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TRECENTO FRAGMENTS M Ichael Scott Cuthbert to the Department Of
T R E C E N T O F R A G M E N T S A N D P O L Y P H O N Y B E Y O N D T H E C O D E X a thesis presented by M ichael Scott Cuthbert t the Depart!ent " M#si$ in partia% "#%"i%%!ent " the re&#ire!ents " r the de'ree " D $t r " Phi% s phy in the s#b(e$t " M#si$ H ar)ard * ni)ersity Ca!brid'e+ Massa$h#setts A#'#st ,--. / ,--.+ Mi$hae% S$ tt C#thbert A%% ri'hts reser)ed0 Pr "0 Th !as F rrest 1 e%%y+ advisor Mi$hae% S$ tt C#thbert Tre$ent Fra'!ents and P %yph ny Bey nd the C de2 Abstract This thesis see3s t #nderstand h 4 !#si$ s #nded and "#n$ti ned in the 5ta%ian tre6 $ent based n an e2a!inati n " a%% the s#r)i)in' s #r$es+ rather than n%y the ! st $ !6 p%ete0 A !a( rity " s#r)i)in' s #r$es " 5ta%ian p %yph ni$ !#si$ "r ! the peri d 788-9 7:,- are "ra'!ents; ! st+ the re!nants " % st !an#s$ripts0 Despite their n#!eri$a% d !i6 nan$e+ !#si$ s$h %arship has )ie4 ed these s #r$es as se$ ndary <and "ten ne'%e$ted the! a%t 'ether= " $#sin' instead n the "e4 %ar'e+ retr spe$ti)e+ and pred !inant%y se$#%ar $ di6 $es 4 hi$h !ain%y ri'inated in the F% rentine rbit0 C nne$ti ns a! n' !an#s$ripts ha)e been in$ !p%ete%y e2p% red in the %iterat#re+ and the !issi n is a$#te 4 here re%ati nships a! n' "ra'!ents and a! n' ther s!a%% $ %%e$ti ns " p %yph ny are $ n$erned0 These s!a%% $ %%e$ti ns )ary in their $ nstr#$ti n and $ ntents>s !e are n t rea%%y "ra'!ents at a%%+ b#t sin'%e p %yph ni$ 4 r3s in %it#r'i$a% and ther !an#s$ripts0 5ndi)id#6 a%%y and thr #'h their )ery n#!bers+ they present a 4 ider )ie4 " 5ta%ian !#si$a% %i"e in the " #rteenth $ent#ry than $ #%d be 'ained "r ! e)en the ! st $are"#% s$r#tiny " the inta$t !an#s$ripts0 E2a!inin' the "ra'!ents e!b %dens #s t as3 &#esti ns ab #t musical style, popularity, scribal practice, and manuscript transmission: questions best answered through a study of many different sources rather than the intense scrutiny of a few large sources. -
20Th-Century Repertory
Mikrokosmos List 650. - 2 - October 2019 ....20TH-CENTURY REPERTORY 1 Absil: Clarinet Quartet/Pelemans, Willem: Clar Quartet/Cabus, Peter: Clar ZEPHYR Z 18 A 10 Quartet/Moscheles: Prelude et fugue - Belgian Clarinet Quartet (p.1982) S 2 Albrecht, Georg von: 2 Piano Sonatas; Prelude & Fugue; 3 Hymns; 5 Ostliche DA CAMERA SM 93141 A 8 Volkslieder - K.Lautner pno 1975 S 3 Alpaerts, Flor: James Ensor Suite/Mortelmans: In Memoriam/E.van der Eycken: DECCA 173019 A 8 Poeme, Refereynen - cond.Weemaels, Gras, Eycken S 4 Amelsvoort: 2 Elegies/Reger: Serenade/Krommer-Kramar: Partita EUROSOUND ES 46442 A 15 Op.71/Triebensee: Haydn Vars - Brabant Wind Ensemble 1979 S 5 Antoine, Georges: Pno Quartet Op.6; Vln Sonata Op.3 - French String Trio, MUSIQUE EN MW 19 A 8 Pludermacher pno (p.1975) S 6 Badings: Capriccio for Vln & 2 Sound Tracks; Genese; Evolutions/ Raaijmakers: EPIC LC. 3759 A 15 Contrasts (all electronic music) (gold label, US) 7 Baervoets: Vla Con/P.-B.Michel: Oscillonance (2 vlns, pno)/C.Schmit: Preludes for EMI A063 23989 A 8 Orch - Patigny vla, Pingen, Quatacker vln, cond.Defossez (p.1980) S 8 Baily, Jean: 3 Movements (hn, tpt, pf, string orch)/F.M.Fontaine: Concertino, DGG 100131 A 8 Fantasie symphonique (orch) - cond.Baily S 9 Balanchivadze: Pno Con 4 - Tcherkasov, USSR RTVSO, cond.Provatorov , (plain MELODIYA C10. 9671 A 25 Melodiya jacket) S 10 Banks, Don: Vln Con (Dommett, cond.P.Thomas)/ M.Williamson: The Display WORLD RECO S 5264 A 8 (cond.Hopkins) S 11 Bantock: Pierrot Ov/ Bridge: Summer, Hamlet, Suite for String Orch/ Butterworth: -
Dante Életműve Az Egyetemes Emberi Kultúra Lényeges Része
