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Matthias Theodor Vogt, Ulf Großmann (Text) Unter Mitwirkung Von Andreas Herrmann (Materialien)
i Matthias Theodor Vogt, Ulf Großmann (Text) unter Mitwirkung von Andreas Herrmann (Materialien) Szenarien-Entwicklung in der Haushaltsplanung der Stadt Pforzheim für das Südwestdeutsche Kammerorchester Pforzheim (SWDKO) Edition kulturelle Infrastruktur ii Edition kulturelle Infrastruktur Inhaltsverzeichnis 0. VERZEICHNIS der im Anhang abgedruckten Dokumente zum Südwestdeutschen Kammerorchester Pforzheim......................................................................... iii 1. ANALYSE .....................................................................................................1 1.1. Haushaltslage........................................................................................1 1.2. Namensgebung......................................................................................3 1.3. Künstlerische Stellung ............................................................................7 1.4. Wirtschaftlichkeit ...................................................................................9 1.5. Das Format Kammerorchester ............................................................... 14 1.6. Ausland .............................................................................................. 15 2. U LTRA VIRES............................................................................................. 17 2.1 Rechtsk onformität................................................................................ 17 2.2 Rechtslage ......................................................................................... -
Draft Schedule Revised
ICMSN/SurreyMAC 2017 Provisional Schedule at 16 June 2017 Monday 11 September 1330–1500 Session 1A Post-tonal form Robert Baker, ‘Progressive Forms: Pitch, Notation, and Time in Two Works by Henri Dutilleux’. Anabel Maler, ‘Hearing Function in Post-Tonal Context’. Cecilia Taher, ‘J.C. Paz’s Concreción: A three-dimensional dynamic form’. Session 1B Following Wagner Charlotte Armstrong, ‘Max Nordau and the diagnosis of musical degeneracy: “unhealthy” music in the operas of Richard Wagner and Franz Schreker’. Peter Atkinson, ‘Dancing Wagnerism: Rutland Boughton’s “Dancing Scenery” and the English Reinvention of the Gesamtkunstwerk’. Malcolm Miller, ‘Wood’s “Wagner – Dreams”: New light on Henry Wood’s orchestration of Träume for violin and orchestra’. 1500–1630 Session 2A China David Ho-Yi Chan, ‘Lingustic Parameters in Contemporary Choral Music’. Cheong Wai-Ling and Hong Ding, ‘Reception of twelve-note music in China — foes turned friends?’ Na Li, ‘Masculinity without men? The multiple gendered images presented by female performers of Northwest Wind’. Session 2B Electronics Nino Auricchio and Paul Borg, ‘New modular instruments and approaches to music generation’. Jo Langton, ‘Musical Analysis of Glass Art Sculptures: The Baschet Brothers’ Sculptures Sonores in the electroacoustic composition of Beatriz Ferreyra’. Laurence Willis, ‘Approaches to Electronics in Haas’s String Quartets No. 4 and No. 7’. 1630–1700 Tea/coffee 1700–1800 Session 3A Schubert Mark Hutchinson, ‘Wandering through history: distorted temporalities in Zender’s Schubert’. Anne Hyland, ‘Rehabilitating Schubert’s Early Sonata Forms: the Overture for String Quintet in C minor, D. 8 and Romantic Form’. Session 3B Feminist perspectives Anna Terzaroli, ‘Teresa Rampazzi, a woman in the Electronic Music’. -
Release Sheet
November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig -
Children in Opera
Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls ................................................................................. -
