DOCSLIB.ORG

Journal of the Conductorsguild

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Journal of the Conductorsguild Volume 18 Number L \TinterlSpring L997 Journal of the ConductorsGuild Table of Contents I i COMMENTARY A CONVERSATION \TITH LUKAS FOSS by David Thomas BOTH SIDESOF THE FENCE 13 by Barry Tuckwell FRANZ IEHAR, THE coMpLETE cosMopoLrTAN 20 by Edward Michael Gold SCORES6. PARTS 49 Hanseland Gretelby EngelbertHumperdinck compiledby Kristi Sloniger BOOKS IN REVIE\T 60 Erich Leinsdorf, Erich Leinsdorfon Music reviewedby John Jay Hilfiger Edward Heath, Music.A loy For Life reviewedby Henry Bloch '$flalter Frisch, Brahms:The Four Symphonies reviewedby Kenneth Morgan CONDUCTORS GUILD, INC. Thelma A. Robinson Award Vinners 103 South High Street,Room 6 BeatriceJona Affron Miriam Burns West Chester, PA 19382-3262 Laura Rexroth Annunziata Tomaro Tel.: 610/ 430-6010 Steven Martyn Ztke Fax: 6t0/ 430-6034 'Vinner E-mail address:[email protected] Max Rudolf Award W'ebsite:www. condudors guild.org Gunther Schuller Officers tournal of tbe ConductorsGuild President Barbara Schubert President-Elect ....'WesKenney Editor .....Jacques Voois Vice President .....Harlan D. Parker AssociateEditor .... David Daniels Secretary Mark Ettinger Treasurer Thomas Anderson Editor-at-large Jonathan Sternberg PastPresident........ Adrian Gnam Board of Directors Contributing Editors to Vol. 18, No. 1 Lukas Foss Timothv Tull Nurhan Arman Henry Bloch'r Voois Victoria Bond Emily Freeman Brown Jacques David Lewis Crosbv Murray Gross Robert Gutter Martin Hardy JosephHenry Kenneth Kiesler Contributing Authors to Vol. 12, No. 2 Andrew Kurtz TaniaJ. Le6n Michael Luxner Frederick Morden Henry Bloch Edward Michael Gold Melinda O'Neal Brian Priestman JohnJay Hilfiger Kenneth Morgan Eve Queler Kirk E. Smith Kristi Sloniger David Thomas Jonathan Sternberg'r' Leslie Stewart Barry Tuckwell \Wagar JacquesVoois Jeannine Diane M. \flittry Tsung Yeh Burton Zipser '? ex-offi.cio Production Staff Administrative Director J.rdy A. Voois Advisory Council Publications Coordinator HannyBleeker'White Production Linco Printing Co., Inc. Charles Ansbacher Michael Charry Sergiu Comissiona Harold Farberman The publication date of tlte present issue of the Lukas Foss SamuelJones JounNer oF THECoNoucrons GuIro is Summer, L998; Daniel Lewis Larry Newland consequentlytbe publication date and tbe issuedate do Maurice Peress Donald Portnoy not coincide. Gunther Schuller Evan \flhallon Effectiae Volume 13, rle JounNer oF THE CoNoucroRs Gurro hasbeen published semi-annually, the tuo issuesbeing numbered I and 2; the seasonal TheodoreThomas Award'V'inners referencesremain unchanged,as is tbejournal's lengtb. The ICG's editors and staff, in eoaluating mate- Maurice Abravanel Leon Barzin rial acceptedfor publication, utill determine a.ppro- Leonard Bernstein Pierre Boulez priate credit for sucb contributions. Frederick Fennell Margaret Hillis Library of CongressNo. 82-644733. @ Max Rudolf Robert Shaw Copyrigbt 1998 by the Conductors Guild, Inc. Leonard Slatkin Sir Georg Solti All rights reserved. /SSN# 0734-1032 Commentary The year 2000, a uniquemoment in the lives of ev- to providea cogentexposition ofthe variousfeatures con- eryonewho will experienceit. On its eve, champagne tainedin theproposal. One whom I remembermostfondly corks will fly in unprecedentednumbers. If the Y2K wasBeatrice Vradenburg, then manager of the Colorado computerglitch is solvedand correctivesoftware has by SpringsSymphony. When her voice was needed,Bea thenbeen developed and widely distributed,even the supportedthe Guild's admissioninto the ASOL andcon- leadersof government,business, and communications veyed much-neededinsights to those of her board col- will join the festivities,probably with a gustobordering leagueswho wereeither undecided or opposedto the plan. on