Dante életműve az egyetemes emberi kultúra lényeges része. Babits sza- vaival: „Dante élete, amint nem végződik halálával, úgy nem kezdődik születésével: hanem szétolvad a világtörténetbe”. Szellemi örökségének ápolása, ahogy országokat átfogó, úgy hazánkban is igen jelentős. Bizo- nyítja ezt a magyar dantisztika kétszáz éves hagyománya, Péterfy Jenő, Szász Károly, Kaposi József, Fülep Lajos, Babits Mihály, Koltay-Kastner Jenő, Bán Imre, Kardos Tibor, Szauder József munkássága. E hagyomány folytonosságát a 2004-ben alakult Magyar Dantisztikai Társaság kon- cepciózus működése biztosítja. Valamint az elmúlt két évtizedben meg- jelent számos, nemzetközi szinten is jelentős hazai Dante-monográfia, tanulmánykötet, mely könyvek alkotói – Kelemen János, Pál József és Szabó Tibor – egyben a jelen kötet első részének szerzői. Mellettük Máté Zsuzsanna irodalmár, művészetfilozófus és Dombiné Kemény Erzsébet tanár és zongoraművész írása olvasható. A kötet második része a „Dante – 750” szakkollégiumi pályázat díjazott hallgatói tanulmányait; a harma- dik rész az „Égi Paradicsom – „Földi Paradicsom” c. kiállítás nyertes hall- gatói pályamunkáit és az alkotók illetve műveik rövid ismertetését fog- lalja magába; az utolsó rész pedig, a legújabb Dante-könyvekről, Bárdos Judit esztéta és Szabó Tibor filozófus könyvismertetésével zárja a kötetet. 2015. szeptember 30-án, a 750 éve született Dantéra emlékeztünk, a Szegedi Tudományegyetem JGYPK Művészeti, Művészetpedagógiai és Művészetközvetítő Szakkollégiuma által rendezett „Dante – 750” Kiállí- táson és -
SCHOOL of MUSIC and DANCE the Universityoforegon Christopher S.Olin, Thursday, Mach5|7:30 P.M
ABOUT University Singers is the premier large choral ensemble on campus, with a choral tradition at the University of Oregon extending back to 1945. The University Singers perform choral music from all periods and styles, with concerts both on and off campus. Members are experienced singers representing a wide variety of majors from across campus. The University Singers frequently have the opportunity to perform with instrumental ensembles such as the University Symphony Orchestra, the Oregon Wind Ensemble, and the Eugene Symphony Orchestra. The intensive training provided by the choral program complements the core curriculum of the School of Music and Dance, and balances the broad spectrum of liberal arts disciplines offered at the University of Oregon. The University of Oregon University Singers NEWS—Chamber Choir is Germany-bound Christopher S. Olin, conductor The University of Oregon Chamber Choir is once again headed overseas, Hung-Yun Chu, accompanist this time to Marktoberdorf, Germany! The Chamber Choir is one of just ten choirs selected from around the world to participate in the 2015 Repertoire Singers Marktoberdorf International Chamber Choir Competition scheduled for May 22–27. The Chamber Choir will also tour additional German cities Cole Blume, conductor while abroad. You can be a part of this exciting moment by making a gift Sharon J. Paul, faculty advisor to send our students to Germany. For more information: 541-346-3859 Hung-Yun Chu, accompanist or music.uoregon.edu/campaign. Make sure you specify you are interested in giving to the choir’s travel fund. Chamber Choir We look forward to seeing you at our UO Choir concerts on: Sharon J. -
Cds by Composer/Performer
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. -
Elizabeth Sprague Coolidge Foundation Collection [Finding Aid]
Elizabeth Sprague Coolidge Foundation Collection Guides to Special Collections in the Music Division of the Library of Congress Music Division, Library of Congress Washington, D.C. 1980 Revised 2014 Contact information: http://hdl.loc.gov/loc.music/perform.contact Additional search options available at: http://hdl.loc.gov/loc.music/eadmus.mu012012 LC Online Catalog record: http://lccn.loc.gov/2012562124 Processed by the Music Division of the Library of Congress Collection Summary Title: Elizabeth Sprague Coolidge Foundation Collection Span Dates: 1894-1953 Bulk Dates: (bulk 1920-1953) Call No.: ML29 Creator: Coolidge, Elizabeth Sprague, 1864-1953 Extent: 56,680 items ; 109 containers ; 48.50 linear feet Language: Collection material in English Location: Music Division, Library of Congress, Washington, D.C. Summary: Elizabeth Sprague Coolidge was a composer, pianist, and patron of music. In 1925, she created the Elizabeth Sprague Coolidge Foundation at the Library of Congress in support of