D Dur CD Dur C DAYAY DOOR C (Key of D Major, German Designation)
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Public Events May 2019
Public Events May 2019 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Youth Summer Camps ........................................................................................... 5 Neighborhood and Community Relations 1800 Sherman, Suite 7-100 Northwestern Events Evanston, IL 60208 Arts www.northwestern.edu/communityrelations Music Performances ..................................................................................... 15 Theater ......................................................................................................... 24 Art Exhibits .................................................................................................. 26 Dave Davis Art Discussions ............................................................................................. 27 Executive Director Film Screenings ............................................................................................ 27 [email protected] 847-491-8434 Living Leisure and Social ......................................................................................... 31 Norris Mini Courses Around Campus To receive this publication electronically ARTica (art studio) every month, please email Shayla Butler at Norris Outdoors [email protected] Northwestern Music Academy Religious Services ....................................................................................... -
Early Fifteenth Century
CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ... -
Eberhard Waechter“
DIPLOMARBEIT Titel der Diplomarbeit „Eberhard Waechter“ Verfasserin Mayr Nicoletta angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl: A 317 Studienrichtung: Theater-, Film- und Medienwissenschaft Betreuerin: Univ.-Prof.Dr. Hilde Haider-Pregler Dank Ich danke vor allem meiner Betreuerin Frau Professor Haider, dass Sie mir mein Thema bewilligt hat und mir mit Rat und Tat zur Seite stand. Ich danke der Familie Waechter und Frau Anneliese Sch. für die Bereitstellung des Materials. Ich danke meiner Schwester Romy und meiner „Seelenverwandten“ Sheila und all meinen Freunden für ihre emotionale Unterstützung und die zahlreichen motivierenden Gespräche. Ich danke meinem Bruder Florian für die Hilfe im Bereich der Computertechnik. Ein großer Dank gilt meiner Tante Edith, einfach dafür, dass es dich gibt. Außerdem danke ich meinen Großeltern, dass sie meine Liebe zur Musik und zur Oper stets enthusiastisch aufgenommen haben und mit mir Jahr für Jahr die Operettenfestspiele in Bad Ischl besucht haben. Ich widme meine Diplomarbeit meinen lieben Eltern. Sie haben mich in den letzten Jahren immer wieder finanziell unterstützt und mir daher eine schöne Studienzeit ermöglicht haben. Außerdem haben sie meine Liebe und Leidenschaft für die Oper stets unterstützt, mich mit Büchern, Videos und CD-Aufnahmen belohnt. Ich danke euch für eure Geduld und euer Verständnis für eure oft komplizierte und theaterbessene Tochter. Ich bin glücklich und froh, so tolle Eltern zu haben. Inhalt 1 Einleitung .......................................................................................... -
4970379-70Ef42-714439855734.Pdf
GUILLAUME DE MACHAUT la messe nostre-dame - l ‘ amour courtois ARS ANTIQUA DE PARIS directed by michel sanvoisin Joseph Sage, countertenor Hugues Primard, tenor Pierre Eyssartier, tenor Marc Guillard, baritone Michel Sanvoisin, recorders Philippe Matharel, cornet Raymond Cousté, lute Colette Lequien, vièle Marie Jeanne Serero, organ La Messe Nostre-Dame 1. Kyrie I, Christe, Kyrie II, Kyrie III 06:52 2. Gloria 05:12 3. Credo 06:44 4. Sanctus 04:35 5. Agnus Dei 03:29 6. Gratias 01:44 L'Amour Courtois 7. De Toutes Flours (organ, vièle) 03:31 8. Quant Theseus (two tenors, vièle, organ, lute) 04:44 9. Plus Dure Que Un Dyamant (lute) 01:59 10. Ma Fin Est Mon Commencement (countertenor, recorder, lute) 06:14 11. Hoquet David (vièle, organ, lute) 02:16 12. Douce Dame Jolie (countertenor) 03:54 13. Ce Qui Soutient Moy (recorder, lute) 01:29 14. Rose, Liz (tenor, baritone, organ, vièle, cornet, lute) 04:16 15. Dame, Ne Regardes Pas (recorder, vièle) 01:51 16. Ma Chiere Dame (countertenor, recorder, vièle, lute) 01:46 17. Dame, Se Vous M'estes Lonteinne (baritone, organ, vièle, cornet) 02:55 18. Trop Plus Est Belle (vocal and intstrumental ensemble) 02:59 TOTAL PLAYING TIME 68:14 Recorded at Scuola Grande di San Giovanni Evangelista, Venice 1990 Recording Engineers: Silvia and Giovanni Melloncelli p©20161Edelweiss Emission The Originals is a unique series that has once again been made available for audiophiles, so they can enjoy the stellar euphonic sound of EDELWEISS EMISSION. 2016 begins with the reissue of a previously sold out series of outstanding releases performed by a number of celebrated musicians. -
