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Music Director Riccardo Muti Appoints Jessie Montgomery As Cso Mead Composer-In-Residence for 2021-24
For Immediate Release: Press Contacts: April 20, 2021 Eileen Chambers CSOA, 312-294-3092 Glenn Petry 21C Media, 212-625-2038 MUSIC DIRECTOR RICCARDO MUTI APPOINTS JESSIE MONTGOMERY AS CSO MEAD COMPOSER-IN-RESIDENCE FOR 2021-24 CHICAGO—The Chicago Symphony Orchestra Association (CSOA) is pleased to announce the appointment of composer, violinist and educator Jessie Montgomery as its next Mead Composer-in- Residence. A winner of both the Sphinx Medal of Excellence and the ASCAP Foundation’s Leonard Bernstein Award, Montgomery has emerged as one of the most compelling and sought-after voices in new music today. Appointed by Music Director Riccardo Muti, she will begin her three-year tenure on July 1, 2021, and will continue in the role through June 30, 2024. Described as “turbulent, wildly colorful and exploding with life” (Washington Post), Montgomery’s music includes such frequently performed works as Banner (2014), Starburst (2012) and Strum (2006; rev. 2012), which have collectively been programmed almost 500 times to date, with more than 100 live and virtual performances of Starburst in the past year alone. As Mead Composer-in-Residence, she will receive commissions to write three new orchestral works for the Chicago Symphony Orchestra, one to premiere during each of her three seasons in the role. In addition, she will curate MusicNOW, the CSO’s annual contemporary music series, and will receive commissions for a number of new chamber pieces to premiere in the series’ 2022-23 and 2023-24 seasons. MusicNOW will also present the Chicago premieres of some of her existing works. Founded in 1998, MusicNOW strives to bring Chicago audiences the widest possible range of today’s new music. -
Pembelajaran Praktik Biola Melalui Tiga Buku Karya C
PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI TESIS Oleh SOPIAN LOREN SINAGA NIM. 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2012 Universitas Sumatera Utara PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL: KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI T E S I S Untuk memperoleh gelar Magister Seni (M.Sn.) dalam Program Studi Magister (S-2) Penciptaan dan Pengkajian Seni pada Fakultas Ilmu Budaya Universitas Sumatera Utara Oleh SOPIAN LOREN SINAGA NIM 117037004 PROGRAM STUDI MAGISTER (S2) PENCIPTAAN DAN PENGKAJIAN SENI FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2013 Universitas Sumatera Utara Judul Tesis : PEMBELAJARAN PRAKTIK BIOLA MELALUI TIGA BUKU KARYA C. PAUL HARFURTH, SUZUKI, DAN ABRSM PADA TINGKATAN PRADASAR DAN DASAR I DI CHANDRA KUSUMA SCHOOL:KAJIAN TERHADAP KELEBIHAN, KELEMAHAN, DAN SOLUSI Nama : Sopian Loren Sinaga Nomor Pokok : 117037004 Program Studi : Magister (S2) Penciptaan dan Pengkajian Seni Menyetujui Komisi Pembimbing, Drs. Muhammad Takari, M.Hum., Ph.D. Dra. Heristina Dewi, M.Pd. NIP. 196512211991031001 NIP. 196605271994032010 Ketua Anggota Program Studi Magister (S-2) Fakultas Ilmu Budaya Penciptaan dan Pengkajian Seni Dekan, Ketua, Drs. Irwansyah Harahap, M.A. Dr. Syahron Lubis, M.A. NIP 196212211997031001 NIP 195110131976031001 Universitas Sumatera Utara Tanggal lulus: Telah diuji pada Tanggal PANITIA PENGUJI UJIAN TESIS Ketua : Drs. Irwansyah, M.A. (……………………..) Sekretaris : Drs. Torang Naiborhu, M.Hum. (..…..………………..) Anggota I : Drs. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
NUI MAYNOOTH Ûllscôst La Ttéiîéann Mâ Üuad Charles Villiers Stanford’S Preludes for Piano Op.163 and Op.179: a Musicological Retrospective
