Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 02 Stand: 17. Februar 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT02_2010-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD
OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 1 An Introduction to... OPERAEXPLAINED WAGNER The Ring of the Nibelung Written and read by Stephen Johnson 2 CDs 8.558184–85 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 2 An Introduction to... WAGNER The Ring of the Nibelung Written and read by Stephen Johnson CD 1 1 Introduction 1:11 2 The Stuff of Legends 6:29 3 Dark Power? 4:38 4 Revolution in Music 2:57 5 A New Kind of Song 6:45 6 The Role of the Orchestra 7:11 7 The Leitmotif 5:12 Das Rheingold 8 Prelude 4:29 9 Scene 1 4:43 10 Scene 2 6:20 11 Scene 3 4:09 12 Scene 4 8:42 2 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 3 Die Walküre 13 Background 0:58 14 Act I 10:54 15 Act II 4:48 TT 79:34 CD 2 1 Act II cont. 3:37 2 Act III 3:53 3 The Final Scene: Wotan and Brünnhilde 6:51 Siegfried 4 Act I 9:05 5 Act II 7:25 6 Act III 12:16 Götterdämmerung 7 Background 2:05 8 Prologue 8:04 9 Act I 5:39 10 Act II 4:58 11 Act III 4:27 12 The Final Scene: The End of Everything? 11:09 TT 79:35 3 OE Wagner Ring Cycle Booklet 10-8-7:Layout 2 13/8/07 11:07 Page 4 Music taken from: Das Rheingold – 8.660170–71 Wotan ...............................................................Wolfgang Probst Froh...............................................................Bernhard Schneider Donner ....................................................................Motti Kastón Loge........................................................................Robert Künzli Fricka...............................................................Michaela
The Bayreuth Festspielhaus: the Metaphysical Manifestation of Wagner's Der Ring Des Nibelungen Matthew Timmermans University of Ottawa
Nota Bene: Canadian Undergraduate Journal of Musicology Volume 8 | Issue 1 Article 6 The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Matthew Timmermans University of Ottawa Recommended Citation Timmermans, Matthew (2015) "The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 8: Iss. 1, Article 6. The Bayreuth Festspielhaus: The Metaphysical Manifestation of Wagner's Der Ring des Nibelungen Abstract This essay explores how the architectural design of the Bayreuth Festspielhaus effects the performance of Wagner’s later operas, specifically Der Ring des Nibelungen. Contrary to Wagner’s theoretical writings, which advocate equality among the various facets of operatic production (Gesamtkuntswerk), I argue that Wagner’s architectural design elevates music above these other art forms. The evidence lies within the unique architecture of the house, which Wagner constructed to realize his operatic vision. An old conception of Wagnerian performance advocated by Cosima Wagner—in interviews and letters—was consciously left by Richard Wagner. However, I juxtapose this with Daniel Barenboim’s modern interpretation, which suggests that Wagner unconsciously, or by a Will beyond himself, created Bayreuth as more than the legacy he passed on. The juxtaposition parallels the revolutionary nature of Wagner’s ideas embedded in Bayreuth’s architecture. To underscore this revolution, I briefly outline Wagner’s philosophical development, specifically the ideas he extracted from the works of Ludwig Feuerbach and Arthur Schopenhauer, further defining the focus of Wagner’s composition and performance of the music. The analysis thereby challenges the prevailing belief that Wagner intended Bayreuth and Der Ring des Nibelungen, the opera which inspired the house’s inception, to embody Gesamtkunstwerk; instead, these creations internalize the drama, allowing the music to reign supreme.
