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Scaramouche and the Commedia Dell'arte
Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche. -
Fritz Wunderlich Greatest Successes & Rarities
Labelcopy Fritz Wunderlich Greatest Successes & Rarities 3. Welch ein grau’nvolles Bild / Fliehe, Verräter CD1 Elisabeth Grümmer (Donna Anna) 4. Nur ihrem Frieden weih‘ ich mein Leben FRITZ WUNDERLICH Die zentrale Partie: Tamino 5. O seht, gnäd’ger Herr, dort die allerliebsten Masken / Mög‘ Gott zu unserm Werke uns Kraft und Mut verleih’n (1756 – 1791) Wolfgang Amadeus Mozart Karl Kohn (Leporello), Hermann Prey (Don Giovanni), Elisabeth DIE ZAUBERFLÖTE – as Tamino – Grümmer (Donna Anna), Hildegard Hillebrecht (Donna Elvira) 1. Dies Bildnis ist bezaubernd schön Berliner Symphoniker / Hans Zanotelli - 3-5: 1960 2. Zum Ziele führt dich diese Bahn / Die Weisheitslehre dieser Knaben ZAIDE – as Gomez – Drei Wiener Sängerknaben 6. Ja, nun lass das Schicksal wüten 7. Kannst, Geliebter, du vergeben 3. Wo willst du, kühner Fremdling, hin? / O ew’ge Nacht 8. Wack’rer Freund, voll tiefer Scham Eberhard Wächter (Sprecher) 9. O selige Wonne 4. Wie stark ist nicht dein Zauberton Maria Stader (Zaide), Horst Günter (Allazim) - Sinfonieorchester des 5. Soll ich dich, Teurer, nicht mehr seh’n? Süddeutschen Rundfunks / Alfons Rischner - 6-9: 1956 Lieselotte Fölser (Pamina), Gottlob Frick (Sarastro) DIE GÄRTNERIN AUS LIEBE – as Graf von Belfiore – 6. Der, welcher wandelt diese Straße 10. Welch ein Glück 7. Tamino mein, o welch ein Glück! 11. Nein! Geh ich fort? / Im Park hier gibt es eigenart’ge Grotten Lieselotte Fölser (Pamina), Robert Charlesbois, Alois Pernerstorfer Gustav Grefe (Nardo / Roberto) (Geharnischte) - Chor der Wiener Staatsoper - Wiener Philharmoniker/ Orchester der Württembergischen Staatsoper / Josef Dünnwald Joseph Keilberth - 1-7: 1960 (Live, Salzburger Festspiele) 10,11: 1956 (Live, Ludwigsburg, Barocktheater des Schlosses) 8. -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
Mahler's Symphony No. 10
SCHEDULE OF EVENTS WEDNESDAY, MAY 17, 7:30PM [Concert] Gordon Gamm Theater at The Dairy Center • G. Kurtág: Signs, Games, Messages (Jelek, Játékok és Üzenetek) • D. Matthews: Romanza for Violin and Piano, op 119a (U.S. Premiere) • G. Mahler/A. Schnittke: Piano Quartet in a (fragments) • F. Schubert: String Quintet in C, D. 956, Op. posth. 163 THURSDAY, MAY 18, 1:30PM [Master Class] Boulder Public Library • The Conducting Fellows, Kenneth Woods, David Matthews and Mahler specialists. • Mahler: Lieder eines fahrenden Gesellen– Chamber version (Schoenberg) FRIDAY, MAY 19, 2:00PM [FILM] BOEDECKER THEATRE AT THE DAIRY CENTER, BOULDER • Ken Russell’s Mahler SATURDAY, MAY 20, [Symposium] (speaker order subject to change) • Morning Session – 8:30am – C-199 – Imig Building, CU Boulder • Frans Bouwman ”Transcribing Mahler 10: what does it show?” • David Matthews ”Mahler’s 10th Symphony – Restored to Life” • Kenneth Woods, Artistic Director and Conductor, Colorado MahlerFest “A Conductor’s Perspective on the Tenth Symphony” • Jerry Bruck assisted by Louise Bloomfield In“ Search of Mahler: A Personal Recollection” • Lunch – Atrium Lobby, ATLAS building, University of Colorado • Afternoon Session – 1:30pm - Rm 102 – ATLAS Building, CU Boulder • Panel Discussion with David Matthews, Kenneth Woods and Donald Fraser • Jason Starr’s “For the Love of Mahler – The Inspired Life of Henry-Louis de La Grange” Presented in Memory of Henry-Louis de La Grange SATURDAY, MAY 20, 7:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado SUNDAY, MAY 21, 3:30 PM [Orchestral Concert] Macky Auditorium, University of Colorado • Sir Edward Elgar (arr. David Matthews): String Quartet in e, opus 83 – arranged for string orchestra (2010) (US Premiere) • Gustav Mahler: Symphony No. -
