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CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u. -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
T H E E L E C T R I C P R U N
THE ELECTRIC PRUNES The James Lowe interview The rock and roll section of Los Angeles' Walk of Fame on the cold annotated concrete of Hollywood Boulevard would be incomplete without a prominent star representing the Electric Prunes. Although they may not have had as many hits as Love, the Seeds, the Doors or the Leaves other homegrown Smogtown combos from the same era the mindshattering strains of the Prunes' "I Had Too Much To Dream Last Night" is enough to forever assure their place in pop music history. The band had five albums released on Reprise, but only the first two their selftitled debut and Underground are truly representative of the Electric Prunes. The third, Mass In F Minor, was an idea that didn't quite get off the ground, and Lowe hit the bricks soon after its release. By the time album five, Just Good Old Rock And Roll, poked its shaggy head out of the nursery, the band was composed of four guys named Moe with no original members left. Lead singer James Lowe was never content to take the motorway when he could spend all day poking along on roads that aren't even listed on the map. "I wanted to make freeform garage music," he told me recently, explaining why the Mass album convinced him his tenure as a Prune was up. Though still incredulous that anybody could possibly care about music he created thirty years ago, Lowe agreed to shed some light on a band that's been skulking in the dusty corners of the attics of your mind for far too long. -
Revue Française De Civilisation Britannique, XXII-3 | 2017 « a Musician for an Occasion »: Britten, Compositeur Engagé 2
Revue Française de Civilisation Britannique French Journal of British Studies XXII-3 | 2017 Forms of Activism in the United Kingdom (Grassroots Activism, Culture, Media) « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Édition électronique URL : http://journals.openedition.org/rfcb/1443 DOI : 10.4000/rfcb.1443 ISSN : 2429-4373 Éditeur CRECIB - Centre de recherche et d'études en civilisation britannique Référence électronique Gilles Couderc, « « A musician for an occasion »: Britten, compositeur engagé », Revue Française de Civilisation Britannique [En ligne], XXII-3 | 2017, mis en ligne le 05 juillet 2017, consulté le 02 mai 2019. URL : http://journals.openedition.org/rfcb/1443 ; DOI : 10.4000/rfcb.1443 Ce document a été généré automatiquement le 2 mai 2019. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. « A musician for an occasion »: Britten, compositeur engagé 1 « A musician for an occasion »: Britten, compositeur engagé « A Musician for an Occasion » : Britten as a Committed Composer Gilles Couderc Introduction I believe that the artist must be consciously a human being. He is part of society and he should not lock himself up in an ivory tower. I think he has a duty to play towards his fellow creatures. It is not only a duty; I think it’s a pleasure too. I want to have my music used. I would rather—this seems perhaps a silly thing to say—but I would rather have my music used than to write masterpieces which were not used .1 1 Ainsi s’exprime Benjamin Britten (1913-1976) en avril 1968 dans un article sous-titré « The Moral Responsibility of the Artists toward his Fellow Man. -
Daniel Berrigan SJ and the Conception of a Radical Theatre A
Title: “This is Father Berrigan Speaking from the Underground”: Daniel Berrigan SJ and the Conception of a Radical Theatre Author Name: Benjamin Halligan Affiliation: University of Wolverhampton Postal address: Dr Benjamin Halligan Director of the Doctoral College Research Hub - MD150g, Harrison Learning Centre City Campus South, University of Wolverhampton Wulfruna Street, Wolverhampton WV1 1LY United Kingdom [email protected] 01902 322127 / 07825 871633 Abstract: The letter “Father Berrigan Speaks to the Actors from Underground” suggests the conception of a radical theatre, intended as a contribution to a cultural front against the US government during a time of the escalation of the war in Vietnam. The letter was prepared further to Berrigan’s dramatization of the trial in which he and fellow anti-war activists were arraigned for their public burning of draft cards in 1968. The play was The Trial of the Catonsville Nine and its production coincided with a period in which Berrigan, declining to submit to imprisonment, continued his ministry while a fugitive. Keywords: Daniel Berrigan, underground, Jesuit, Catonsville, anti-war, theatre, counterculture, spirituality, activism, Living Theatre. Biographical note: Dr Benjamin Halligan is Director of the Doctoral College of the University of Wolverhampton. Publications include Michael Reeves (Manchester UP, 2003), Desires for Reality: Radicalism and Revolution in Western European Film (Berghahn, 2016), and the co-edited collections Mark E. Smith and The Fall: Art, Music and Politics (Ashgate, 2010), Reverberations: The Philosophy, Aesthetics and Politics of Noise (Continuum, 2012), Resonances: Noise and Contemporary Music (Bloomsbury Academic, 2013), The Music Documentary: Acid Rock to Electropop (Routledge, 2013), and The Arena Concert: Music, Media and Mass Entertainment (Bloomsbury Academic, 2015). -