1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
REVISTA DE MÚSICA Año XX - Nº 198 - Junio 2005 - 6,30 DOSIER Honegger y Enescu ENTREVISTA Piotr Anderszewski Nº 198 - Junio 2005 SCHERZO ENCUENTROS Anja Silja EDUCACIÓN La música en la nueva Ley JAZZ Atomic: Libre y nuclear 9778402 134807 9100 7 AÑO XX Nº 198 Junio 2005 6,30 € 2 OPINIÓN El misterio medieval Santiago Martín Bermúdez 114 Jeanne d’Arc au bûcher CON NOMBRE Josep Pascual 118 PROPIO La obra de una vida 8 Claudio Abbado Harry Halbreich 122 Carmelo Di Gennaro Proteico y descomunal Arturo Reverter 124 10 Pierre Hantaï Pablo J. Vayón Edipo, de la cuna a la tumba Santiago Salaverri 128 12 AGENDA Enescu y Honegger en CD Juan Manuel Viana 132 18 ACTUALIDAD NACIONAL ENCUENTROS Anja Silja 44 ACTUALIDAD Rafael Banús Irusta 142 INTERNACIONAL EDUCACIÓN Pedro Sarmiento 148 60 ENTREVISTA Piotr Anderszewski EL CANTAR DE Bruno Serrou LOS CANTARES Arturo Reverter 150 64 Discos del mes JAZZ SCHERZO DISCOS Pablo Sanz 152 65 Sumario LIBROS 154 DOSIER LA GUÍA 156 113 Honegger y Enescu CONTRAPUNTO Norman Lebrecht 160 Colaboran en este número: Jeffrey Alexander, Javier Alfaya, Julio Andrade Malde, Íñigo Arbiza, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, Jacobo Cortines, Carmelo Di Gennaro, Patrick Dillon, Pedro Elías, Fernando Fraga, Ramón García Balado, Manuel García Franco, Joaquín García, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Harry Halbreich, Federico Hernández, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Enrique Igoa, Antonio Lasierra, Norman Lebrecht, Fiona Maddocks, Nadir Madriles, Santiago Martín Bermúdez, Joaquín Martín de Sagarmínaga, Enrique Martínez Miura, Blas Matamoro, Erna Metdepenninghen, Antonio Muñoz Molina, Javier Palacio Tauste, Josep Pascual, Enrique Pérez Adrián, Javier Pérez Senz, Pablo Queipo de Llano Ocaña, Francisco Ramos, Arturo Reverter, Leopoldo Rojas O’Donnell, Stefano Russomanno, Santiago Salaverri, Pablo Sanz, Pedro Sarmiento, Bruno Serrou, Franco Soda, José Luis Téllez, Asier Vallejo Ugarte, Claire Vaquero Williams, Pablo J.
applied sciences Review A History of Audio Effects Thomas Wilmering 1,∗ , David Moffat 2 , Alessia Milo 1 and Mark B. Sandler 1 1 Centre for Digital Music, Queen Mary University of London, London E1 4NS, UK; [email protected] (A.M.); [email protected] (M.B.S.) 2 Interdisciplinary Centre for Computer Music Research, University of Plymouth, Plymouth PL4 8AA, UK; [email protected] * Correspondence: [email protected] Received: 16 December 2019; Accepted: 13 January 2020; Published: 22 January 2020 Abstract: Audio effects are an essential tool that the field of music production relies upon. The ability to intentionally manipulate and modify a piece of sound has opened up considerable opportunities for music making. The evolution of technology has often driven new audio tools and effects, from early architectural acoustics through electromechanical and electronic devices to the digitisation of music production studios. Throughout time, music has constantly borrowed ideas and technological advancements from all other fields and contributed back to the innovative technology. This is defined as transsectorial innovation and fundamentally underpins the technological developments of audio effects. The development and evolution of audio effect technology is discussed, highlighting major technical breakthroughs and the impact of available audio effects. Keywords: audio effects; history; transsectorial innovation; technology; audio processing; music production 1. Introduction In this article, we describe the history of audio effects with regards to musical composition (music performance and production). We define audio effects as the controlled transformation of a sound typically based on some control parameters. As such, the term sound transformation can be considered synonymous with audio effect.
Associació Wagneriana. Apartat Postal 1159. 08080 Barcelona Http
WAGNERIANA CATALANA Nº 37 ANY 2012 TEMA 4: BAYREUTH, FAMÍLIA WAGNER, PROTECTORS TÍTOL: HISTÒRIA DELS FESTIVALS DE BAYREUTH EL NOU BAYREUTH, 1951-1969 CAPÍTOL I AUTOR: Josep Mª. Rota Aleu Es coneix per Nou Bayreuth el període de festivals que arrenquen a partir de 1951, després de la postguerra, i els immediatament posteriors. Si sobre la data d'inici no hi ha cap discussió, no passa el mateix amb el final. Melodram, empresa pionera en l'edició dels enregistraments d'aquesta època (junt amb Cetra i Foyer) va editar-ne una col·lecció que abastava des de 1951 a 1962, dotze festivals. La data es pot allargar fins a 1965, any de la mort de Hans Knappertsbusch o 1966, any de la mort de Wieland Wagner, per citar els dos pilars dels festivals; si comptem la participació dels cantants de l'època, podem allargar fins a 1969, darrera actuació de Josef Greindl i Hans Hotter o 1970 darrer festival de Wolfgang Windgassen; a tot estirar, 1975, darrera actuació de Gustav Neidlinger. Tots el llistats amb els repartiments provenen de la font oficial que dóna la pàgina www.bayreuyher-festspiele.de. Totes les fotografies provenen d'internet; la majoria, com és el cas dels retrats dels cantants, provenen de la pàgina suara citada. 1951 l'any 1944, amb la guerra ja perduda per a Alemanya, el Festival va obrir les portes i va oferir 12 funcions de Meistersinger. Acabat el Festival, es van fer A previsions per a l'estiu següent. No va ser el cas. Alemanya va capitular el 7 de maig.