Diszkográfia Az Első Kötethez
© Typotex Kiadó Diszkográfia az első kötethez Janet Baker: Full Circle Her last year in Opera Gluck: Alceste. The Royal Opera Covent Garden Donizetti: Stuart Maria. English National Opera Gluck: Orfeo ed Euridice. Glyndebourne Festival Opera Felvétel: 1992 Warner, NVC ARTS, 2006, DVD 50-51011-4855-2-7 Beethoven: Fidelio Waltraud Meier, Plácido Domingo, Falk Stuckmann, René Pape, Soile Isokoski, Werner Güra, Kwangchul Youn Chor der Deutschen Staatsoper Berlin, Staatskapelle Berlin Vezényel: Daniel Barenboim Felvétel: Groβer Sendesaal, Berlin, May/June 1999 Teldec, 1999, 2 CD 3984-25249-2 Beethoven: Fidelio Dietrich Fischer-Dieskau, Hans Sotin, René Kollo, Gundula Janowitz, Manfred Jungwirth, Lucia Popp, Adolf Dallapozza, Karl Terkal, Alfred Sramek Wiener Staatsoperchor, Wiener Philharmoniker Vezényel: Leonard Bernstein Felvétel: Wien, Musikverein, Groβer Saal, 2/1978 Deutsche Grammophon, 1978, 2 CD 419 438-2 Beethoven: Fidelio Leonie Rysanek, Judith Blegen, Jon Vickers, Walter Berry, Giorgio Tozzi, Murray Dickie, John Macurdy, Leo Goeke, Robert Goodloe Orchestra e coro dell’Opera di San Francisco Vezényel: Karl Böhm Élő felvétel: 29. 11. 1968, San Francisco Melodram, 1990, 2 CD 27086 Beethoven: Fidelio Michael Schade, Elizabeth Norberg-Schulz, Matthias Hölle, Deborah Voigt, www.interkonyv.hu © Fodor Géza jogutóda © Typotex Kiadó 248 • Mi szól a lemezen? Günter von Kannen, Andreas Schulist, Wielfried Vorwol, Ben Heppner, Thomas Quasthoff Symphonieorchester und Chor des Bayerischen Rundfunks, Bavarian Radio Symphony Orchestra and Chorus -
The Pedagogical Legacy of Johann Nepomuk Hummel
ABSTRACT Title of Document: THE PEDAGOGICAL LEGACY OF JOHANN NEPOMUK HUMMEL. Jarl Olaf Hulbert, Doctor of Philosophy, 2006 Directed By: Professor Shelley G. Davis School of Music, Division of Musicology & Ethnomusicology Johann Nepomuk Hummel (1778-1837), a student of Mozart and Haydn, and colleague of Beethoven, made a spectacular ascent from child-prodigy to pianist- superstar. A composer with considerable output, he garnered enormous recognition as piano virtuoso and teacher. Acclaimed for his dazzling, beautifully clean, and elegant legato playing, his superb pedagogical skills made him a much sought after and highly paid teacher. This dissertation examines Hummel’s eminent role as piano pedagogue reassessing his legacy. Furthering previous research (e.g. Karl Benyovszky, Marion Barnum, Joel Sachs) with newly consulted archival material, this study focuses on the impact of Hummel on his students. Part One deals with Hummel’s biography and his seminal piano treatise, Ausführliche theoretisch-practische Anweisung zum Piano- Forte-Spiel, vom ersten Elementar-Unterrichte an, bis zur vollkommensten Ausbildung, 1828 (published in German, English, French, and Italian). Part Two discusses Hummel, the pedagogue; the impact on his star-students, notably Adolph Henselt, Ferdinand Hiller, and Sigismond Thalberg; his influence on musicians such as Chopin and Mendelssohn; and the spreading of his method throughout Europe and the US. Part Three deals with the precipitous decline of Hummel’s reputation, particularly after severe attacks by Robert Schumann. His recent resurgence as a musician of note is exemplified in a case study of the changes in the appreciation of the Septet in D Minor, one of Hummel’s most celebrated compositions. -
Bellini's Norma
Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation. -
Opernaufführungen in Stuttgart