Common Feb 15
UNITARIAN UNIVERSALIST CONGREGATION OF CASTINE !FEBRUARY 2015 The COMMON Weeda Rocks the Palace! From symphonies to shortbread, David Weeda hits a high note CALENDAR Pulpit Feb. 1 Rev. Charles J. Stephens Feb. 8 Dr. Lynn Parsons Feb. 15 Rev. Albert Boyce Feb. 22 Rev. Charles J. Stephens Events Feb. 15 Pot luck Luncheon Feb. 19 Board meeGng David Weeda, here tricked If you’ve not thought of the out in Scosh garb, aer a brief bag pipe as an orchestral summer rain. piping on the instrument, you missed David’s beach at The Colony in Hulls guest turn last year with the Cove, on Mount Desert Island. Bangor Symphony, which led to Thanks to Don G. Powell for this his invitaon to play with the magical photograph! Albany Symphony. See page 2 SEARCH ON SCHEDULE ANNE PARSONS Your Ministerial Search CommiWee during congregaon. Those applicants January received and reviewed several then parGcipated in a Skype on-line applicaons and informaon interview (voice and video via packets. In this iniGal review, we the Internet) with the full narrowed the field to those applicants commiWee to help further focus who appeared most likely to match our on those who best matched our needs and aributes, as set forth by the needs. see page 4 ! PAGE 1 UNITARIAN UNIVERSALIST CONGREGATION OF CASTINE !FEBRUARY 2015 PIPING THE SYMPHONY David Weeda Last month I was thrilled to play the 2.5 minute Highland Pipe part in Peter Maxwell Davies' "An Orkney Wedding, With Sunrise!," with the Albany Symphony Orchestra, no less. The composer's direcGve is for the piper--represenGng IMAGINE .... -
NORTHERN STARS MUSIC from the NORDIC and BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars
NORTHERN STARS MUSIC FROM THE NORDIC AND BALTIC REGIONS NAXOS • MARCO POLO • ONDINE • PROPRIUS • SWEDISH SOCIETY • DACAPO Northern Stars Often inspired by folk tradition, nature, landscape and a potent spirit of independence, the music of Scandinavia, Finland and the Baltic states is distinctive and varied, with each country’s music influenced by its neighbours, yet shaped and coloured by its individual heritage. Traveling composers such as Sweden’s Joseph Kraus introduced 18th and early 19th century classical trends from Germany and Italy, but with national identity gaining increasing importance as Romantic ideals took hold, influential and distinctive creative lines were soon established. The muscular strength of Carl Nielsen’s symphonies grew out of the Danish nationalist vigor shown by Friedrich Kuhlau and Niels Gade, extending to names such as Per Nørgård today. Gade was a teacher of Edvard Grieg, who owes his position as Norway’s leading composer, at least in part, to the country’s traditional folk music and the poignant lyricism of the Hardanger fiddle. The music of Finland is dominated by the rugged symphonies of Jean Sibelius, and his Finlandia ensured his status as an enduring national symbol. Sibelius successfully combined the lessons of Viennese romanticism with a strong Nordic character, and this pragmatic approach has generated numerous contemporary giants such as Aus Sallinen, Einojuhani Rautavaara, Kalevi Aho and Kaija Saariaho. Turbulent history in the Baltic States partially explains a conspicuous individualism amongst the region’s composers, few more so than with Arvo Pärt, whose work distils the strong Estonian vocal tradition into music of striking intensity and crystalline beauty. -