Anton Bruckner Messe F-Moll
Anton Bruckner Messe f-Moll Lenneke Ruiten Iris Vermillion Shawn Mathey Franz Josef Selig Orchestre de la Suisse Romande Rundfunkchor Berlin Marek Janowski Anton Bruckner: Anton Bruckner 1824-1896 Mass in F Minor when Bruckner’s bright star first rose in full splendour Messe f-Moll above the horizon.” In his Symphony No. 1 (1865-66) Mass No. 3 in F minor (1867-1893) robably no other great master began his career in a more too, Bruckner passionately threw off the shackles of his pro- 1 Kyrie – Moderato 10. 24 Psceptical and timid manner than Bruckner. With these longed and deep-seated insecurity. It seems almost as if 2 Gloria – Allegro – Andante, mehr Adagio (Sehr langsam) 11. 43 words, the great German musicologist Friedrich Blume cut Bruckner could not conquer his serious self-doubt and his 3 Credo – Allegro – Moderato misterioso – Langsam – Allegro 20. 19 to the quick in his brief and specific description of the pecu- scepticism about his personal artistic skills before complet- 4 Sanctus – Moderato – Allegro 2. 06 liar initiation of Anton Bruckner in his development from the ing a formal and official course of study, before more or less 5 Benedictus – Allegro moderato 8. 57 village school-assistant to composer, from socially secure sec- receiving external confirmation. For now, in a first creative 6 Agnus Dei – Andante 8. 40 ondary school teacher to free-lance artist. For alongside his phase, full of euphoria and courage, new works began to Lenneke Ruiten, Soprano tenure as organist in Linz, Upper Austria from 1856 to 1868, emerge, with his Mass in E Minor following on immediately Iris Vermillion, Mezzo-soprano the former school assistant and high school teacher Bruckner in 1866. -
Whats Purple and Goes Buzz Buzz?: a Conversation with the Electric Prunes’ James Lowe
A Quinn Martin Production Subscribe to feed ABOUT Whats Purple and Goes Buzz Buzz?: A Conversation with The Electric Prunes’ James Lowe Sam Tweedle: The Electric Prunes are one of the great 60’s groups that sat on the fringes of SAM TWEEDLE – THE POP CULTURE ADDICT the rock n’ roll scene. Sam Tweedle is a writer and pop James Lowe: Well, I was culture addict who has been surprised that anybody knew entertaining and educating fans of about us when we came back the pop culture journey for a decade. and started playing again. His writing has been featured in The National Post, CNN.com, and Sam: Really? Why is that? Filmfax magazine. James: I think essentially THE POP CULTURE ADDICT AND because the people that we were FRIENDS! involved with made us feel that what we did, when we did it, was Visit the gallery to see more photos a failure. So I never admitted that of Sam Tweedle and his close I was in The Electric Prunes for a encounters! lot of years. [The label] expected us to be like The Beatles and sell a lot of records, but we didn’t do “I was surprised that anybody knew about us when we came that. I’m kind of surprised that we back and started playing again…. I never admitted that I was have fans. in The Electric Prunes for a lot of years.” Sam: Well I always put The Electric Prunes in the same league with some of the era’s cult favourites, like The Velvet Underground or The New Colony Six. -
Download Booklet
CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Fen and Meadow Blest Cecilia A Ceremony of Carols Britten Choral Works III Britten Choral Works I cor16006 Britten Choral Works II cor16034 Hymn to the Virgin A Ceremony of Carols Hymn to St Cecilia A Boy was Born Rejoice in the Lamb A Shepherd's Carol Te Deum in C The Sycamore Tree Jubilate Deo Sweet was the Song Festival Te Deum Missa Brevis in D C HORAL D ANCES FROM 'G LORIANA ' Ikon of Light Barber Agnus Dei F IVE F LOWER S ONGS John Tavener cor16015 An American Collection cor16031 S ACRED AND P ROFANE The Lamb Samuel Barber Two Hymns to the Leonard Bernstein Mother of God Aaron Copland Today the Virgin Irving Fine Ian Partridge The Tyger Steve Reich The Sixteen Page 1 Eonia Del Tredici THE VOICES OF HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16038 In December 1977, as a member of the choir of Fen and Meadow Lady Barnard was composed in 1943 for a Westminster Abbey, I sang at Britten’s memorial friend, Richard Wood, who was in a prison Benjamin Britten camp in Germany, for him and his fellow service; at that time, I was also a member of English prisoners to perform there. The score was Music Theatre, successor to English Opera Group ritten's opera Gloriana celebrated sent out page by page by microfilm letter. and the brainchild of conductor Steuart Bedford Queen Elizabeth II's coronation The Wedding Anthem, Amo Ergo Sum, and producer Colin Graham but with the blessing Bby depicting scenes from the life composed for the marriage of Marion Stein and support of Britten. -