NUI MAYNOOTH Ûllscôst la ttÉiîéann Mâ Üuad Charles Villiers Stanford’s Preludes for Piano op.163 and op.179: A Musicological Retrospective (3 Volumes) Volume 1 Adèle Commins Thesis Submitted to the National University of Ireland, Maynooth for the degree of Doctor of Philosophy Department of Music National University of Ireland, Maynooth Maynooth Co. Kildare 2012 Head of Department: Professor Fiona M. Palmer Supervisors: Dr Lorraine Byrne Bodley & Dr Patrick F. Devine Acknowledgements I would like to express my appreciation to a number of people who have helped me throughout my doctoral studies. Firstly, I would like to express my gratitude and appreciation to my supervisors and mentors, Dr Lorraine Byrne Bodley and Dr Patrick Devine, for their guidance, insight, advice, criticism and commitment over the course of my doctoral studies. They enabled me to develop my ideas and bring the project to completion. I am grateful to Professor Fiona Palmer and to Professor Gerard Gillen who encouraged and supported my studies during both my undergraduate and postgraduate studies in the Music Department at NUI Maynooth. It was Professor Gillen who introduced me to Stanford and his music, and for this, I am very grateful. I am grateful to the staff in many libraries and archives for assisting me with my many queries and furnishing me with research materials. In particular, the Stanford Collection at the Robinson Library, Newcastle University has been an invaluable resource during this research project and I would like to thank Melanie Wood, Elaine Archbold and Alan Callender and all the staff at the Robinson Library, for all of their help and for granting me access to the vast Stanford collection. -
Maurizio Pollini
REVISTA DE MÚSICA Año XX - Nº 196 - Abril 2005 - 6,30 DOSIER Don Quijote y la música Nº 196 - Abril 2005 SCHERZO ENTREVISTA Miguel Sánchez ENCUENTROS Ofelia Sala ACTUALIDAD Maurizio Pollini ANIVERSARIO Karl Amadeus Hartmann 9778402 134807 9100 6 AÑO XX Nº 196 Abril 2005 6,30 € 2 OPINIÓN Don Quijote y los libros de caballerías CON NOMBRE Arturo Reverter 118 PROPIO Un singular encuentro 6 Maurizio Pollini entre Falla y Cervantes Yvan Nommick 122 Carmelo di Gennaro La discoteca del hidalgo 10 AGENDA Juan Manuel Viana 126 18 ACTUALIDAD ENCUENTROS NACIONAL Ofelia Sala “Espero no perder nunca la 44 ACTUALIDAD capacidad de ilusionarme” 132 INTERNACIONAL Rafael Banús Irusta 60 ENTREVISTA ANIVERSARIO Miguel Sánchez Karl Amadeus Hartmann “No podríamos sentir la música Francisco Ramos 138 sin el concierto” EDUCACIÓN Juan Antonio Llorente Pedro Sarmiento 140 64 Discos del mes EL CANTAR DE LOS CANTARES SCHERZO DISCOS Arturo Reverter 142 65 Sumario JAZZ Pablo Sanz 144 DOSIER 113 Don Quijote y la música LIBROS 146 114 Música para unos papeles LA GUÍA 148 y cartapacios CONTRAPUNTO Alfonso de Vicente Norman Lebrecht 152 Colaboran en este número: Javier Alfaya, Daniel Álvarez Vázquez, Julio Andrade Malde, David Armendáriz Moreno, Rafael Banús Irusta, Alfredo Brotons Muñoz, José Antonio Cantón, José Luis Carles, Jacobo Cortines, Carmelo Di Gennaro, Giacomo Di Vittorio, Fernando Fraga, Joaquín García, José Antonio García y García, Mario Gerteis, José Guerrero Martín, Fernando Herrero, Leopoldo Hontañón, Bernd Hoppe, Paul Korenhof, Norman Lebrecht, Juan -
Pianopalooza 4-27-08.Indd
Upcoming Events at CCM: CCM Concert Orchestra Annunziata Tomaro, conductor Shostakovich, Respighi, Saint-Saëns College-Conservatory Wednesday, April 30, 2008 of Music Corbett Auditorium presents 8:00 p.m. Admission: free CCM Chamber Choir and Chorale Earl Rivers and L. Brett Scott, conductors Wednesday, May 21, 2008 2007-08 Robert J. Werner Recital Hall 8:00 p.m. Admission: free CCM Philharmonia and Wind Symphony Mark Gibson and Rodney Winther, directors PIANOPALOOZA III: Friday, June 6, 2008 IXTY EARSOME INGERS Corbett Auditorium S F F 8:00 p.m. Admission: free Michael Chertock, Awadagin Pratt, Elizabeth Pridonoff , Eugene Pridonoff , James Tocco, and Frank Weinstock, piano For tickets and the latest performance information, please call the CCM Box Offi ce at 513-556-4183. Marc Wolfl ey, percussion Jack Atherton, master of ceremonies Sunday, April 27, 2008 Corbett Auditorium 4:00 p.m. Performing Arts Series PROGRAM Rondo a capriccio in G Major, Op. 129 Ludwig van Beethoven Passacaglia and Fugue in C Minor Johann Sebastian