Werner-B02c[Erato-10CD].Pdf
Johann Sebastian Bach (1685-1750) The Cantatas, Volume 2 Heinrich Schütz Choir, Heilbronn Pforzheim Chamber Orchestra Württemberg Chamber Orchestra (B\,\1/ 102, 137, 150) Südwestfunk Orchestra, Baden-Baden (B\,\ry 51, 104) Fritz Werner L'Acad6mie Charles Cros, Grand Prix du disque (BWV 21, 26,130) For complete cantata texts please see www.bach-cantatas.com/IndexTexts.htm cD t 75.22 Ich hatte viel Bekümmernis, BWV 2l My heart and soul were sore distrest . Mon cceur ötait plein d'ffiiction Domenica 3 post Trinitatis/Per ogni tempo Cantata for the Third Sunday after Trinity/For any time Pour le 3n"" Dimanche aprös la Trinitö/Pour tous les temps Am 3. Sonntag nachTrinitatis/Für jede Zeit Prima Parte 0l 1. Sinfonia 3.42 Oboe, violini, viola, basso continuo 02 2. Coro; Ich hatte viel Bekümmernis 4.06 Oboe, violini, viola, fagotto, basso continuo 03 3. Aria (Soprano): Seufzer, Tränen, Kummer, Not 4.50 Oboe, basso continuo ) 04 4. Recitativo (Tenore): Wie hast du dich, mein Gott 1.50 Violini, viola, basso continuo 05 5. Aria (Tenore): Bäche von gesalznen Zähren 5.58 Violini, viola, basso conlinuo 06 6. Coro: Was betrübst du dich, meine Seele 4.35 Oboe, violini, viola, fagotto, basso continuo Seconda Parte 07 7. Recitativo (Soprano, Basso): Ach Iesu, meine Ruh 1.38 Violini, viola, basso continuo 08 8. Duetto (Soprano, Basso): Komm, mein Jesu 4.34 Basso continuo 09 9. Coro: Sei nun wieder zufrieden 6.09 Oboe, tromboni, violini, viola, fagotto, basso continuo l0 10. Aria (Tenore): Erfreue dich, Seele 2.52 Basso continuo 11 11. -
Volume 88, Book 2 • October 28 - November 20, 2010 B:8.75 in T:8.5 In
B:5.75 in T:5.5 in Season 10-11 Volume 88, Book 2 • October 28 - November 20, 2010 B:8.75 in T:8.5 in T:8.5 beyond measure. Christopher Seaman, Music Director • Jeff Tyzik, Principal Pops Conductor Michael Butterman, Principal Conductor for Education and Outreach • The Louise and Henry Epstein Family Chair Arild Remmereit, Music Director-Designate Job #: J10-01085_#2 Internal Route Client/Product: RPO Initials Date w/changes Initials Date w/changes Ad Description: Bravo Covers 2010/2011 Color: CMYK Client Creative Director (Art) Art Director: Joe Live: N/A Traffic/Proofreader Creative Director (Copy) Copywriter: Earl Trim: 5.5 x 8.5 Production: Daniel Bleed: 3 sides + .125” Production Account Executive Mac Operator: Daniel AE: Christan/Kate Copywriter Mac Supervisor Proof #: 3 Art Director Mac Operator Publication(s) & Issue Date(s): We applaud all great artists. Like a beautiful symphony, Stickley furniture design is timeless. COMPLIMENTARY DESIGN SERVICE 40 Eastview Park Mall, Victor, NY 14564 • 585.425.2302 StickleyAudi.com 2 rochesterPO.indd 1 9/10/10 4:44 PM ROCHESTERROCHESTER PHILHARMONICPHILHARMONIC ORCHES ORCHESTRATRA CHRISTOPHERCHRISTOPHER SEAMAN,SEAMAN, MUSICMUSIC DIRE DIRECTORCTOR beyondbeyond measure. measure. BRAVO!BRAVO! The officialofficial magazine of the RochesterRochester Philharmonic Philharmonic OrOrchestrachestra We believe that CONTENTS CONTENTS our patrons are at the FromFrom the PrPresidentesident & CEO............................................................................... 57 Rochester Philharmonic OrchestraOrchestra...............................................69 -
