Celebrating 25 Years YN Dathlu 25 Mlynedd
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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
1St International Piano Competition 2020 Online
MusicAlive 1st International Piano Competition 2020 Online THE COMPETITION JURY Anna Kijanowska - founder, artistic director - Poland/USA Agnieszka Lasko - co-founder, managing director - Poland Chantal Balestri - Italy/Switzerland Sara Davis Buechner - USA Mia Elezović - Croatia Mirta Gómez - Cuba/USA Aleksandra Hałat - Poland Agata Hołdyk - Poland János Kéry - Hungary Agnieszka Kopińska - APPLICATION Poland DEADLINE Grzegorz Niemczuk - Poland June 30, 2020 Jay Pengjie Sun - USA/Taiwan Jelena Simonović-Kovačević - Serbia Ana Telles - Portugal Maria Yefimova - Russia/USA Anna Kijanowska FOUNDER/ARTISTIC DIRECTOR JURY MEMBER M U S I C A L I V E 1 S T I N T E R N A T I O N A L P I A N O C O M P E T I T I O N 2 0 2 0 O N L I N E Anna Kijanowska, WPTA-Polska President, Anna Kijanowska has established herself as a multi faceted musician, smoothly transitioning among her roles as a performing and recording artist, pedagogue, coach, and advocate of contemporary classical music around the world. She has performed and taught in North and South America, Asia, Europe, New Zealand, Africa and Australia. As an internationally recognized music educator, Kijanowska has been invited to present master classes, recitals and lectures at leading universities and conservatories around the world, including the Central Conservatory and the the Chinese Conservatory in Beijing, Yong Siew Toh Conservatory of Music at the National University of Singapore, LaSalle College of Arts in Singapore, Frankfurt University of Music and Performing Arts in Germany, Liszt Academy in Budapest, the Sydney Konservatorium, New Zealand School of Music in New Zealand, Yale and Harvard University in Cambridge, among others. -
A Midsummer Night's Dream
Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears -
2016/17 Trinity Hall
A year in the life of the Trinity Hall community 2016/17 Trinity Hall Academic Year 2016/17 2016/17 2 Trinity Hall Reports from our Officers Hello and welcome to the Trinity Hall Review 2016/17, looking back on an exciting academic year for the College community. Major milestones this year include a number of events and projects marking 40 years since the admission of women to Trinity Hall, the completion of WYNG Gardens and the acquisition of a new portrait and a new tapestry, both currently on display in the Dining Hall. We hope you enjoy reading the Review and on behalf of everyone at Trinity Hall, thank you for your continued and generous support. Kathryn Greaves Alumni Communications Officer Stay in touch with the College network: 30 TrinityHallCamb Alumni News inside Reports from our Officers 2 The Master 2 The Bursar 4 The Senior Tutor 7 The Graduate Tutor 8 The Admissions Tutor 10 The Dean 11 The Development Director 12 The Junior Bursar 14 The Head of Conference and Catering Services 15 The Librarian 16 The Director of Music 17 College News 18 The JCR President’s Report 20 The MCR President’s Report 21 Student Reports 22 Fellows’ News 24 Seminars and Lectures 26 Fundraising 28 18 Alumni News 30 THA Secretary’s Report 32 College News Alumni News 34 In Memoriam 36 2016/17 Information 38 List of Fellows 40 College Statistics 44 Fellows and Staff 48 List of Donors 50 Get involved 59 Thank you to all who have contributed to this edition of the Trinity Hall Review. -
Gp 3.Qxt 7/27/15 8:56 AM Page 1
08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 1 Sunday Afternoon, August 9, 2015, at 3:00 m a r Academy of Ancient Music M|M g Edward Gardner , Conductor o r Alina Ibragimova , Violin P e ALL-MENDELSSOHN PROGRAM h The Hebrides (“Fingal’s Cave”) (1830/32) T Violin Concerto in E minor (1844) Allegro molto appassionato— Andante— Allegretto non troppo—Allegro molto vivace Ms. Ibragimova will perform Mendelssohn’s cadenza. Intermission Symphony No. 3 in A minor (“Scottish”) (1842) Andante con moto—Allegro un poco agitato Vivace non troppo Adagio Allegro vivacissimo—Allegro maestoso assai M|M Mostly Mozart debut Please make certain all your electronic devices are switched off. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Alice Tully Hall , Starr Theater Adrienne Arsht Stage 08-09 Ancient Music_Gp 3.qxt 7/27/15 8:56 AM Page 2 Mostly Mozart Festival The Mostly Mozart Festival is made possible by Sarah Billinghurst Solomon and Howard Solomon, Rita E. and Gustave M. Hauser, Chris and Bruce Crawford, The Fan Fox and Leslie R. Samuels Foundation, Inc., Charles E. Culpeper Foundation, S.H. and Helen R. Scheuer Family Foundation, and Friends of Mostly Mozart. Public support is provided by the New York State Council on the Arts. Artist Catering provided by Zabar’s and zabars.com MetLife is the National Sponsor of Lincoln Center United Airlines is a Supporter of Lincoln Center WABC-TV is a Supporter of Lincoln Center “Summer at Lincoln Center” is supported by Diet Pepsi Time Out New York is a Media Partner of Summer at Lincoln Center UPCOMING MOSTLY MOZART FESTIVAL EVENTS: Tuesday and Thursday Evenings, August 11 and 13, at 7:30 Saturday Afternoon, August 15, at 3:00 in the David H. -