giddiness. Perhapsthe most persuasiveboard member at the Although it might not raise an eyebrow beyond the Memphisconference was the lateMorton Gould,a gentle- fields of music and conducting,when the calendarturns man possessedof a delightful, irresistiblewit and,when to 2000the ConductorsGuild will be in its twenty-sixth needed,an arrestingeloquence. According to all reports, yearof operationand will commencethe official celebra- Morton (he rarely allowed a fellow professionalto call tion of its silver anniversary. him 'Mr. Gould' for very long) used convincingargu- The proposalto form the Guild as a division of the mentsto facilitatethe Guild's admissioninto the League. American SymphonyOrchestra League was developed He was a genuinechampion of our cause;the CG owes andput forth by Harold Farbermanand severalother con- him andhis memoryan enormousdebt of gratitude. ductorsat the League's1974 annual conference in Mem- After theproposal passed, a hostof conductorvolun- phis, Tennessee.One year later, at the ASOL's 1975 teersworked throughout the following twelve monthsto "Conductors' conferencein San Diego, California, the producethe Guild's bylaws,identiff its mission,establish Guild of the American SymphonyOrchestra League" was its operationalstructure, and develop an organizational officially launched. philosophythat would be in placefor the SanDiego Con- The eventsat the Memphis conferenceand the orga- ferenceand the birth of the CG. nizational year leading to San Diego were far lesspro Now, back to the future. In the fall of 2000, the formathan onemight imagine.The youngermembers of Journol of the ConductorsGuildwill celebratethe twen- the CG shouldunderstand that duringthe 1970sthe pro- tiethanniversary of thepublication of Vol. l, No. 1. It is prietary atmospherethat existed in the music world was not our intention,however, to rematn"statusquo" until antitheticalto the idea of an organizationthat would unite thattime; in 1999we hopeto addnew or reinstateprevi- conductorsof seriousmusic under a singleumbrella. Upon ous featuresin the JCG. Previousfeatures? Keep in learningabout the proposal,many in the music industry mind that duringthe history of theJournal,, several topic "What asked, will this CG do for and with its member- areaswere established by memberswho, for professional "conductor's ship?" Suddenly,concepts such as a union" or personalreasons, had to discontinuethem. Serieson "national anda conductors'strike" formed in the minds suchtopics as program building and critiquing, theme, of many, some of whom were then on the board of the light classic,and pops programming, publishers' corner, ASOL and in a position to block approvalof the new and forgotten-yet-qualityliterature were among them. division. Of additionalconcern to the entireLeague board Newtopic areasnow beingconsidered include opera, CD wasthe fact thatthe bulk of the CG's initial membership reviews,and the styleand content of pre-concerttalks to would certainly be drawn from the existing conductor the audience.Additional ideasare welcome; a new sur- membersof the ASOL, which, if memory serves,then vey of readerpreferences is being contemplated.Natu- numberedin the 700 to 900 range. Justthe prospectof rally, for any suchexpansion to be successful,more area having many of the ASOL's conductormembers orga- andassistant editors will be needed. nized into a separatedivision mademany uneasy,despite Which bringsus to the purposeof the openingnarra- the considerablebenefits that suchan arrangementwould tive: a retrospectiveof the productivevolunteerism that producefor boththe ASOL and its conductormembers. took placein theGuild duringits afFrliationwith theLeague On the positive side was the fact that in 1974,the and in the early yearsof independence.Between 1974 ASOL boardincluded several members who werequick and 