Radio 3 Listings for 13 – 19 June 2009 Page 1
Radio 3 Listings for 13 – 19 June 2009 Page 1 of 39 SATURDAY 13 JUNE 2009 Chopin, Fryderyk (1810-1849): Polonaise in F sharp minor, Op 44 SAT 01:00 Through the Night (b00kszvp) Erik Suler (piano) 1.00am Haydn, (Franz) Joseph (1732-1809): String Quartet in B flat, Op 5.29am 76, No 4 (Sunrise) Telemann, Georg Philipp (1681-1767): Concerto in F minor Con Tempo Quartet European Union Baroque Orchestra Roy Goodman (director) 1.22am Beethoven, Ludwig van (1770-1827): String Quintet in C, Op 28 5.44am Con Tempo Quartet Haydn, Joseph (1732-1809): Sonata in E flat for piano trio, H XV 28 1.52am Kungsbacka Trio Sirola, Bozidar (1889-1956): Missa Poetica Slovenian Chamber Choir 6.00am Vladimir Kranjcevic (conductor) Moszkowski, Moritz (1854-1925): Piano Concerto in E, Op 59 Janina Fialkowska (piano) 2.25am Kitchener-Waterloo Symphony Orchestra Tchaikovsky, Pyotr Il'yich (1840-1893): Violin Concerto in D, Op Raffi Armenian (conductor) 35 Ann-Sofie Mutter (violin) 6.37am Oslo Philharmonic Grieg, Edvard (1843-1907): Holberg Suite, Op 40 Andre Previn (conductor) Stavanger Symphony Orchestra Eivind Aadland (conductor). 3.00am Dohnanyi, Erno (1877-1960): Suite in F sharp minor, Op 19 West Australian Symphony Orchestra SAT 07:00 Breakfast (b00ktmq7) Jorge Mester (conductor) Suzy Klein 3.30am The complete Breakfast playlist for weekend editions of the Bach, Johann Christoph Friedrich (1732-1795): Cantata - programme is posted online on the Monday following Pygmalion broadcast. Harry Van der Kamp (bass) Das Kleine Konzert 07:03 Hermann Max (conductor) MOZART 4.03am March in D major, K.445 Platti, Giovanni Benedetto (1697-1763): Wind Trio in C minor Academy of St. -
Cantata BWV 76
C. Role. Janvier 2012 CANTATE BWV 76 DIE HIMMEL ERZÄHLEN DIE EHRE GOTTES Les cieux racontent la gloire de Dieu… KANTATE AM 2. SONNTAG NACH TRINITATIS Cantate pour le deuxième dimanche après la Trinité Leipzig, 6 juin 1723 AVERTISSEMENT Cette notice dédiée à une cantate de Bach tend à rassembler des textes (essentiellement de langue française), des notes et des critiques discographiques parfois peu accessibles (2011). Le but est de donner à lire un ensemble cohérent d’informations et de proposer aux amateurs et mélomanes francophones un panorama « espéré » élargi de cette partie de l’œuvre vocale de Bach. Outre les quelques « interventions « CR » signalées par des crochets [...] le rédacteur précise qu’il a toujours pris le soin jaloux de signaler sans ambiguïté le nom des auteurs sélectionnés dans la bibliographie. A cet effet il a indiqué très clairement, entre guillemets «…» toutes les citations fragmentaires tirées de leurs travaux. Rendons à César... ABRÉVIATIONS (A) = La majeur → (a moll) = la mineur (B) = Si bémol majeur BB / SPK = Berlin / Staatsbibliothek Preussicher Kulturbesitz B.c. = Basse continue ou continuo BCW = Bach Cantatas Website BD = Bach-Dokumente (4 volumes, 1975) BGA = Bach-Gesellschaft Ausgabe = Édition par la Société Bach (Leipzig, 1851-1899). J. S. Bach Werke. Gesamtausgabe (édition d’ensemble) der Bachgesellschaft BJ = Bach-Jahrbuch (C) = Ut majeur → (c moll) = ut mineur D = Deutschland (D) = Ré majeur → (d moll) = ré mineur (E) = Mi → (Es) = mi bémol majeur EKG = Evangelisches Kirchen-Gesangbuch. (F) = Fa (G) = Sol majeur→ (g moll) = sol mineur GB = Grande-Bretagne = Angleterre (H) = Si → (h moll) = si mineur NBA = Neue Bach Ausgabe (nouvelle publication de l’œuvre de Bach à partir des années 1954-1955) NBG = Neue Bach Gesellschatf = Nouvelle société Bach (fondée en 1900) OP = Original Partitur = Partition originale autographe OSt. -