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IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Salle de Concerts Grande-Duchesse Joséphine-Charlotte Saison 2008/09 1 Partenaires d’événements: Nous remercions nos partenaires qui en Partenaires de programmes: associant leur image à la Philharmonie et en soutenant sa programmation, permettent sa diversité et l’accès à un public plus large. pour «Jeunes publics» pour «Backstage» Partenaires média: Partenaires officiels: 2 Sommaire / Inhalt / Content IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Philharmonie Luxembourg Jazz, World & Easy listening Orchestre Philharmonique du Luxembourg Cycle Philharmonique I 140 Salle de Concerts Grande-Duchesse Jazz & beyond 66 Cycle Philharmonique II 142 Joséphine-Charlotte – Saison 2008/09 Autour du monde 74 Amis de l’Orchestre Philharmonique du Ciné-Concerts 80 Luxembourg 144 Bienvenue / Willkommen / Welcome 4 Pops 84 Chill at the Phil 88 Solistes Européens, Luxembourg 146 European Music Academy, Schengen 150 Soirées de Luxembourg 152 IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Orchestre Special «Les Musiciens» – Orchestre de Chambre du Luxembourg 154 Grands orchestres 16 Luxembourg Festival 94 Grands solistes 20 Musiques d’aujourd’hui 96 L’Orchestral 24 On the border -
Alexander Glazunov
Call & Response 2011 Music With Exotic Influences Glazunov, Schulhoff, Bloch, Debussy & Jeffery Cotton Listener’s Guide Join us for a performance of music inspired by the Exotic Call & Response 2011 Concert May 5, 2011, Herbst Theatre, San Francisco Details inside… Call & Response 2011: Music with exotic influences Concert Thursday, May 5, 2011 Herbst Theatre at the San Francisco War Memorial 401 Van Ness Avenue at McAllister Street San Francisco, CA 7:15pm Pre-Performance Lecture by composer Jeffery Cotton 8:00pm Performance Buy tickets online at: www.cityboxoffice .com or by calling City Box Office: 415-392-4400 Page Contents 3 The Concept: evolution of music over time and across cultures 4 Jeffery Cotton 6 Alexander Glazunov 8 Erwin Schulhoff 10 Ernest Bloch 12 Claude Debussy 2 Call & Response: The Concept Have you ever wondered how composers, modern composers at that, come up with their ideas? How do composers and other artists create new work? Our Call & Response program was born out of the Cypress String Quartet’s commitment to sharing with you and your community this process in music and all kinds of other artwork. We present newly created music based on earlier composed pieces. Why “Call & Response”? We usually associate the term “call & response” with jazz and gospel music, the idea being that the musician plays a musical “call” to which another musician “responds,”—a way of creating a new sound relating in some way to the original. In this program, the “call” is that of Cypress String Quartet searching for connections across musical, historical, and social boundaries. -
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019
Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 The competition is open to all Colburn School students enrolled for the Spring 2019 semester in the Conservatory, Music Academy, and Community School of Performing Arts. Divisions Prizes Pre-college (Music Academy and Community All finalists will receive a cash award (minimum School) $150 for each student). Solo musicians or College (Conservatory) members of a group judged by the adjudicating panel to be the most outstanding in the pre- Accompanists college and college divisions will receive a Pre-college entrants performing solo repertoire minimum of $1,500 each. with piano may engage a professional accompanist. Pianists in chamber ensembles About the Initiative must be students. All college entrants must LA Opera Music Director James Conlon formed be students in the Conservatory (this includes the groundbreaking Recovered Voices project collaborating pianists). to shine a spotlight on the music by composers suppressed by the Nazi regime. In honor of Deadline his efforts, the Ziering-Conlon Initiative for Entries to be submitted no later than March Recovered Voices sponsors seminars, academic 11, 2019 via YouTube video. Those selected conferences, and competitions in an effort to for the live, public finals on Monday evening, present a deeper understanding of the history March 25, will be notified no later than 9 pm of the music from the first half of the 20th on Tuesday, March 19. All entrants must be century. available to perform at the March 25 finals. Ziering-Conlon Initiative for Recovered Voices Showcase and Competition Spring 2019 List of Repertoire Submitting Your Video Performance The works on the provided list were selected When recording your performances, place as representative, and all are approved for this the video-recording device in such a way that showcase competition. -