{J ^ ' H «ew-l ^ lli Teni|)ora(la 2011-2012 O Fundació Gran Teatre del Licen Generalitat de Catalunya Ministerio de Educación, Cultura y Deporte Ajuntament de Barcelona Diputació de Barcelona Societat del Gran Teatre del Liceu Consell de Mecenatge òpera Liceu O Barcelona 11/12 Gràcies per fer-ho possible. Mecenes "TUefunUa ®S Santander LAVANGUARDIA InCaixa abertij gosNatural íbbkmíè m\i Fundació en fenosa endesa 1 OHL ^3 MFG KLSMLINDO '/// catalunya Leading new Uimking COMSA EL PAIS --L- ManpowerGroup' rAdio EMTE bankinter EIISMEZIEa ofts^Metrooo itans rtve üas Patrocinadors -.y. -^1/ Abantia indra —Cofidis xí>cespa Inibsa <■...« ^as Wj m 7,\ Protectors ABC, Almirall, Barcelona Televisió, Basf, Chocolat Factory, Coca-Cola, Cofely, Danone, Ercros, Euromadi, Expansion, Perrero Ibérica, Fiatc Assegurances, Fiuidra, Fundació CatalunyaCaixa, Fundació Lluís Carulla, Fundació Puig, Fundación Cultural Banesto, GFT, Grafos, Gran Casino de Barcelona • Grup Peralada, GVC-Gaesco, Klein, Laboratorios Ordesa, Metalquimia, Mylan, Nationale Suisse, NetApp, Pepsico, Port de Barcelona, Sanofl-Aventls, Transports Padrosa. Col·laboradors Accenture, Banco Mediolanum, Bon Preu, Credit Suisse, Eurofragance, General Cable, Grupo Galilea, Illy Caffè, Nextret, Saga Motors, Sogeur, Sumarroca, Urcotex. Benefactors Macià Alavedra, Salvador Alemany, María Bagués, Joaquim Barraquer, Núria Basi, Manuel Bertran, Manuel Bertrand, Agustí Bou, Carmen Buqueras, Joan Busó, Joan Camprubí, Guzmán Clavel, Josep Cusí, Antoni Esteve, Magda Ferrer-Dalmau, Sergi Ferrer-Saiat, Maria Font de Carulla, Mercedes Fuster, José Gabeiras, José Luís Galí, Francisco Gaudier, Lluís M. Ginjaume, Jaume Graell, Manuel Grau, Calamanda Grifoll, José Manuel Mas, Josep Millan, José M. Mohedano, Josep Lluís Núñez, Josep Ollu, Maria Reig, Francisco Reynés, Miquel Roca, Francisco Salamero, Maria Soldevila, Ernestina Torelló, Joan Urlach, Josep Vilarasau, Maria Vilardell t.
J & J LUBRANO MUSIC ANTIQUARIANS Item 577 Catalogue 76 Rare Printed Music & Musical Literature Musical Autographs & Manuscripts Part VI: T-Z 6 Waterford Way, Syosset, NY 11791 USA Telephone 516-922-2192 e-mail [email protected] www.lubranomusic.com CONDITIONS OF SALE Please order by catalogue name (or number) and either item number and title or inventory number (found in parentheses preceding each item’s price). Please note that all items are offered subject to prior sale. We thus suggest either an e-mail or telephone call to reserve items of special interest. Orders may also be placed through our secure website by entering the inventory numbers of desired items in the SEARCH box at the upper left of our homepage. Libraries may receive deferred billing upon request. Prices in this catalogue are net. Postage and insurance are additional. An 8.625% sales tax will be added to the invoices of New York State residents. We accept payment by: - Checks in U.S. dollars drawn on a U.S. bank - Credit card (VISA, Mastercard, American Express) - PayPal to [email protected] - Electronic Funds Transfer (EFT), inclusive of all bank charges (details at foot of invoice) - Automated Clearing House (ACH), inclusive of all bank charges (details at foot of invoice) - International money order All items remain the property of J & J Lubrano Music Antiquarians LLC until paid for in full. v Please visit our website at www.lubranomusic.com where you will find full descriptions and illustrations of all items Fine Items & Collections Purchased Members Antiquarians Booksellers’ Association of America International League of Antiquarian Booksellers Professional Autograph Dealers’ Association Music Library Association American Musicological Society Society of Dance History Scholars &c.