1985the Washingtonoffices ofthe ASOL processed to seetheproposal's long-term advantages; each was ready continuedon page 64 JCG Vol.18. No.I I A Conversationwith Lukas Foss by David Thomas you, but I am not the leastbit Thefollowing article is a compositeof an in- LF: This may surprise terviewwith Lukas,Fossconducted by David Tho- concernedabout structure. I let structuretake care masin New York City on February 13, 1998,and of itself, an approachthat usually works for me. In three pre-concert talks by Maestro Foss,given so many words,I don't carewhether a work devel- at Boston (Jniversityon |rlovemberI I and Decem- opsthe form of a sonataor any other form during the berB, 1997,and March 30, 1998. It is published compositionalprocess. here in an edited version with permission of the author and Mr. Foss. DT: In your opinion,what elements need to bepresent in "greatmusic?" 2k*tt?kJ<t<?krk LF: It is importantto realizethatthe essenceof great DT: Mr. Foss,it is a pleasureto meetyou afterhav- musicrests in its uniqueness.Too muchtime is spent ing admiredyour work for many years. Do I have analyzingthe formal aspectsof great music, which your permissionto tapeour conversation? usually are quite similar to the ones found in bad music. We should analyzeor concentrateon the ele- LF: Yes,as long as you don't sellit to KennethStan! ments that make a given work unique. Also, we shouldlook for any inherenthumor. DT: Fairenough! To begin,could you sharewith me When I was writing a cello concertofor Slava your thoughtson the compositionprocess that you Rostropovich,I had greatdifficulty when it wastime use?Are your works completelyplanned out before to write thecadenza. Ihad alargenumber of sketches you setpencil to manuscriptpaper? that I couldnot piecetogether. It was really becom- ing difficult. Then I thought, why not leavethem as LF: It depends.At givenmoments in my life, I have sketches,and let Slavapractice and play them? The usedvarious approaches with differentpieces. Some- cadenzacould
Load more

Recommended publications
  • Mark Seto New Director of Orchestra at Brown University
    Brown University Department of Music Box 1924, Providence, RI 02912 Press Contact Drew Moser / 401-863-3236 Academic Program & Outreach Coordinator May 10, 2018 / For Immediate Release Mark Seto Hired as the New Director of the Brown University Orchestra Providence, RI—The Department of Music is proud to announce conductor, musicologist, and violinist Mark Seto as Director of the Brown University Orchestra effective July 1, 2018. In addition to bringing his vast experience as an educator and orchestra director to the classroom and stage, Seto will assist in the development of Brown’s new Performing Arts Center. Seto comes directly from Connecticut College where he was Associate Professor of Music and director of the Connecticut College Orchestra. He also holds the position of Artistic Director and Conductor of The Chelsea Symphony in New York City. Seto earned a BA in Music from Yale University and an MA, MPhil, and PhD in Historical Musicology from Columbia University. About Mark Seto Mark Seto leads a wide-ranging musical life as a conductor, musicologist, teacher, and violinist. In addition to his new appointment at Brown University, he continues as Artistic Director and Conductor of The Chelsea Symphony in New York City. At Connecticut College, Seto directed the faculty ensemble and the Connecticut College Orchestra, and taught music history, theory, conducting, and orchestration. During Seto’s tenure at Connecticut, he helped double student enrollment in the orchestra. Furthermore, the ensemble assumed a greater role in the College’s cultural and intellectual life. Seto aimed to connect the learning he and his ensembles undertook in rehearsal to themes that resonate with them as engaged global and local citizens.