Bach (“Th e Rage Over the Lost Penny”) (1770-1827) (1685-1750) trans. Awadagin Pratt Frank Weinstock, piano Awadagin Pratt, piano Etude Tableaux in Eb Minor, Op. 39, No. 5 Sergei Rachmaninoff (1873-1943) Klavierstücke, Op. 119 Johannes Brahms Intermezzzo in B Minor (1833-1897) from Tristan und Isolde Richard Wagner Intermezzo in E Minor Liebestod (1813-1883) Intermezzo in C Major trans. Franz Liszt Rhapsodie in Eb Major Michael Chertock, piano Eugene Pridonoff , piano Excursions, Op. 20 Samuel Barber Turkish March: Ruins of Athens, Op. 113 Ludwig van Beethoven Un poco allegro (1910-1981) In slow blues tempo from Rodeo Aaron Copland Allegretto Hoe-Down (1900-1990) Allegro molto Th e Ensemble James Tocco, piano Marc Wolfl ey, percussion Memphisto Waltz No. -
Die Bildungsrevolution Istinvollemgange!”
Dasoffizielle Magazinvon LionsClubs InternationalDeutscheAusgabe Lions ClubsInternational www.lions.deFebruar 2014 BildungsexperteProf. RichardDavid Precht im Interview: DieBildungsrevolution BemerkenswerteLaudation vonPIP Eberhard J. Wirfs Generalsekretär SörenJunge verabschiedet sichinden Ruhestand Urspring macht Schule. Und mehr. DieWeltzuhause in Urspring Dasehemalige KlosterUrspringist seit über80JahrenInternats- Im naturwissenschaftlichen Gymnasium gehört dieGanztags- schule.Mit dem BegriffInternatverbindet sichhier weitmehrals betreuung zumKonzept. eine Wohnschule.Wir betreuen unsere Schüler nicht, wirleben mitihnen.Überdie Hälfte derrund200 Schülerinnenund Schüler Talentierte Basketballspieler habenbei unsdie Chance,ihren wohnt im Internat gemeinsam mitrund90Erwachsenen,die für Lieblingssportineiner derbestendeutschen Schul- undJugend- sie da sind.Die Tagesschüler ausder Regionbesuchen dieGrund- mannschaftenzubetreiben. schule oder dasGymnasium in dieser besonderenAtmosphäre undGemeinschaft. In Urspring sind traditionell Schülerinnenund Schüler vieler Nationen zuhause. Durchlangjährige Beziehung bestehtein reger Mitdem ProjektG8+wird dasLernenstrukturiert, rhythmisiert Austauschmit China. DieErfahrungen,die wirimweltweiten undindividualisiertund somitmehrRaumfür diePersönlichkeits- Austauschund überdas EU-ProjektComeniusmachen,fließen ganz entwicklungIhres Kindesgeschaffen. Dazu gehört auch –jenach selbstverständlich in unseren internationalenSchulalltagein. Bedarf–einespezielle Förderung beiLegasthenie undDyskalkulie. Urspringist -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
Download Booklet
Benjamin James Dale (1885–1943): The Romantic Viola majesty and grandeur and a melodic sweep such as some of his original intentions in his compositions. There none other of the present generation of string- are many instances, not only in the Phantasy but also in Suite for Viola and Piano in D major, Op. 2 writers seems able to approach”. the Suite, where although he keeps a long, legato Introduction and Andante for Six Violas, Op. 5 • Phantasy for Viola and Piano, Op. 4 melody in the piano part, the viola part for a similar or Dale promoted a number of techniques that were even identical melody is broken up, with tenuto markings Edwin Evans wrote of Dale in The Musical Times on 1st October 1906. This was followed by a performance of the not often used in English chamber music at the time, to separate the legato line. I personally feel that this may May 1919: “ʻHe has written fewer and better works than complete work in 1907. Tertis, who was particularly fond such as pizzicato, tremolos, ponticello and harmonics in have been Tertisʼs suggestion, in order to give the viola any English composer of his generation.ʼ That is the of the first two movements, asked Dale to orchestrate all six parts, also instructing the sixth violaʼs C string to part a better chance of being heard alongside the considered opinion of a well-known English musician.” them. The orchestrated versions were subsequently be tuned down to a G in order to reach the bass A flat in beautiful but nevertheless somewhat thick piano writing. -
