Boston Symphony Orchestra Concert Programs, Season 106,1986-1987
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Network Notebook
Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more. -
Programme 5 Overview 6 Schedule First Word 12 Greeting Andreas
Index Programme Expo 5 Overview 44 Umbrella Stands A – Z 6 Schedule 47 Exhibitor Presentation/Expo Map 84 Exhibitors A – Z First Word 12 Greeting Andreas Mailath-Pokorny, Conference Executive City Councillor for Cultural Affairs 90 Conference Sessions and Science, City of Vienna 100 Mentoring 13 Greeting Rainer Kahleyss and Werner 102 Network Meetings and Presentations Dabringhaus, CLASS Association of Classical 104 Biographies A – Z Independents in Germany 14 Greeting Mario Rossori, Heinrich Schläfer, Film Screenings Frank Stahmer, Classical Partners Vienna 1 11 Film Screenings 15 Greeting Jennifer Dautermann, Director Classical:NEXT Showcases 115 Opening and Closing Network 116 Live Showcases A – Z 18 Advisory Board 130 Video Showcases A – Z 20 The Jury 136 off C:N Showcases A – Z 22 Partners 26 Photographer Delegates 27 Advertisers A – Z 142 Companies A – Z 177 Individuals A – Z Classical:NEXT A – Z 30 From ”Badges" to ”Who is Coming“ Credits 190 Imprint Destination Vienna 191 Team 37 Getting Around 37 Places to Eat 39 Shopping: Food, Music and Instruments Front Flap Inside Plant Layout MAK 41 Things to See Back Flap Inside Directions to Venues 42 Service NEW YEAR. NEW STORIES. PROGRAMME NEW CLASSICAL MUSIC. First Word Network C:N A – Z Destination Vienna Expo FROM Conference £4.95 A Film Screenings MONTH Showcases Delegates Credits The all-new Classical Music: Register online » Comprehensive website with news, features, reviews and opinion for FREE access » Daily e-mail bulletin with news from national and international press to classical -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies............................................................................... -
Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. -
Arnold Schoenberg and Music Criticism
JOURNAL OF OF RESEARCH ONLINE MusicA JOURNALA JOURNAL OF OF THE THE MUSIC UNIVERSITY COUNCIL OF OF ADELAIDE AUSTRALIA t ‘WHERE POWERS ARE BOLDLY STIRRING, I COUNSEL OPEN War’: ARNOLD SCHOEN- BERG AND MUSIC CRITICISM t is commonplace to contemplate Arnold Schoenberg, the putative father of ALEXANDER CARPENTER modern music, as the subject of music criticism, much of it staunchly negative. It is well-known that Schoenberg’s entire biography is coloured by his oppositional ■ Iorientation towards music critics and criticism: indeed, the title of this article comes Fine Arts and Humanities from Schoenberg’s (1909b/1975) bellicose essay, ‘About Music Criticism’, in which University of Alberta he damns those Viennese critics who prejudge music and who even disrupt or seek Augustana Campus to have performances stopped before a work can have a fair hearing. Over the 4901-46 Avenue course of his professional life, Schoenberg responded to critics and criticism in a number of different ways. First, he fired back, writing letters and essays defending his Camrose, Alberta music but also challenging not only the credentials of critics but the very institution Canada T4V 2R3 of music criticism itself. Second, he painted, literally painted, music critics in rather unflattering terms, representing on canvas what he considered their worst qualities in a series of amateur expressionistic paintings from the early part of the twentieth [email protected] century. And third, he withdrew himself and the modern music he championed into the Society for Private Musical Performance. Most importantly, Schoenberg also penned what I would consider his own music criticism: offering prescriptions for performance and interpretation, proposing a process for journalistic music criticism, musing on musical aesthetics generally and writing critical essays on the significance of specific composers. -
Solzh 19-20 Short
IGNAT SOLZHENITSYN 2019-20 SHORT BIO {206 WORDS} IGNAT SOLZHENITSYN Recognized as one of today's most gifted artists, and enjoying an active career as both conductor and pianist, Ignat Solzhenitsyn's lyrical and poignant interpretations have won him critical acclaim throughout the world. Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Ignat Solzhenitsyn has recently led the symphonies of Baltimore, Cincinnati, Dallas, Indianapolis, Milwaukee, Seattle, and Toronto, the Nordwestdeutsche Philharmonie, the Czech National Symphony, as well as the Mariinsky Orchestra and the St. Petersburg Philharmonic. He has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Gidon Kremer, Anne-Sophie Mutter, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. His extensive touring schedule in the United States and Europe has included concerto performances with numerous major orchestras, including those of Boston, Chicago, Philadelphia, Los Angeles, Seattle, Baltimore, Montreal, Toronto, London, Paris, Israel, and Sydney, and collaborations with such distinguished conductors as Herbert Blomstedt, James Conlon, Charles Dutoit, Valery Gergiev, André Previn, Gerard Schwarz, Wolfgang Sawallisch, Yuri Temirkanov and David Zinman. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the faculty of the Curtis Institute of Music. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. CURRENT AS OF: 18 NOVEMBER 2019 PLEASE DESTROY ANY PREVIOUS BIOGRAPHICAL MATERIALS. PLEASE MAKE NO CHANGES, EDITS, OR CUTS OF ANY KIND WITHOUT SPECIFIC PERMISSION.. -