    [Show full text]
  • The Manatee PIANO MUSIC of the Manatee BERNARD
    The Manatee PIANO MUSIC OF The Manatee BERNARD HOFFER TROY1765 PIANO MUSIC OF Seven Preludes for Piano (1975) 15 The Manatee [2:36] 16 Stridin’ Thru The Olde Towne 1 Prelude [2:40] 2 Cello [2:47] During Prohibition In Search Of A Drink [2:42] 3 All Over The Piano [1:21] Randall Hodgkinson, piano 4 Ships Passing [4:12] (2014) BERNARD HOFFER 5 Prelude [1:24] Events & Excursions for Two Pianos 6 Calypso [3:52] 17 Big Bang Theory [3:15] 7 Franz Liszt Plays Ragtime [3:28] 18 Running [3:19] Randall Hodgkinson, piano 19 Wexford Noon [2:29] 20 Reverberations [3:12] Nine New Preludes for Piano (2016) 21 On The I-93 [2:23] Randall Hodgkinson & Leslie Amper, pianos 8 Undulating Phantoms [1:08] BERNARD HOFFER 9 A Walk In The Park [2:39] 10 Speed Chess [2:17] 22 Naked (2010) [5:05] Randall Hodgkinson, piano 11 Valse Sentimental [3:30] 12 Rabbits [1:06] Total Time = 60:03 13 Spirals [1:40] 14 Canon Inverso [1:44] PIANO MUSIC OF TROY1765 WWW.ALBANYRECORDS.COM TROY1765 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Manatee PIANO MUSIC OF The Manatee BERNARD HOFFER WWW.ALBANYRECORDS.COM TROY1765 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K.
    [Show full text]
  • Guitar Syllabus
    TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and
    [Show full text]
  • A Hundred Years of British Piano Miniatures Butterworth • Fricker • Harrison Headington • L
    WORLD PREMIÈRE RECORDINGS A HUNDRED YEARS OF BRITISH PIANO MINIATURES BUTTERWORTH • FRICKER • HARRISON HEADINGTON • L. & E. LIVENS • LONGMIRE POWER • REYNOLDS • SKEMPTON • WARREN DUNCAN HONEYBOURNE A HUNDRED YEARS OF BRITISH PIANO MINIATURES BUTTERWORTH • FRICKER • HARRISON • HEADINGTON L. & E. LIVENS • LONGMIRE • POWER • REYNOLDS SKEMPTON • WARREN DUNCAN HONEYBOURNE, piano Catalogue Number: GP789 Recording Date: 25 August 2015 Recording Venue: The National Centre for Early Music, St Margaret’s Church, York, UK Producers: David Power and Peter Reynolds (1–21), Peter Reynolds and Jeremy Wells (22–28) Engineer: Jeremy Wells Editors: David Power and Jeremy Wells Piano: Bösendorfer 6’6” Grand Piano (1999). Tuned to modern pitch. Piano Technician: Robert Nutbrown Booklet Notes: Paul Conway, David Power and Duncan Honeybourne Publishers: Winthrop Rogers Ltd (1, 3), Joseph Williams Ltd (2), Unpublished. Manuscript from the Michael Jones collection (4), Comus Edition (5–7), Josef Weinberger Ltd (8), Freeman and Co. (9), Oxford University Press (10, 11), Unpublished. Manuscript held at the University of California Santa Barbara Library (12, 13), Unpublished (14–28), Artist Photograph: Greg Cameron-Day Cover Art: Gro Thorsen: City to City, London no 23, oil on aluminium, 12x12 cm, 2013 www.grothorsen.com LEO LIVENS (1896–1990) 1 MOONBEAMS (1915) 01:53 EVANGELINE LIVENS (1898–1983) 2 SHADOWS (1915) 03:15 JULIUS HARRISON (1885–1963) SEVERN COUNTRY (1928) 02:17 3 III, No. 3, Far Forest 02:17 CONSTANCE WARREN (1905–1984) 4 IDYLL IN G FLAT MAJOR (1930) 02:45 ARTHUR BUTTERWORTH (1923–2014) LAKELAND SUMMER NIGHTS, OP. 10 (1949) 10:07 5 I. Evening 02:09 6 II. Rain 02:30 7 III.