New on Naxos | MAY 2012
25years NEW ON The World’s Leading ClassicalNA MusicXO LabelS MAY 2012 This Month’s Other Highlights © 2012 Naxos Rights International Limited • Contact Us: [email protected] www.naxos.com • www.classicsonline.com • www.naxosmusiclibrary.com NEW ON NAXOS | MAY 2012 8.572823 Playing Time: 76:43 7 47313 28237 1 © Bruna Rausa Alessandro Marangoni Mario CASTELNUOVO-TEDESCO (1895-1968) Piano Concerto No 1 in G minor, Op 46 Piano Concerto No 2 in F major, Op 92 Four Dances from ‘Love’s Labour’s Lost’, Op 167* Alessandro Marangoni, piano Malmö Symphony Orchestra • Andrew Mogrelia * First Performance and Recording Mario Castelnuovo-Tedesco’s two Piano Concertos form a contrasting pair. Concerto No. 1, written in 1927, is a vivid and witty example of his romantic spirit, exquisite melodies and rich yet transparent orchestration. Concerto No. 2, composed a decade later, is a darker, more dramatic and virtuosic work. The deeply-felt and dreamlike slow movement and passionate finale are tinged with bleak moments of somber agitation, suggestive of unfolding tragic events with the imminent introduction of the Fascist Racial Laws that led Castelnuovo-Tedesco to seek exile in the USA in 1939. The Four Dances from ‘Love’s Labour’s Lost’, part of the composer’s recurring fascination for the art of Shakespeare, are atmospheric, richly characterised and hugely enjoyable. This is their first performance and recording. After winning national and international awards, Alessandro Marangoni has appeared throughout Europe and America, as a soloist and as a © Zu Zweit chamber musician, collaborating with some of Italy’s leading performers. -
New Perspectives on Modern Wales
New Perspectives on Modern Wales New Perspectives on Modern Wales: Studies in Welsh Language, Literature and Social Politics Edited by Sabine Asmus and Katarzyna Jaworska-Biskup New Perspectives on Modern Wales: Studies in Welsh Language, Literature and Social Politics Edited by Sabine Asmus and Katarzyna Jaworska-Biskup Reviewer: Prof. dr. Eduard Werner This book first published 2019 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 © 2019 by Sabine Asmus, Katarzyna Jaworska-Biskup and contributors 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): 1-5275-2191-5 ISBN (13): 978-1-5275-2191-9 CONTENTS INTRODUCTION ............................................................................................ 1 CHAPTER ONE ............................................................................................. 3 Welsh or British in Times of Trouble? Shaping Welsh Culture and Identity during the Second World War Martin Andrew Hanks CHAPTER TWO .......................................................................................... 31 Local or National? Gender, Place and Identity in Post-Devolution Wales’ Literature Rhiannon Heledd Williams CHAPTER THREE -
Broadcasting Canada's War: How the Canadian Broadcasting Corporation Reported the Second World War
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2017 Broadcasting Canada's War: How the Canadian Broadcasting Corporation Reported the Second World War Sweazey, Connor Sweazey, C. (2017). Broadcasting Canada's War: How the Canadian Broadcasting Corporation Reported the Second World War (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/25173 http://hdl.handle.net/11023/3759 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Broadcasting Canada's War: How the Canadian Broadcasting Corporation Reported the Second World War by Connor Sweazey A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN HISTORY CALGARY, ALBERTA APRIL, 2017 © Connor Sweazey 2017 Abstract Public Canadian radio was at the height of its influence during the Second World War. Reacting to the medium’s growing significance, members of the Canadian Broadcasting Corporation (CBC) accepted that they had a wartime responsibility to maintain civilian morale. The CBC thus unequivocally supported the national cause throughout all levels of its organization. Its senior administrations and programmers directed the CBC’s efforts to aid the Canadian war effort. -
Alina Ibragimova Cédric Tiberghien Beethoven