AMERICAN ACADEMY in ROME PRESENTS the SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 at VILLA AURELIA Exclusive Concert
FOR IMMEDIATE RELEASE January 11, 2011 AMERICAN ACADEMY IN ROME PRESENTS THE SCHAROUN ENSEMBLE CONCERT SERIES 14-16 JANUARY 2011 AT VILLA AURELIA Exclusive Concert Dates in Italy for the Scharoun Ensemble Berlin Courtesy of the Scharoun Ensemble Berlin Rome – The American Academy in Rome is pleased to present a series of three concerts by one of Germany’s most distinguished chamber music ensembles, the Scharoun Ensemble Berlin. Comprised of members of the Berlin Philharmonic Orchestra, the Scharoun Ensemble Berlin specializes in a repertoire of Classical, Romantic, 20th century Modernist, and contemporary music. 2011 marks the third year of collaboration between the Ensemble and the American Academy in Rome, which includes performances of work by current Academy Fellows in Musical Composition Huck Hodge and Paul Rudy, as well as 2009 Academy Fellow Keeril Makan. Featuring soprano Rinnat Moriah, the Ensemble will also perform music by Ludwig van Beethoven, John Dowland, Antonin Dvořák, Sofia Gubaidulina, Heinz Holliger, Luca Mosca, and Stefan Wolpe. The concerts are free to the public and will take place at the Academy’s Villa Aurelia from 14-16 January 2011. Event: Scharoun Ensemble Berlin (preliminary program*) 14 January at 9pm – Ludwig van Beethoven, John Dowland, Huck Hodge, and Stefan Wolpe 15 January at 9pm – Sofia Gubaidulina, Huck Hodge, Heinz Holliger and Keeril Makan 16 January at 11am – Antonin Dvořák, Luca Mosca, and Paul Rudy *subject to change Location: Villa Aurelia, American Academy in Rome Largo di Porta San Pancrazio, 1 Scharoun Ensemble Berlin The Scharoun Ensemble Berlin was founded in 1983 by members of the Berlin Philharmonic Orchestra. -
Copyright by Bonny Kathleen Winston 2003
Copyright by Bonny Kathleen Winston 2003 The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire by Bonny Kathleen Winston, B.M., M.M. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May, 2003 Dedication This dissertation would not have been completed without all of the love and support from professors, family, and friends. To all of my dissertation committee for their support and help, especially John Geringer for his endless patience, Betty Mallard for her constant inspiration, and Martha Hilley for her underlying encouragement in all that I have done. A special thanks to my family, who have been the backbone of my music growth from childhood. To my parents, who have provided unwavering support, and to my five brothers, who endured countless hours of before-school practice time when the piano was still in the living room. Finally, a special thanks to my hall-mate friends in the school of music for helping me celebrate each milestone of this research project with laughter and encouragement and for showing me that graduate school really can make one climb the walls in MBE. The Development of a Multimedia Web Database for the Selection of 20th Century Intermediate Piano Repertoire Publication No. ________________ Bonny Kathleen Winston, D.M.A. The University of Texas at Austin, 2003 Supervisor: John M. Geringer The purpose of this dissertation was to create an on-line database for intermediate piano repertoire selection. -
PARTNER PROFILE 2015 Partnerpartner Pprofilerofile C/Oc/O Ppopop 2015
PARTNER PROFILE 2015 PARTNERPartner PprofileROFILE C/OC/O PpopOP 2015 CONTENTS c/o pop Festival 06 Locations 08 Bands & Acts 12 Press Coverage 14 c/o pop Convention 16 Feedback 18 Speakers & Panelists 20 Partner & Sponsors 2014 23 Contact 24 3 Partner profile C/O pop 2015 Partner profile C/O pop 2015 C/O pop 2015 “C/O POP: THIS IS WHERE musICIANS, 19—23 A FANS AND BusINEss PEOPLE COME UGUS T TOGETHEr – aN URBAN, DIVERSE AND UNIQUE FESTIVAL!