Piano Study Centre Piano Lecture and Master Class
Piano Study Centre Piano Lecture and Master Class Opportunity to All Piano Students Beginner, Intermediate and Advanced Levels Date: Saturday 22nd November from 4.00pm – 6.30pm Location: In Central London near Russell Square Theme of Lecture: The Craft of Practising (Free to our students) Please send e-mail: [email protected] to register your interest Send text message or Phone: 07950 491461 Professor: Philip Fowke Pianist, Professor and Senior Fellow of Keyboard at Trinity College of Music (Trinity Laban Conservatoire of Music and Dance) The Craft of Practising Philip Fowke writes: Gordon Green, my revered and much beloved teacher, used to refer to the craft of practising. This made an impression upon me, all the more vivid when he likened the pianist to a master joiner with his box of tools, sharpened, polished and oiled. As the joiner adds to his collection of tools over the years becoming accustomed to some yet discovering new ones along the way, so the pianist has to build up a box of treasured tools to facilitate the process of learning and practising. Philip Fowke discusses what we mean by “practice”, what it entails, the analysis of fingering, the avoidance of needless repetition, and strategies for overcoming technical or musical problems. The myth of legato fingering will also be addressed as will the inappropriate use of the word “tension”. Economy of movement, choreography of the keyboard and posture will also be discussed. Extra information from PSC Famous British-born pianist Stephen Hough’s piano teacher was Gordon Green. Stephen and Professor Philip studied with the same piano teacher. -
Deutsche Nationalbibliografie 2011 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2011 T 02 Stand: 16. Februar 2011 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2011 ISSN 1613-8945 urn:nbn:de:101-ReiheT02_2011-3 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ -
2013-2014 Master Class-Phillip Evans (Piano)
Phillip Evans Piano Masterclass Wednesday, January 22, 2014 at 10:00 a.m. Amarnick-Goldstein Concert Hall Boca Raton, Fla. Sonata No. 4 in F-sharp Major, Op. 30 Alexander Scriabin Andante (1872-1915) Prestissimo volando Stephen Seto, piano Sonata No. 2 in E-flat Major, Op. 120 Johannes Brahms Allegro appassionato (1833-1897 John Hong, clarinet Jihong Park, piano Concerto No. 1 in E Minor, Op. 11 Frederic Chopin Allegro maestoso (1810-1849) Aneliya Novikova, piano Roberta Rust, orchestral piano Phillip Evans has concertized and given master classes throughout the world, including performances in Italy, Greece, Turkey, Germany, Bulgaria, Yugoslavia, Taiwan, Indonesia and the United States. He has given special concerts in the U.S. Ambassador’s residences in Yugoslavia, Greece and Turkey. The New York Times reviewed him as follows: “Phillip Evans can be ranked among our major pianists....Deepest musical insights...in a word, masterful.” He has served on the faculties of the Juilliard and the Manhattan Schools of Music, and his students have been major prize-winners in many international piano competitions, including the Tschaikovsky in Moscow, the Gina Bachauer, Leeds, the Bartok-Prokofieff-Kabalevsky and the Queen Elizabeth in Belgium. They have performed with leading orchestras throughout the world, including the New York Philharmonic, Philadelphia, San Francisco, Chicago, Houston, Minneapolis and St. Louis Symphonies. Evans’ special affinity for the music of Bela Bartok was acknowledged by the Pulitzer prize-winning critic Harold Schonberg in his book The Great Pianists: “Phillip Evans in Bartok, Roslyn Tureck in Bach.” His series of Bartok CDs received extraordinary reviews, such as the following from George Jellinek of The New York Times: “Evans played both Sonatas with searching insight, in total triumph over their technical difficulties...he plays superbly.” He has been a music critic for several major newspapers in South Florida and is a member of the faculty at Lynn University.