Program Notes
From the Intimate to the Unfathomable: Unexpected Affinities in Bruckner and Golijov by Thomas May the genre into a vehicle for abstract spiritual contemplation, the F-minor Mass contains musically ambitious moments that anticipate his mature symphonies. Even had Bruckner never written the symphonies with which his name is first and foremost associated, Mass No. 3 in F Minor would stand as a masterful achievement. It bridges the Viennese Classical tradition with this composer’s singular vision—a vision influenced in part by, but never truly congruent with, later 19th- century Romanticism—and marks the pivotal moment in his career just before he resettled in Vienna, where he made writing symphonies his project. This is the third and final complete setting of the central Roman Catholic liturgy that Bruckner completed. All three of his masses date from the 1860s, though in 1875 he contemplated writing a requiem, for which he sketched only 18 measures; a setting of the Te Deum, his best known choral work, dates from the early 1880s. He composed the Mass No. 3 in F Minor between September 1867 It may seem hard to believe that the Los Angeles Master Chorale and September 1868 and made numerous minute revisions over is performing the two works on this program for the very the years, even up to the period when he was working on his first time in its 55-year history. Though vastly different in Symphony No. 9. outlook and in the very sounds they demand from the chorus, Anton Bruckner’s Mass No. 3 in F Minor and Oceana by Osvaldo Bruckner undertook the F-minor Mass shortly after his release Golijov (pictured above), might have been tailor-made for the from treatment for a nervous breakdown. -
Durham E-Theses
Durham E-Theses Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music PAULEY, JOHN-BEDE How to cite: PAULEY, JOHN-BEDE (2013) Benjamin Britten, Herbert Howells, and Silence as the Ineable in English Cathedral Music, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9499/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ABSTRACT Benjamin Britten, Herbert Howells, and Silence as the Ineffable in English Cathedral Music John-Bede Pauley Silence’s expressive potential came to the fore in twentieth-century arts and letters as never before. Its role in Christian theology and spirituality has a much longer history, but by the beginning of the twentieth century, its expressive potential had not been significantly recognized in liturgical choral music. This study examined the relationship between twentieth-century musical silence and the expression of silence as the ineffable in Anglican choral music (referred to as English cathedral music or ECM) of the middle of the twentieth century. -
Ken Williams of the Electric Prunes at Page 1 of 7
Interview with Ken Williams of The Electric Prunes at www.thepsychedelicguitar.com Page 1 of 7 thepsychedelicguitar.com is honored to present a few words with Ken Williams of the The Electric Prunes circa 1967. Ken is at left. http://thepsychedelicguitar.com/williams.htm 22/02/2007 Interview with Ken Williams of The Electric Prunes at www.thepsychedelicguitar.com Page 2 of 7 Here is a guy laid up recovering from back surgery and he E-answers some questions. Is that dedication to his fans and the music or what? Thepsychedelicguitar.com thanks Ken for his words, his years of music, and wishes him a speedy recovery and best of luck with all his endeavors! Was there a particular moment that guitar music or music in general grabbed you, shook you to the core, and said "This is your life's path"? There was no particular moment where I (knew) music was what I wanted to do with my life. While I have always been interested in lots of things, playing music was at the very top. When I first started playing it was the power of the music that attracted me. Turning up the amps and playing good old rock and roll was the high I like the best. It was the best way I knew for me to express myself. Would you talk a little about the scene that birthed the Prunes, and bands you shared stages with. The band started out with Mark Tulin, myself and another guitar player. We were all guitar players, with no bass or drums.