Alina Ibragimova Cédric Tiberghien Beethoven Violin Sonatas – 3 Alina Ibragimova violin DDD WHLive0045 C 2011 The Wigmore Hall Trust Cédric Tiberghien piano P 2011 The Wigmore Hall Trust Made & Printed in England Recorded live at Wigmore Hall, London All rights reserved. 25 May 2010 Unauthorized copying, hiring, lending, public performance and broadcasting prohibited. LC 14458 Wigmore Hall 36 Wigmore Street Ludwig Van BeethoVen London W1U 2BP www.wigmore-hall.org.uk John Gilhooly Director Violin Sonatas – 3 The Wigmore Hall Trust Reg. Charity No. 1024838 01 Violin Sonata in A major Op. 30 No. 1 22.00 04 Violin Sonata in E flat major Op. 12 No. 3 19.05 07 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 Total time: 78.56 ‘Smiling faces, furious applause: that’s how this series ended’ (The Times) WHLive0045 Alina Ibragimova violin Made & Printed in England Cédric Tiberghien piano Recorded live at Wigmore Hall, London, on 25 May 2010 Ludwig Van BeethoVen Violin Sonatas – 3 Violin Sonata in A major Op. 30 No. 1 22.00 01 Allegro 06.48 02 Adagio molto espressivo 07.15 03 Allegretto con variazioni 07.33 Violin Sonata in E flat major Op. 12 No. 3 19.05 04 Allegro con spirito 07.57 05 Adagio con molta espressione 06.31 06 Allegro molto 04.22 Violin Sonata in A major ‘Kreutzer’ Op. 47 37.30 07 Adagio sostenuto – Presto 13.38 08 Andante con variazioni 15.16 09 Presto 08.47 Total time: 78.56 b0045 RPM.qxd 02-03-2011 11:46 Page 2 BEETHOVEN VIOLIN SONATAS – VOLUME 3 This disc contains many wonders, but even the the sonata for which Op. -
Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ. -
105Th American Assembly on "U.S.-Canada
The 105th American Assembly ENEWING THE U. S. ~ Canada R ELATIONSHIP The American Assembly February 3–6, 2005 475 Riverside Drive, Suite 456 Arden House New York, New York, 10115 Harriman, New York Telephone: 212-870-3500 Fax: 212-870-3555 E-mail: [email protected] www.americanassembly.org Canada Institute Canadian Institute The Woodrow Wilson CANADIAN INSTITUT INSTITUTE OF CANADIEN DES of International Affairs International Center for Scholars INTERNATIONAL AFFAIRES AFFAIRS INTERNATIONALES 205 Richmond Street West One Woodrow Wilson Plaza Suite 302 1300 Pennsylvania Ave., N.W. CIIA/ICAI Toronto, Ontario, Canada M5V 1V3 Washington, D.C. 20004-3027 Telephone: 416-977-9000 Telephone: 202-691-4270 Fax: 416-977-7521 Fax: 202-691-4001 www.ciia.org www.wilsoncenter.org/canada/ PREFACE On February 3, 2005, seventy women and men from the United States and Canada including government officials, representatives from business, labor, law, nonprofit organizations, academia, and the media gathered at Arden House in Harriman, New York for the 105th American Assembly entitled “U.S.-Canada Relations.” Assemblies had been sponsored on this topic in 1964 and 1984, and this third Assembly on bilateral relations was co-sponsored by the Canada Institute of the Woodrow Wilson International Center for Scholars, the Canadian Institute for International Affairs (CIIA), and The American Assembly of Columbia University. The participants, representing a range of views, backgrounds, and interests, met for three days in small groups for intensive, structured discussions to examine the concerns and challenges of the binational relationship. This Assembly was co-chaired by Allan Gotlieb, former Canadian ambassador to the United States, former under secretary of state for External Affairs, and senior advisor at Stikeman Elliot LLP in Toronto and James Blanchard, former U.S. -
A GARLAND for JOHN MCCABE Monica Mccabe’S Reflections on a Life Lived for Music Agenda British Music Society’S News and Events British Music Scores Search
BRITISH MUSIC SOCIETY nAPRIL 2018 ews AMBASSADOR FOR BRITISH MUSIC IN USA Madeleine Mitchell across the pond A GARLAND FOR JOHN MCCABE Monica McCabe’s reflections on a life lived for music Agenda British Music Society’s news and events British music scores search org Schneider from the German for piano and winds (1890) wind ensemble Four Points One • George Alexander Osborne Chairman’s J(www.four-point-one.de) is on Quintet for piano and winds the hunt for scores the following (1889) (Yes - he is actually Irish) compositions by British composers: If anyone from the BMS welcome • Marian Arkwright Quintet for network could help him track down piano and winds these scores please get in touch with MS member Madeleine Mitchell is back • Edith Swepstone Quintet for him at [email protected]. piano and winds Jorg is also on the look out for from America and has submitted the first • Henry David Leslie Quintet for any information about the Sir BBMS Ambassador report from her visit to piano and winds op.6 Michael Costa Prize 1896 Anyone the Kansas State University (see opposite page). • Edward Davey Rendall Quintet know anything about this? The committee is closely monitoring the progress of this new scheme and are always interested to hear members’ views. Reviving Victorian opera For those of you with access to the internet, a visit to the BMS website now offers the preced - ictorian Opera Northwest to revise Nell Gwynne by inviting B have made full opera C Stevenson (a librettist of Sullivan’s ing Printed News that opens by clicking on the recordings of works by Balfe, The Zoo) to write the new book.