“ Make your brand and your product part of this unforgettable feeling. At c/o pop, you can reach urban young people, opinion leaders and music lovers! On the following pages, you will find out more about the festival, the convention and the possibilities for partners, promoters and sponsors. We offer you a variety of options for being part of at c/o pop: Promotional activities of all kinds, media integrations, brand and product presence on site or your own partner events within the framework of the festival and the convention. We would be happy to create a tailor-made solution for your brand and your product at c/o pop! C/O POP MARKETING & SPONSORING Jutta Unger Tel: +49 221 998 911 00 Mail: [email protected] 4 5 KELIS PARTNER PROFILE C/O POP 2015 PARTNER PROFILE C/O POP 2015 C/O POP cOLOGNE MUSIC FESTIVAL elBOW MOUNT KIMBIE Five days, over 30,000 visitors, 60 concerts and parties in 30 different locations and around 100 artists from 20 countries: urban and diverse! The c/o pop festival’s recipe for success is simple: musically, the c/o pop festival has been offering a good mix of established artists and newcomers since 2004, including electro, indie, and related styles as well as international and national acts. -
5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-Year DMA in Piano Pedagogy University of South Carolina
5 Stages for Teaching Alberto Ginastera's Twelve American Preludes Qiwen Wan First-year DMA in Piano Pedagogy University of South Carolina Hello everyone, my name is Qiwen Wan. I am a first-year doctoral student in piano pedagogy major at the University of South Carolina. I am really glad to be here and thanks to SCMTA to allow me to present online under this circumstance. The topiC of my lightning talk is 5 stages for teaChing Alberto Ginastera's Twelve AmeriCan Preludes. First, please let me introduce this colleCtion. Twelve AmeriCan Preludes is composed by Alberto Ginastera, who is known as one of the most important South AmeriCan composers of the 20th century. It was published in two volumes in 1944. In this colleCtion, there are 12 short piano pieCes eaCh about one minute in length. Every prelude has a title, tempo and metronome marking, and eaCh presents a different charaCter or purpose for study. There are two pieCes that focus on a speCifiC teChnique, titled Accents, and Octaves. No. 5 and 12 are titled with PentatoniC Minor and Major Modes. Triste, Creole Dance, Vidala, and Pastorale display folk influences. The remaining four pieCes pay tribute to other 20th-Century AmeriCan composers. This set of preludes is an attraCtive output for piano that skillfully combines folk Argentine rhythms and Colors with modern composing teChniques. Twelve American Preludes is a great contemporary composition for late-intermediate to early-advanced students. In The Pianist’s Guide to Standard Teaching and Performing Literature, Dr. Jane Magrath uses a 10-level system to list the pieCes from this colleCtion in different levels. -
GEORG PHILIPP TELEMANN Musikalische Werke (Auswahlausgabe)
Musikwissenschaftliche Editionen – Publikationsverzeichnis – Stand: Mai 2019 GEORG PHILIPP TELEMANN Musikalische Werke (Auswahlausgabe) (Finanzierung durch das Akademienprogramm bis 31.12.2010) Herausgeber: Akademie der Wissenschaften und der Literatur, Mainz, in Verbindung mit dem Zentrum für Telemann-Pflege und -Forschung Magdeburg. Anschrift: Telemann-Auswahlausgabe, Schönebecker Str. 129, 39104 Magdeburg Verlag: Bärenreiter-Verlag, Kassel Umfang der Ausgabe: 50 Bände mit Kritischen Berichten und 3 Supplementbände. Band I: Zwölf methodische Sonaten. 1–6 für Violine oder Querflöte und Basso continuo, 7–12 für Querflöte oder Violine und Basso continuo. Hamburg 1728 und 1732. Herausgegeben von Max Seiffert. 1955, 71983. VIII, 126 S. Band II: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil I [Nr. 1–15]: Neujahr bis Reminiscere. Herausgegeben von Gustav Fock. 1953, ³1981. XI, 132 S. Band III: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil II [Nr. 16–31]: Oculi bis 1. Pfingsttag. Herausgegeben von Gustav Fock. 1953, ³1982. IV, 140 S. Band IV: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil III [Nr. 32–50]: 2. Pfingsttag bis 16. Sonntag nach Trinitatis. Herausgegeben von Gustav Fock. 1970, 41998. VII, 152 S. Band V: Der Harmonische Gottesdienst. Ein Jahrgang von 72 Solokantaten für 1 Singstimme, 1 Instrument und Basso continuo. Hamburg 1725/1726. Teil IV [Nr. 51–72]: 17. Sonntag nach Trinitatis bis Sonntag nach Weihnachten. Herausgegeben von Gustav Fock. 1957. VII, 163 S. Band VI: Kammermusik ohne Generalbaß [I].