GÖTTERDÄMMERUNG Composer Biography: Richard Wagner Richard Wagner (May 22, 1813 – February 13, 1883), German composer, conductor, theatre director of operas, is considered one of the most important figures of nineteenth-century music. Wagnerʼs music is still widely recognized today, accompanying celebrations with the ever-present Wedding March (Bridal Chorus) from the opera Lohengrin and the Ride of the Valkyries from the opera Die Walküre, which has been used in movie soundtracks to great effect. Richard Wagner was born at No. 3 (The House of the Red and White Lions), the Brühl, in the Jewish quarter of Leipzig, the ninth child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife Johanna Rosine, the daughter of a baker. He enrolled at the University of Leipzig in 1831, taking composition lessons with the cantor of Saint Thomas Church, Christian Theodor Weinlig, who arranged for the composerʼs first work, his Piano Sonata in B-flat to be published. In 1833, Wagner's older brother Karl Albert managed to obtain for Richard a position as choir master in Würzburg. At the age of 20, Wagner composed his first complete opera Die Feen, which was not performed until after the composerʼs death. His reputation grew as the composer of works such as Der fliegende Holländer (1843), Tannhaüser (1845), and Lohengrin (1850), which were broadly in the romantic vein of Weber and Meyerbeer. Wagner's compositions are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements.
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
FERRI M. Bernard Lecomte Expert DROUOT-RICHELIEU Salle9- DROUOT-RICHELIEU MARDI 24 NOVEMBRE 2009 MARDI 24NOVEMBRE MARDI 24 NOVEMBRE 2009 DROUOT-RICHELIEU - Salle 9 Ventes aux Enchères et Expertises PREMIÈRE PARTIE : À 14 H JEAN-ÉMILE LABOUREUR (1877 – 1943) Bel ensemble de dessins, peintures, gravures et livres illustrés. ESTAMPES par : Expert : BONNARD, LAUTREC, RENOIR, VILLON M. Bernard LECOMTE Exposition privée chez l’expert, sur rendez-vous, 17, rue de Seine du mercredi 18 au jeudi 19 novembre de 14 h à 18 heures et le 75006 Paris vendredi 20 de 10 h à 12 heures. Tel. / Fax. 01 43 26 85 47 DEUXIÈME PARTIE : À 15 H 30 COLLECTION DE M. RAOUL OREILLE : CENT ANS D’OPÉRA EN 2000 PHOTOS (de 1880 à 1980) Les plus célèbres chanteurs photographiés à Paris, Milan, Vienne, Bayreuth, Munich et New York, par : NADAR - REUTLINGER - BOYER - BERT - BENQUE - ERLANGER DE ROSEN - HARCOURT - ERMINI - CRIMELLA - PICCAGLIANI - VERANI - HOUSTON ROGERS - DIETRICH - FAYER - LAUTERWASSER - BETZ - MELANSON - ETC... Célébrités de la Belle Époque et stars de cinéma des années 1920 à 1940. La plupart des photos dédicacées ou signées. Vente aux enchères publiques DROUOT - RICHELIEU - 9, rue Drouot - 75009 Paris Marc FERRI MARDI 24 NOVEMBRE 2009 A 14 H - Salle 9 Commissaire-Priseur judiciaire Expositions publiques à l’hôtel Drouot, salle 9 : Le lundi 23 novembre, de 11 à 18 h, le matin de la vente, de 11 à 12 h. Téléphone pendant l’exposition et la vente : 01 48 00 20 09 FERRI & Associés 53, rue Vivienne - 75002 Paris - Tél. 01 42 33 11 24 - Fax. 01 42 33 40 00 E-mail : [email protected] - www.ferri-drouot.com Œuvres de Jean-Émile LABOUREUR 1 Note : les dimensions sont exprimées en millimètres, la hauteur précédant la largeur.