Opernaufführungen in Stuttgart ORIGINALTITEL AUFFÜHRUNGSTITEL GATTUNG LIBRETTIST KOMPONIST AUFFÜHRUNGSDATEN (G=Gastspiel)(L=Ludwigsburg)(C=Cannstatt) Euryanthe Euryanthe Oper Helemine von Chezy C(arl M(aria) von 1833: 13.03. ; 28.04. - 1863: 01.02. - 1864: 17.01. - Weber 1881; 12.02. (Ouverture) - 1887: 20.06 (Ouverture) - 1890: 16.02. ; 26.03. ; 25.09. ; 02.11. - 1893: 07.06 - Abu Hassan Oper in 1 Akt Franz Karl Hiemer Carl Maria von Weber 1811: 10.07. - 1824: 08.12. - 1825: 07.01. Achille Achilles Große heroische Nach dem Ferdinand Paer 1803: 30.09. ; 03.10. ; 31.10. ; 18.11. - 1804: Oper in 3 Akten Italienischen des 23.03. ; 18.11. - 1805: 17.06. ; 03.11. ; 01.12. - Giovanni DeGamerra 1806: 18.05. - 1807: 14.06. ; 01.12. - 1808: 18.09. - von Franz Anton 1809: 08.09. - 1810: 01.04. ; 29.07. - 1812: 09.02. ; Maurer 01.11. - 1813: 31.10. - 1816: 11.02. ; 09.06. - 1817: 01.06. - 1818: 01.03. - 1820: 15.01. - 1823: 17.12. - 1826: 08.02. Adelaide di Adelheit von Guesclin Große heroische Aus dem Italienischen Simon Mayr 1805: 21.07. ; 02.08. ; 22.09. - 1806: 02.03. ; 14. 09. Guescelino Oper in 2 Akten ; 16.09. (L). - 1807: 22.02. ; 30.08.(L) ; 06.09. - 1809: 07.04. - 1810: 11.04. - 1814: 28.08.(L) ; 09.10. - 1816: 05.05. ; 18.08. Adelina (auch Adeline Oper in 1 Akt Nach dem Pietro Generali 1818: 23.03. Luigina, Luisina) Italienischen von Franz Karl Hiemer - Des Adlers Horst Romantisch- Carl von Holtei Franz Gläser 1852: 30.04. ; 02.05. -
Georg Friedrich Händel (1685-1759)
Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella -
Elena Kelessidi a Russian Romance
ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 16:57 Page 1 elena kelessidi a russian p1 romance malcolm martineau tchaikovsky . glinka cui . rimsky-korsakov dargomyzhsky . rachmaninov r ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 16:57 Page 2 p2 Malcolm Martineau ONYX4031_cd_RussianRomance-a-BL.qxd 2/9/08 16:57 Page 3 PYOTR ILYICH TCHAIKOVSKY (1840–1893) 1 Kolybel’naja pesnja Lullaby, op. 16 no. 1 3.46 2 Kaby znala ja Had I only known, op. 47 no. 1 4.31 3 Zabyt’ tak skoro So soon forgotten (1870) 3.02 4 Sret’ shumnava bala At the Ball, op. 38 no. 3 2.09 5 Ja li f pole da ne travushka byla The Bride’s Lament, op. 47 no. 7 6.01 MIKHAIL GLINKA (1804–1857) 6 V krovi gorit ogon’ zhelan’ja Fire in my Veins 1.15 7 K citre To a Lyre 3.28 8 Ne iskushaj menja bez nuzhdy Do not tempt me 2.41 9 Skazhi, zachem Tell me why 2.13 NIKOLAI RIMSKY-KORSAKOV (1844–1908) 10 Plenivshis’ rozoj, solovej The Nightingale and the Rose, op. 2 no. 2 2.45 11 O chjom v tishi nochej In the quiet night, op. 40 no. 3 1.45 12 Ne veter veja s vysoty The Wind, op. 43 no. 2 1.42 CÉSAR CUI (1835–1918) 13 Kosnulas’ ja cvetka I touched a flower, op. 49 no. 1 1.39 ALEXANDER DARGOMYZHSKY (1813–1869) p3 14 Junoshu, gor’ko rydaja Young Boy and Girl 1.05 15 Ja vsjo jeshchjo jego ljublju I still love him 2.09 VLADIMIR VLASOV (1902–1986) 16 Bakhchisaraysky fontan The Fountain of Bakhchisarai 3.53 SERGEI RACHMANINOV (1873–1943) 17 Ne poj, krasavica, pri mne Oh, do not sing to me, op. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Matthew Brook & Peter Seymour
Matthew Brook & Peter Seymour Amore traditore Cantatas for bass and harpsichord St Lawrence Church 15 July 2021 1.00 pm _________________ Online Premiere 16 July 2021 1.00 pm Matthew Brook bass-baritone Peter Seymour harpsichord Cantata: ‘Amore traditore’, BWV 203 Johann Sebastian Bach (1685-1750) Ich habe genug; Schlummert ein, BWV 82 Bach Mädchen, die von harten Sinne, Bach from Kaffeekantate, BWV 211 Cantata: ‘Dalla guerra amorosa’, HWV 102a George Frideric Handel (1685–1759) Pur ritorna a rimirarvi from Agrippina Handel Komm, süsses Kreuz Bach from Matthäus Passion, BWV 244 Vieni, o cara Handel from Rinaldo Sull’arena di barbara scena Handel from Imeneo This programme is taken from the high Baroque of the eighteenth century in Italy and Germany. Handel, although born in Germany, assimilated the latest Italian fashions, especially of opera and the smaller-scale cantata, during his studies in Italy around 1707-09. Whilst Dalla guerra amorosa is only one of many in this form (a sequence alternating recitatives and (often da capo) arias), that by Bach, Amore traditore, is unique as a continuo cantata, written during his employment at Köthen. It may have been an exercise in setting an Italian text (along with BWV 209, Non sa che sia dolore, for soprano, flute and strings), and the text was copied from a setting by Fago which Bach found in the library at Köthen. Whilst Handel travelled to Rome and Venice to study Italian fashions and innovations, Bach experimented either by arranging existing Italian compositions (e.g. by Vivaldi and Albinoni) or with his own original compositions such as here.