Lulu and the Performance of Unfinishedness Downloaded from by Guest on 04 January 2020
An Incomplete Life: Lulu and the Performance of Unfinishedness Downloaded from https://academic.oup.com/oq/article-abstract/35/1-2/20/5559520 by guest on 04 January 2020 January 04 on guest by https://academic.oup.com/oq/article-abstract/35/1-2/20/5559520 from Downloaded axel englund stockholm university What does unfinishedness mean to opera criticism in the wake of the performative turn? One familiar answer suggests that it means everything. Toward the end of the millennium, as live performance became a central focus of opera studies, the idea of a definitive version of an operatic text came to seem less and less appealing, as did the very notion of an operatic “work.”1 Instead, scholars valorized the elusive, mutable, or open-ended, and opera itself was imagined as an unfinished business, its ontology anchored in the moment of performance. But if the performative turn celebrated “unfinishedness,” it also rendered the concept oddly void of meaning. Strictly speaking, the finishedness of an opera can only be measured against one version or another of the work concept. Once the composer’s intention has lost its authority and the essence of an opera is situated less in its script than in its live in- stantiation, what does it mean to speak of an unfinished opera? If the locus of opera is the performance rather than the score, can Turandot be said to be any less com- plete than Tosca just because Alfano or Berio wrote the notes for the final scene? If the work is recast as a unique event that concludes every time the curtain falls, what space is left for the inconclusive? Although these questions have a bearing on opera criticism in general, they de- rive from my engagement with one particular opera, and in this article I will reroute them back into it: Alban Berg’s Lulu, which the composer struggled with from the late 1920s until his death in 1935.2 In November of that year, Berg suffered an unfor- tunate insect bite that would lead to his death by blood poisoning on Christmas Eve. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
Pdf Jean-Efflam Bavouzet 2019-20 Season
French Connections Jean-Efflam Bavouzet’s 2019-20 season includes concertos by Bartók, Beethoven, Mozart and Ravel, Debussy’s Fantaisie and compelling new album of piano sonatas by Beethoven’s contemporaries ‘This series of discs is shaping up to be a serious front-runner in a cycle of works that has never wanted for fine recordings,’ Gramophone, review of Mozart Piano Concertos Vol.4, July 2019 A schedule rich in variety and landmark recording projects is central to Jean-Efflam Bavouzet’s 2019-20 season. The French pianist’s chosen repertoire spans everything from the concertos of Bartók, Beethoven and Ravel to sonatas by Haydn and rarities by Debussy. Highlights include an extensive UK tour of Ravel’s Piano Concerto for the Left Hand with the Iceland Symphony Orchestra (8-15 February 2020); a complete cycle of Beethoven’s piano concertos with the Orchestre National de Lyon (19 & 21 March, 11 & 13 June); Ravel’s Piano Concerto in G major with the London Philharmonic Orchestra (14 February) and the Prague Radio Symphony Orchestra (8 June); and Debussy’s Fantaisie with the Royal Scottish National Orchestra (28 & 29 February). Jean-Efflam Bavouzet’s long relationship with Chandos Records is set to grow further over the coming season. He will record Beethoven’s five piano concertos in November, directing the Swedish Chamber Orchestra from the keyboard, for a release due out in Autumn 2020, continue his series of Haydn’s complete piano sonatas, and explore works by Beethoven’s contemporaries. March sees the international release of the fifth volume of his critically acclaimed cycle of Mozart’s piano concertos. -
The Inventory of the Deborah Voigt Collection #1700
The Inventory of the Deborah Voigt Collection #1700 Howard Gotlieb Archival Research Center Voigt, Deborah #1700 6/29/05 Preliminary Listing I. Subject Files. Box 1 A Chronological files; includes printed material, photographs, memorabilia, professional material, other items. 1. 1987-1988. [F. 1] a. Mar. 1987; newsletters of The Riverside Opera Association, Verdi=s AUn Ballo in Maschera@ (role of Amelia). b. Apr. 1987; program from Honolulu Symphony (DV on p. 23). c. Nov. 1987; program of recital at Thorne Hall. d. Jan. 1988; program of Schwabacher Debut Recitals and review clippings from the San Francisco Examiner and an unknown newspaper. e. Mar. 1988; programs re: DeMunt=s ALa Monnaie@ and R. Strauss=s AElektra@ (role of Fünfte Magd). f. Apr. 1988; magazine of The Minnesota Orchestra Showcase, program for R. Wagner=s ADas Rheingold@ (role of Wellgunde; DV on pp. 19, 21), and review clippings from the Star Tribune and the St. Paul Pioneer Press Dispatch. g. Sep. - Oct. 1988; programs re: Opera Company of Philadelphia and the International Voice Competition (finalist competition 3; DV on p. 18), and newspaper clippings. 2. 1989. [F. 2] a. DV=s itineraries. (i) For Jan. 4 - Feb. 9, TS. (ii) For the Johann Strauss Orchestra on Vienna, Jan. 5 - Jan. 30, TS, 7 p. b. Items re: California State, Fullerton recital. (i) Copy of Daily Star Progress clipping, 2/10/89. (ii) Compendium of California State, Fullerton, 2/13/89. (iii) Newspaper clipping, preview, n.d. (iv) Orange County Register preview, 2/25/89. (v) Recital flyer, 2/25/89. (vi) Recital program, program notes, 2/25/89. -
Late Fall 2020 Classics & Jazz
Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases.