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Introduction
INTRODUCTION During Lent , Carl Philipp Emanuel Bach performed It is difficult to explain why Bach chose to borrow other his first setting of the Passion according to St. John. Had composers’ music rather than always write his own. After he continued the rotation from Georg Philipp Telemann’s performing his first Passion in , a work based in part time, Bach’s first Passion would have been a setting based and almost on the scale of his father’s St. Matthew Passion, on St. John’s Gospel. In Lent , before Bach arrived in BWV , C. P. E. Bach must have become discouraged or Hamburg, Georg Michael Telemann presented his grand- disillusioned with the Hamburg church authorities. Per- father’s St. Luke Passion of . It is not clear why Bach haps one of the pastors told him this work was too long decided to present a St. Matthew Passion in , skip- and elaborate for the services. In December , Bach ping St. John in the sequence. (e entries in Bach’s estate wrote a letter in which he said: “Hamburg is no place for catalogue indicate that he began assembling his Passions a fine musician to stay. (ere is no taste here. Mostly in the year preceding the season of Lent, so that the St. queer stuff and no pleasure in the noble simplicity.” As John Passion is dated –. While the title page of the early as January Bach mentioned that a pair of the libretto to Telemann’s St. John Passion of states “ein- church elders “said politely but pointedly (it was their gerichtet von G. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
EASTER Year A
THE FIFTH SUNDAY OF EASTER Year A Seasonal Greeting Celebrant Alleluia! Christ is risen! People The Lord is risen indeed! Alleluia! Collect of the Day Almighty God, whom truly to know is everlasting life: Grant us so perfectly to know your Son Jesus Christ to be the way, the truth, and the life, that we may steadfastly follow his steps in the way that leads to eternal glory; through Jesus Christ your Son our Lord, who lives and reigns with you, in the unity of the Holy Spirit, one God, for ever and ever. Amen. First Reading Acts 17:1-15 Now when they had passed through Amphipolis and Apollonia, they came to Thessalonica, where there was a synagogue of the Jews. 2 And Paul went in, as was his custom, and on three Sabbath days he reasoned with them from the Scriptures, 3 explaining and proving that it was necessary for the Christ to suffer and to rise from the dead, and saying, “This Jesus, whom I proclaim to you, is the Christ.” 4 And some of them were persuaded and joined Paul and Silas, as did a great many of the devout Greeks and not a few of the leading women. 5 But the Jews were jealous, and taking some wicked men of the rabble, they formed a mob, set the city in an uproar, and attacked the house of Jason, seeking to bring them out to the crowd. 6 And when they could not find them, they dragged Jason and some of the brothers before the city authorities, shouting, “These men who have turned the world upside down have come here also, 7 and Jason has received them, and they are all acting against the decrees of Caesar, saying that there is an- other king, Jesus.” 8 And the people and the city authorities were disturbed when they heard these things. -
Operetta After the Habsburg Empire by Ulrike Petersen a Dissertation
Operetta after the Habsburg Empire by Ulrike Petersen A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Richard Taruskin, Chair Professor Mary Ann Smart Professor Elaine Tennant Spring 2013 © 2013 Ulrike Petersen All Rights Reserved Abstract Operetta after the Habsburg Empire by Ulrike Petersen Doctor of Philosophy in Music University of California, Berkeley Professor Richard Taruskin, Chair This thesis discusses the political, social, and cultural impact of operetta in Vienna after the collapse of the Habsburg Empire. As an alternative to the prevailing literature, which has approached this form of musical theater mostly through broad surveys and detailed studies of a handful of well‐known masterpieces, my dissertation presents a montage of loosely connected, previously unconsidered case studies. Each chapter examines one or two highly significant, but radically unfamiliar, moments in the history of operetta during Austria’s five successive political eras in the first half of the twentieth century. Exploring operetta’s importance for the image of Vienna, these vignettes aim to supply new glimpses not only of a seemingly obsolete art form but also of the urban and cultural life of which it was a part. My stories evolve around the following works: Der Millionenonkel (1913), Austria’s first feature‐length motion picture, a collage of the most successful stage roles of a celebrated -
Robert Stolz Vienne En Flânant Mp3, Flac, Wma
Robert Stolz Vienne En Flânant mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Vienne En Flânant Country: France Released: 1981 Style: Romantic, Operetta MP3 version RAR size: 1631 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1490 mb Rating: 4.1 Votes: 998 Other Formats: VOX MP3 WAV DXD VQF AU MPC Tracklist Hide Credits La Chauve Souris Composed By – Johann Strauss (Fils)* A1 Ouverture 8:00 Le Baron Tzigane Composed By – Johann Strauss (Fils)* A2 Ouverture 7:30 Le Pays Du Sourire Composed By – Franz Lehár A3 Ouverture 8:00 Die Romantiker, Op. 167 (Valse) B1 7:10 Composed By – Joseph Lanner* Abend Sterne Op. 180 (Valse) B2 5:40 Composed By – Joseph Lanner* Hans Jorgel Polka Op. 194 B3 2:30 Composed By – Joseph Lanner* Die Schönbrunner Op. 200 (Valse) B4 7:20 Composed By – Joseph Lanner* Paris Walzer Op. 101 B5 5:20 Composed By – Johann Strauss (Père)* Extempore Op. 241 (Polka Française) C1 3:00 Composed By – Joseph Strauss* Schützen Quadrille C2 5:00 Composed By – Johann Strauss (Fils)*, Joseph Strauss* Bad'ner Mad'In Op. 257 (Valse) C3 6:00 Composed By – Karl Komzak* Opernball Walzer C4 7:30 Composed By – Richard Heuberger L'Or Et L'Argent Op. 69 (Valse) C5 8:00 Composed By – Franz Lehár Hommage À Robert Stolz D1 Parade De Printemps (Marche) 2:46 D2 Adieu Mon Petit Officier (Marche) 3:06 D3 Quand Fleurissent Les Violettes (Fox Trot) 3:33 D4 Deux Cœurs, Une Valse (Valse) 2:38 D5 Printemps A Vienne (Lied) 3:03 D6 Hallo Hallo (Fox Trot Rapide) 1:58 D7 Mon Chant D'Amour Est Une Valse 3:05 D8 Viens (Slow) 3:21 D9 Salomé (Roméo) (Fox Trot Oriental) 3:27 Companies, etc. -
Valer Sabadus
J. S. Bach G. Ph. Telemann Arias Valer Sabadus Kammerorchester Basel Arias Johann Sebastian Bach (1685–1750) Bach 1 “Ich habe genug” 6:50 11 “Et exsultavit spiritus meus” 2:12 from the cantata / aus der Kantate Ich habe genug, BWV 82:a from Magnificat in D Major, BWV 243 (version for soprano / Fassung für Sopran) aus dem Magnificat D-Dur, BWV 243 Georg Philipp Telemann (1681–1767) Telemann 2 “Wo ist das Ende meiner Plagen… 6:20 12 “Mein Feind frohlockt ob meinem Schmerz… 4:36 Zeige dich, geliebter Schatten” (Honoricus) Eifersucht, du Kind der Höllen” (Zemir) from the / aus dem Singspiel Sieg der Schönheit, TWV 21:10 from the / aus dem Singspiel Miriways, TWV 21:24 Bach Valer Sabadus, countertenor / Countertenor Concerto in E Major for Violin, Strings and Basso continuo, BWV 1042 Konzert E-Dur für Violine, Streicher und Basso continuo, BWV 1042 Julia Schröder, violin and direction / Violine und Leitung 3 I. Allegro 6:50 Kammerorchester Basel 4 II. Adagio 5:28 5 III. Allegro assai 2:31 Bach 6 “Laudamus te” 4:16 Aria from the Mass in B Minor, BWV 232 Arie aus der Messe in h-Moll, BWV 232 Telemann 7 “Ich fliehe Dich, vergallte Liebeslust... 3:26 Lass in Augen Feuer blitzen” (Honoricus) from the / aus dem Singspiel Sieg der Schönheit Bach 8 “Vergnügte Ruh’, beliebte Seelenlust” 6:31 from the cantata / aus der Kantate Vergnügte Ruh’, beliebte Seelenlust, BWV 170 Bach 9 “Schlafe mein Liebster” (Wollust) 8:38 from the cantata / aus der Kantate Lasst uns sorgen, lasst uns wachen, BWV 213 Telemann 10 “Hò disarmato il fianco” (Bertaridus) 3:19 from the opera / aus der Oper Flavius Bertaridus, TWV 21:27 Bach and Telemann The first of these works was Sieg der Schönheit. -
A Failed Film Project in Austria: Interwar Star Franziska Gaal’S Unmade Post-War Comeback 23 April 2021, 2 Pm (BST)
H-Announce BAFTSS New Connections Talk: A Failed Film Project in Austria: Interwar Star Franziska Gaal’s Unmade Post-War Comeback 23 April 2021, 2 pm (BST) Announcement published by Hanja Daemon on Friday, April 9, 2021 Type: Seminar Date: April 23, 2021 Subject Fields: Film and Film History, German History / Studies, Humanities, Research and Methodology, Contemporary History Dr Hanja Dämon’s talk intercedes in the growing field of unproduction studies, which focuses on the study of the unmade, unseen, and unreleased. It does so through a case study of post-war European production cultures and celebrity. A project prominently advertised in Austria between the end of 1946 and spring 1947 promised the return of a beloved star of the 1930s to Vienna: The Hungarian- born Jewish actress Franziska Gaal. Extremely popular in interwar German-language cinema, she left for Hollywood once she was no longer welcomed in Nazi Germany and Austria. Her post-war comeback was to be produced by the company ‘Kollektiv-Film’, founded by Franz Antel, who was to become a prolific Austrian director over a decades-spanning career. Other names associated with the project were Adolf Wohlbrück/Anton Walbrook, slated to return from Great Britain to Austria, and star composer Robert Stolz. The talk explores why the film remained unmade, touching on the conditions of filmmaking in Austria in this period, and providing a backstory to the ‘Kollektiv-Film’, which, in the end, only ever made one film, the musical comedyDas Singende Haus (The Singing House, dir. by Franz Antel) and soon collapsed. This talk is hosted by Dr James Fenwick (Sheffield Hallam University, Centre for Culture, Media and Society) and sponsored by the BAFTSS New Connections programme. -
Graduate-Dissertations-21
Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E. -
Tafelmusik Unveils 2020/21 Season: Passions of the Soul
Tafelmusik unveils 2020/21 Season Passions of the Soul Toronto, February 19, 2020… Today Music Director Elisa Citterio unveiled Tafelmusik Baroque Orchestra’s 2020/21 season, Passions of the Soul, inviting audiences to experience the range of feelings music can inspire. For her third season, Citterio has curated a selection of music that spans more than four centuries — from early baroque to contemporary composers — with the ultimate goal of touching the heart of the listener. Detailed information about the 2020/21 season is below, and high resolution images are available in Tafelmusik’s Media Room. A trailer for the 2020/21 season can be viewed here, and subscriptions are now on sale at tafelmusik.org. Highlights of the 2020/21 season include Birth of a Symphony, a new multimedia creation by double bassist, conductor, and composer Vanni Moretto Beethoven 250 celebration with keyboard virtuoso Kristian Bezuidenhout Tafelmusik debuts by guest conductor Rinaldo Alessandrini; cornettist Doron Sherwin; harpist Masumi Nagasawa; flutist Emi Ferguson; soprano Emöke Barath; countertenor Christopher Lowrey, and bass Philippe Sly. Bach Christmas Oratorio and Brandenburg Concertos New studio recording with oboist and guest director Alfredo Bernardini and the release of a live recording, A Handel Celebration New commissions by contemporary composers Tours across Ontario, Eastern Canada, and the United States Launch of Saturday Mini Matinees series Return of Close Encounters and Haus Musik series “We’ve created a season that spans a variety of exceptional sounds. Our aim is to elicit emotions and offer an experience of intimate joy that leaves room for other feelings as well,” said Citterio. -
After 25 Years of Common EU Membership - Working Together for a Greener European Future OPENING WORDS
After 25 years of Common EU Membership - Working Together for a Greener European Future OPENING WORDS Gunvor Kronman, CEO, Hanaholmen – Swedish-Finnish Cultural Centre Excellencies, Ladies and gentlemen, It’s my great pleasure to wish you all warmly welcome to this seminar celebrating the 25th anniversary of Austrian, Finnish and Swedish EU-membership. Hanaholmen is an institution where normally two countries, Sweden and Finland, are brought together to create added value from co-operation in the fields of culture, society and business. Today, we In the early membership phase, the Lisbon are honoured and delighted to include Strategy set as aim to make the EU the Austria as partner in our programme. most competitive and dynamic knowl- edge-based economy in the world by 2010. We had a genuine challenge, when deter- It was succeeded by the Europe 2020 strat- mining the topic of the seminar, which egy, an agenda for growth and jobs for the included a multitude of candidates, among next decade, emphasizing smart, sustain- others: able and inclusive growth. In December • the future of multilateral 2019, the European Commission presented co-operation the European Green Deal for making the • reflections on EU negoti- EU’s economy sustainable by turning ations and membership climate and environmental challenges into from key EU-profiles opportunities. • the successes and chal- lenges of free mobility The programme is the result of fruitful co-op- • effects on border-regions eration between the Austrian Embassy, from EU-membership the Swedish Embassy, the Finnish Ministry for Foreign Affairs, the Finnish Institute for It was clear that we wanted to have a strong International Affairs and Hanaholmen – the focus on the future of the EU, so in the end, Swedish-Finnish Cultural Centre. -
Georg Philipp Telemann (1681 – 1767) - Complete Works / Sämtliche Werke 2015
Georg Philipp Telemann (1681 - 1767) Sämtliche Werke / Complete works 2015 MP3-Format Details Georg Philipp Telemann (1681 – 1767) - Complete works / Sämtliche Werke 2015 - Total time / Gesamtspielzeit 216:55:26 ( 9 d ) Telemann war wohl der produktivste Komponist aller Zeiten. Leider wird sein umfangreiches Schaffen noch nicht ausreichend gewürdigt. Die Zusammenstellung der Werke von Telemann enthält ca. 95 % aller weltweiten professionellen Aufnahmen der Telemann-Werke von 1950 - 2015. Eine vollständige Zusammenstellung aller Werke von G. Ph. Telemann ist noch lange nicht nicht möglich - es wird noch 20 bis 40 Jahre dauern, bis von allen Werken, die zum grossen Teil noch nicht wiedergefunden wurden, professionelle Aufnahmen vorhanden sind. Aufnahmen zu Telemanns instrumentalen Werken existieren fast lückenlos, professionelle Aufnahmen seiner vokalen Werke existieren ca. nur zu 10 %. Telemann was probably the most prolific composer of all time. Unfortunately, his extensive work is not yet sufficiently appreciated. The compilation of the works of Telemann contains about 95% of all global professional recordings of Telemann works from 1950 to 2015. A complete set of works by G. Ph Telemann is still far impossible - it will take 20 to 40 years, until available professional recordings to all works, which have not yet recovered to a large extent. Recordings to Telemann's instrumental works exist almost completely, professional recording of his vocal works exist only to approximately 10%. Die Struktur dieses Verzeichnisses gleicht der Ordner-Struktur -
Florilegium.Org.Uk 2 Floribachtelemannbooklet 03-09-2008 10:13 Pagina 3
FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 1 CHANNEL CLASSICS CCS SA 27208 Bach&TelemannLucy Crowe soprano Cantata Concerto in a major Non sa che sia dolore from Tafelmusik Part i bwv209 Triple Concerto in a minor bwv1044 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 2 Ashley Solomon baroque flute – Martin Wenner, 2005 after Palanca, 1720 Rodolfo Richter violin – Andrea Guarnieri, 1674 Graham Cracknell violin – Joseph Gagliano, 1760 Nicolette Moonen violin – Matthias Albanus, 1643 Catherine Martin violin – Carlo Antonio Testore, 1745 Hannah Tibell violin – Brothers Amati, 1618 Trevor Jones viola – Rowland Ross after Stradivarius, 1977 Jennifer Morsches cello – Tyrolean, anon, c.1800 Judith Evans bass – Italian, c.1700 James Johnstone harpsichord – Bruce Kennedy, 1999 after Michael Mietke, 1702/04 for more information: www.florilegium.org.uk 2 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 3 photo: Amit Lennon 3 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 4 Florilegium Artistic Director Ashley Solomon Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s most outstanding period instrument ensembles. Following a recent performance at London’s Wigmore Hall, The Times newspaper wrote: “Florilegium climbed the heights of dancing bliss and left the Wigmore sighing with pleasure. They have become an indispensable feature on the early music landscape”. Since Florilegium’s formation in 1991, they have established a reputation for stylish and exciting interpretations of music from the baroque era to the early romantic revolution. Among the numerous residencies Florilegium held the coveted post of Ensemble-in- Residence at London’s Wigmore Hall, a position they enjoyed from 1998 to 2000, performing several series of concerts each year and becoming actively involved in the Hall’s education work.