 89th Season of University Musical Society Presentations Twenty-sixth program in the Sesquicentennial Year of The University of Michigan THE BURNING FIERY FURNACE Second Parable for Church Performance, Op. 77 PROGRAM NOTES Britten's first Parable for Church Performance, Curlew River, was composed in 1964. The libretto, by William Plomer, used as its basis a Japanese Noh play; but the original drama Sumidagawa was re-conceived in the terms of a medieval English miracle play, with a band of Monks presenting the Parable-the Mystery-before a Church audience.
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ORIENTALISM in BENJAMIN BRITTEN's CURLEW RIVER By
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Curlew River: a Parable for Church Performance
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Death in Venice Study Guide BENJAMIN BRITTEN
Death in Venice Study Guide BENJAMIN BRITTEN The performances this season will take place on October 16, 19, 22, 25, 28, 31, November 3, 6, 2010 at the Four Seasons Centre for the Performing Arts. Book your school group tickets now! Call COC Group Sales at 416-306- 2356 or e-mail [email protected]. Sung in English with English SURTITLES™ Co-production of the Aldeburgh Festival, Opéra national de Lyon, Bregenz Festival and Prague State Opera Table of Contents Page Content 2 Background & Characters 3 Synopsis 5 Britten's Life, A Brief Biography 6 The Life & Times of Benjamin Britten 7 Britten's Music 8 What to Look For 10 Inspired Thinking 12 Listening Guide 15 Inspiration in the Classroom, Lesson Plan Canadian Opera Company 2010/2011 coc.ca Death in Venice Study Guide Background & Characters Historical Background Thomas Mann’s novella Der Tod in Venedig (Death in Venice) was written in 1912. In 1911 the author had visited Venice with his wife and his brother. They stayed at the Grand Hotel des Bains (built in 1900) on the Lido, an 11-kilometre-long sandbank just over the water from Venice. The hotel became the setting for the novel, but a greater inspiration was found in a very beautiful young boy, Wladyslaw Moes, who Mann encountered during his stay, and who was the model for the young boy, Tadzio. Benjamin Britten had wanted to turn Death in Venice into an opera for years. In September 1970 he asked Myfanwy Piper to produce the libretto. Britten was in poor health while he wrote the opera, managing to finish it however, before enter- ing hospital in May 1973 for open-heart surgery.
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Britten's Musical Language
Britten’s Musical Language Philip Rupprecht The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org © Philip Rupprecht 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 Printed in the United Kingdom at the University Press, Cambridge Typeface Adobe Minion 10.5/13.5pt System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Rupprecht, Philip Ernst. Britten’s musical language / Philip Rupprecht. p. cm. – (Music in the 20th century) Includes bibliographical references (p. ) and index. ISBN 0 521 63154 8 1. Britten, Benjamin, 1913–1976 – Criticism and interpretation. I. Music in the twentieth century. ML410.B853 R8 2001 780Ј.92–dc21 2001035577 ISBN 052163154 8 hardback Contents Acknowledgments page ix 1 Introduction: Britten’s musical language 1 Utterance as speech event in Our Hunting Fathers 6 Beyond the voice: the song quotations in Lachrymae 14 The social utterance: divine speech and ritual in Noye’s Fludde 21 2 Peter Grimes: the force of operatic utterance
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Coyle Phd Thesis 2019 March 28 Corrections Corrected
AN APPRAISAL OF THE POLY- TECHNICAL WORKS OF BENJAMIN BRITTEN Jim Coyle Submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy Sydney Conservatorium of Music The University of Sydney 2019 I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree. Signed: ....................................................................................... Date: ........ 5th February 2019 ABSTRACT Works featuring musically-untrained children form a uniquely large and important part of the output of Benjamin Britten (1913-1976). Some of these pieces are poly- technical, which is to say they feature professional musicians alongside musically- untrained children. This thesis examines the ways in which Britten made technical adjustments when writing these works. These were necessary for the children to be able to perform them. A detailed analysis of the relevant vocal and instrumental music was undertaken, with some of Britten’s other works analysed for comparison. The results of these analyses demonstrate the methods and extent of these technical adjustments. By examining Britten’s own writing about music and relevant critical literature, this thesis also concludes that in making these technical adjustments, Britten in no way compromised the integrity of his voice as a composer. This thesis demonstrates that it is therefore possible for a composer to write music of the highest artistic integrity, but still make technical adjustments to allow for the skills of the performers available. ii ACKNOWLEDGEMENTS I am extremely grateful for the care and expertise of my Supervisor Dr James Humberstone and Associate Supervisor Dr Michael Webb.
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Benjamin Britten's Contribution to Church Music Marcella Rauch Ouachita Baptist University
Ouachita Baptist University Scholarly Commons @ Ouachita Graduate Theses Archives and Special Collections 1969 Benjamin Britten's Contribution to Church Music Marcella Rauch Ouachita Baptist University Follow this and additional works at: http://scholarlycommons.obu.edu/grad_theses Part of the Composition Commons, Music Pedagogy Commons, and the Practical Theology Commons Recommended Citation Rauch, Marcella, "Benjamin Britten's Contribution to Church Music" (1969). Graduate Theses. 22. http://scholarlycommons.obu.edu/grad_theses/22 This Thesis is brought to you for free and open access by the Archives and Special Collections at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. BEK JAHIN BRITTEN'S CONTRIBUTION TO CHURCH "t-1USIC A ThPsis Presented to The Director of Graduate Studies Ouachita Baptist University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Church Music Riley Librc>ry Ouachita Baptist University_ by ~farce lla Rauch Nay 1969 RILEY -HICKINGBOTHAM LIBRARY -. __ ,,.._,..,. • u..u\Jr-n~ITV APPROVAL SHEIT BENJANI)J BRITTEN'S CONTRIBt.:TION TO CHURCH NtJSIC By "<ARCELLA RA11Cll r AC'Kl\JOWLFDGENENT S The writer wisl~s to express her appreciation to the memhcrs of her committee for the time and assistance they gave so generously during the preparation of this thesis , and to the staff of Riley Library of Ouachita Baptist Uni versity for their help in obtair ing books a~d ~cores. Special acknowledgements go to t-lr. Alee \vyton, Organist and Choirmaster at the Cathedral of St.
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Puzzles Music – Created by Christopher Hussey
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