    [Show full text]
  • University Symphony Orchestra "Encounters"
    FierbergerCollegeYEARS of Fine Arts University Symphony Orchestra "Encounters" Timothy Russell, conductor Mischa Semanitzky and Gunther Schuller, guest conductors Kimberly Marshall, organ David Ballou, trumpet Seamus Blake, tenor saxophone Allan Chase, alto saxophone With the ASU Concert Jazz Band School of Music Herberger College of Fine Arts Arizona State University Friday, September 17, 2004 7:30 p.m. Gammage Auditorium ARIZONA STATE M UNIVERSITY Program Overture to Nabucco Giuseppe Verdi (1813 — 1901) Timothy Russell, conductor Symphony No. 3 (Symphony — Poem) Aram ifyich Khachaturian (1903 — 1978) Allegro moderato, maestoso Allegro Andante sostenuto Maestoso — Tempo I (played without pause) Kimberly Marshall, organ Mischa Semanitzky, conductor Intermission Remarks by Dean J. Robert Wills Remarks by Gunther Schuller Encounters (2003) Gunther Schuller (b.1925) I. Tempo moderato II. Quasi Presto III. Adagio IV. Misterioso (played without pause) Gunther Schuller, conductor *Out of respect for the performers and those audience members around you, please turn all beepers, cell phones and watches to their silent mode. Thank you. Program Notes Symphony No. 3 – Aram Il'yich Khachaturian In November 1953, Aram Khachaturian acted on the encouraging signs of a cultural thaw following the death of Stalin six months earlier and wrote an article for the magazine Sovetskaya Muzika pleading for greater creative freedom. The way forward, he wrote, would have to be without the bureaucratic interference that had marred the creative efforts of previous years. How often in the past, he continues, 'have we listened to "monumental" works...that amounted to nothing but empty prattle by the composer, bolstered up by a contemporary theme announced in descriptive titles.' He was surely thinking of those countless odes to Stalin, Lenin and the Revolution, many of them subdivided into vividly worded sections; and in that respect Khachaturian had been no less guilty than most of his contemporaries.
    [Show full text]
  • Two Letters by Anton Bruckner
    Two Letters by Anton Bruckner Jürgen Thym Bruckner ALS, 13.XI.1883 Lieber Freund! Auf Gerathewohl schreibe ich; denn Ihr Brief ist versteckt. Weiß weder Ihre Adresse noch sonstigen Charakter von Ihnen. Danke sehr für Ihr liebes Schreiben. Omnes amici mei dereliquerunt me! In diesen Worten haben Sie die ganze Situation. Hans Richter nennt mich jetzt musik [alischen] Narren weil ich zu wenig kürzen wollte; (wie er sagt;) führt natürlich gar nichts auf; ich stehe gegenwärtig ganz allein da. Wünsche, daß es Ihnen besser ergehen möge, und Sie bald oben hinauf kommen mögen! Dann werden Sie gewiß meiner nicht vergessen. Glück auf! Ihr A. Bruckner Wien, 13. Nov. 1883 Dear Friend: I take the risk or writing to you, even though I cannot find your letter and know neither your address nor title. Thank you very much for your nice letter. All my friends have abandoned me! These words tell you the whole situation. Hans Richter calls me now a musical fool, because I did not want to make enough cuts (as he puts it). And, of course, he does not perform anything at all; I stand alone at the moment. I hope that things will be better for you and that you will soon succeed then you will surely not forget me. Good luck! Your A. Bruckner Vienna, November 13, 1883 Bruckner, ALS, 27.II.1885 Hochgeborener Herr Baron! Schon wieder muß ich zur Last fallen. Da die Sinfonie am 10. März aufgeführt wird, so komme ich schon Sonntag den 8. März früh nach München und werde wieder bei den vier Jahreszeiten Quartier nehmen.
    [Show full text]
  • German Operetta on Broadway and in the West End, 1900–1940
    Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds.
    [Show full text]
  • Programme Scores 180627Da
    Symposium Richard Wagner and his successors in the Austro-German conducting tradition Friday/Saturday, 2/3 November 2018 Bern University of the Arts, Papiermühlestr. 13a/d A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London www.hkb-interpretation.ch/annotated-scores Richard Wagner published the first major treatise on conducting and interpretation in 1869. His ideas on how to interpret the core Classical and early Romantic orchestral repertoire were declared the benchmark by subsequent generations of conductors, making him the originator of a conducting tradition by which those who came after him defined their art – starting with Wagner’s student Hans von Bülow and progressing from him to Arthur Nikisch, Felix Weingartner, Gustav Mahler, Richard Strauss, Wilhelm Furtwängler and beyond. This conference will bring together leading experts in the research field in question. A workshop and concert with an orchestra with students of the Bern University of the Arts, the Hochschule Luzern – Music and the Royal Academy of Music London, directed by Prof. Ray Holden from the project partner, the Royal Academy of Music, will offer a practical perspective on the interpretation history of the Classical repertoire. A symposium of the Research Area Interpretation – Bern University of the Arts, in collaboration with the Royal Academy of Music, London Head Research Area Interpretation: Martin Skamletz Responsible for the conference: Chris Walton Scientific collaborator: Daniel Allenbach Administration: Sabine Jud www.hkb.bfh.ch/interpretation www.hkb-interpretation.ch Funded by the Swiss National Science Foundation SNSF Media partner Symposium Richard Wagner and his successors Friday, 2 November 2018 HKB, Kammermusiksaal, Papiermühlestr.
    [Show full text]
  • Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
    Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor;
    [Show full text]
  • Top 40 Singles Top 40 Albums
    18 May 1986 CHART #520 Top 40 Singles Top 40 Albums Living Doll Baby You're So Strange The Broadway Album The Ultimate Sin 1 Cliff Richard and The Young Ones 21 Icehouse 1 Barbra Streisand 21 Ozzy Osbourne Last week 1 / 3 weeks WEA Last week 34 / 4 weeks FESTIVAL Last week 5 / 16 weeks Platinum / CBS Last week - / 1 weeks CBS Kiss Alice, I Want You Just For Me Brothers In Arms Making Movies 2 PRINCE 22 Full Force 2 Dire Straits 22 Dire Straits Last week 3 / 6 weeks WEA Last week 21 / 9 weeks CBS Last week 1 / 47 weeks Platinum / POLYGRAM Last week 22 / 139 weeks Platinum / POLYGRAM Chain Reaction Concrete And Clay In Concert Little Creatures 3 Diana Ross 23 Martin Plaza 3 Suzanne Prentice 23 Talking Heads Last week 4 / 6 weeks EMI Last week 26 / 2 weeks CBS Last week 9 / 4 weeks Gold / EMI Last week 24 / 42 weeks Platinum / EMI Saturday Love Say Goodbye Prince Of Romance King Of America 4 Cherelle & Alexander O'Neal 24 Hunters & Collectors 4 Richard Clayderman 24 Elvis Costello Last week 5 / 4 weeks CBS Last week 22 / 7 weeks FESTIVAL Last week 45 / 2 weeks K-TEL Last week 21 / 3 weeks RCA Harlem Shuffle A Kind Of Magic Island Life Suzanne Vega 5 Rolling Stones 25 Queen 5 Grace Jones 25 Suzanne Vega Last week 2 / 7 weeks CBS Last week 32 / 4 weeks EMI Last week 2 / 8 weeks Platinum / FESTIVAL Last week 16 / 8 weeks FESTIVAL If You're Ready West End Girls For The Working Class Man No Jacket Required 6 Ruby Turner 26 Pet Shop Boys 6 Jimmy Barnes 26 Phil Collins Last week 6 / 3 weeks FESTIVAL Last week 27 / 14 weeks EMI Last week 3 / 13
    [Show full text]
  • Magazin Saison 2015 /2016 November ––– Dezember
    MAGAZIN SAISON 2015/2016 NOVEMBER ––– DEZEMBER Premieren: Der fliegende Holländer Der Graf von Luxemburg Wiederaufnahmen: Don Carlo Lucia di Lammermoor Die diebische Elster 1 ERHABEN WOHNEN. AUCH ÜBER DEN ZEITGEIST. TROGERSTRASSE 19, MÜNCHEN Wo Bogenhausen und Haidhausen zusammen kommen, wenige Schritte von der Prinzregentenstraße entfernt, ent- stehen 26 Zwei- bis Vier-Zimmer-Wohnungen von ca. 77 m bis ca. 218 m. Der Entwurf von Landau + Kindelbacher setzt Maßstäbe: Während das Vor der- gebäude subtil mit der Jugendstilnachbarschaft harmonisiert, zeichnet sich das Rückgebäude durch radikale Modernität aus. Off en konzipierte Grundrisse und Details wie Naturstein in den Bädern oder transparente Brüstungen voll- en den die Ausnahme-Architektur. „Eines der schönsten Kauf- objekte 2015“ EnEV 2014 EA-B · HZG BHKW Beratung und provisionsfreier Verkauf: 089 415595-15 2Bj. (EA) 2016 www. bauwerk . de 45 kWh/(m²a) Energieeffi zienzklasse A Bauwerk Capital GmbH & Co . KG , Prinzregentenstraße 22 , 80538 München BWC_AZ_T19_EngelslBayStaatsoper_210x297_f39.indd 1 07.10.15 11:00 Wir bedanken uns herzlich für die Die Oper Frankfurt ist »Opernhaus des Jahres« 2015 großzügige finanzielle Unterstützung Internationale Kritikerumfrage der Fachzeitschrift Opernwelt bei unseren Partnern. Bestes Theater-Gesamtprogramm der Saison 2014 / 2015 Hauptförderer Überzeugende Gesamtleistung des Opernhauses und Würdigung von Ur- und Erstaufführungen Bernd Loebe als herausragendem Opernmanager. Autorenumfrage des Theatermagazins Die Deutsche Bühne Damit nimmt die Oper Frankfurt seit der Intendanz von Bernd Loebe ERHABEN WOHNEN. erstmals den Spitzenplatz bei beiden Kritikerumfragen ein. AUCH ÜBER DEN ZEITGEIST. Hauptförderer Opernstudio TROGERSTRASSE 19, MÜNCHEN Wo Bogenhausen und Haidhausen zusammen kommen, wenige Schritte von der Prinzregentenstraße entfernt, ent- Inhalt stehen 26 Zwei- bis Vier-Zimmer-Wohnungen von ca.
    [Show full text]
  • Early 20Th-Century Operetta from the German Stage: a Cosmopolitan Genre
    This is a repository copy of Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/150913/ Version: Accepted Version Article: Scott, DB orcid.org/0000-0002-5367-6579 (2016) Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre. The Musical Quarterly, 99 (2). pp. 254-279. ISSN 0027-4631 https://doi.org/10.1093/musqtl/gdw009 © The Author 2016. Published by Oxford University Press. This is an author produced version of a paper published in The Musical Quarterly. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Early 20th-Century Operetta from the German Stage: A Cosmopolitan Genre Derek B. Scott In the first four decades of the twentieth century, new operettas from the German stage enjoyed great success with audiences not only in cities in Europe and North America but elsewhere around the world.1 The transfer of operetta and musical theatre across countries and continents may be viewed as cosmopolitanism in action.
    [Show full text]