Printer's Pairs 24
THE SIBELIUS EDITION PIANO MUSIC II BIS-CD-1927/29 BIS-CD-1927-29_f-b.indd 1 10-02-12 14.42.13 SIBELIUS, Johan (Jean) Christian Julius (1865–1957) Piano Music II 2 DISC 1 [75'57] Pelléas och Mélisande (Pelléas and Mélisande), Op. 46 27'19 Incidental music to the play by Maurice Mæterlinck · Concert Suite (1905) Piano transcription (1905) by the composer (Lienau) 1 No. 1. Am Schlosstor (At the Castle Gate). Grave e largamente 3'32 2 No. 2. Mélisande. Andantino con moto 4'22 3 No. 3. Am Wunderborn im Park (By a Spring in the Park). Comodo 2'04 4 No. 4. Die drei blinden Schwestern (The Three Blind Sisters). Tranquillo 3'13 5 No. 5. Pastorale. Andantino pastorale 2'06 6 No. 6. Mélisande am Rocken (Mélisande at the Spinning Wheel). Con moto 2'01 7 No. 7. Zwischenaktsmusik (Entr’acte). Allegro 2'54 8 No. 8. Mélisandes Tod (The Death of Mélisande). Andante 6'37 Belsazars gästabud (Belshazzar’s Feast), Op. 51 11'40 Incidental music to the play by Hjalmar Procopé · Concert Suite (1906–07) Piano transcription (1907) by the composer (Lienau) 9 No. 1. Einzug (Oriental Procession). Moderato 2'07 10 No. 2. Einsames Lied (Solitude). Andante 2'20 11 No. 3. Nachtmusik (Nocturne). Andantino 3'20 12 No. 4. Khadras Tanz (Khadra’s Dance). Commodo 3'38 3 DISC 1 Ten Pieces, Op. 58 (1909) (Breitkopf & Härtel JSW) 35'52 13 No. 1. Rêverie. Lento 4'48 14 No. 2. Scherzino. Con moto 1'35 15 No. 3. Air varié. -
Stanley Hasty: His Life and Teaching Elizabeth Marie Gunlogson
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Stanley Hasty: His Life and Teaching Elizabeth Marie Gunlogson Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC STANLEY HASTY: HIS LIFE AND TEACHING By ELIZABETH MARIE GUNLOGSON A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 Copyright @ 2006 Elizabeth M. Gunlogson All Rights Reserved The members of the Committee approve the Treatise of Elizabeth M. Gunlogson defended on November 10, 2006. ______________________ Frank Kowalsky Professor Directing Treatise ______________________ Seth Beckman Outside Committee Member ______________________ Patrick Meighan Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Stanley and June Hasty iii ACKNOWLEDGEMENTS First and foremost I would like to thank Stanley and June Hasty for sharing their life story with me. Your laughter, hospitality and patience throughout this whole process was invaluable. To former Hasty students David Bellman, Larry Combs, Frank Kowalsky, Elsa Ludewig- Verdehr, Tom Martin and Maurita Murphy Mead, thank you for your support of this project and your willingness to graciously share your experiences with me. Through you, the Hasty legacy lives on. A special thanks to the following people who provided me with valuable information and technical support: David Coppen, Special Collections Librarian and Archivist, Sibley Music Library (Eastman School of Music); Elizabeth Schaff, Archivist, Peabody Institute/Baltimore Symphony Orchestra; Nicole Cerrillos, Public Relations Manager, Pittsburgh Symphony Orchestra; Tom Akins, Archivist, Indianapolis Symphony Orchestra; James Gholson, Professor of Clarinet, University of Memphis; Carl Fischer Music Publishing; and Annie Veblen-McCarty.