chamber music. The collection contains Coolidge's correspondence to and from many of the prominent musical artists of the first half of the twentieth century. Extensive correspondence between Coolidge and Library of Congress librarians and administrators is also included. The remaining materials in the collection, including photographs, scrapbooks, business papers, programs, publicity materials, iconography, realia, and clippings, are available for research and will be incorporated into the finding aid at a later date. Music manuscripts of works commissioned by Elizabeth Sprague Coolidge or the Elizabeth Sprague Coolidge Foundation in the Library of Congress comprise a substantial portion of the collection and are cataloged individually. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. -
Boston Symphony Orchestra Concert Programs, Summer, 1982, Tanglewood
BOSTON SWPHONY ORCHESTRA SEIJI OZAWA. Musk: Director - -t- " I Yes, if you're lucky! When you plan a Berkshire vacation, you're apt to neai^Sorry we're booked" m<|re than once. Simply because tourists value our country cnafm blended with cosmopolitan culture. We at Foxhollow hate the thought of your missing out on the Berkshire experience, so we're delighted to introduce our time-shared vacation home concept which provides you with superb accommodations at a fraction of their normal cost All yours ... a contemporary resort dwelling built on a renowned 280 acre country estate with stables, swimming, tennis, sailing, skiing and more. Savor authentic New England cuisine in our elegant dining room. Then enjoy a nightcap and entertainment in our Hunt's End Lounge. Breathe deeply . our air holds that special Berkshire magic. Imaginary voices of yesterday's literary giants mingle with the melodic strains of today's performers. Don't risk missing a Berkshire summer. Stop by and let us explain how you can share the Foxhollow experience. Same time next year? Guaranteed! The Ponds at Foxhollow . come share it with us. Route 7, Lenox, Massachusetts 01240 Tel. (413) 637-2706 1-800-292-6631 (in Massachusetts), 1-800-628-5990 (out of state) Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor Hundredth Birthday Season, 1981-82 Trustees of the Boston Symphony Orchestra, Inc. Abram T. Collier, Chairman Nelson J. Darling, Jr., President Leo L. Beranek, Vice-President George H. Kidder, Vice-President Mrs. Harris Fahnestock, Vice-President Sidney Stoneman, Vice-President Roderick M. -
BY ROBERT RYAN ENDRIS Submitted to Th
REFLECTIONS OF THOREAU’S MUSIC AND PHILOSOPHY IN DOMINICK ARGENTO’S WALDEN POND (1996) BY ROBERT RYAN ENDRIS Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music in Choral Conducting, Indiana University August, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music in Choral Conducting. ___________________________________ Aaron Travers, Research Director __________________________________ Carmen-Helena Téllez, Chairperson __________________________________ William Jon Gray __________________________________ Blair Johnston ii Copyright © 2012 Robert Ryan Endris iii Acknowledgments There are many people without whose help and support this document and the completion of this degree would not be possible. First and foremost, I must acknowledge Dr. Robert S. Hatten, former professor of music theory at Indiana University and current professor of music theory at University of Texas. Dr. Hatten’s seminar “Music and the Poetic Text” sparked my interest in the relationship between poetic texts and vocal music and provided the impetus for this document. He inspired me to experience, analyze, and understand vocal music in a completely new way. I must also thank the members of my document committee. I am deeply indebted to my research director, Dr. Aaron Travers, and my chairperson, Dr. Carmen-Helena Téllez, for their efforts and willingness to lead me through this process of research, analysis, and writing. I also thank Dr. Blair Johnston and Dr. William Jon Gray for their contributions through insightful comments, observations, and suggestions. Next, I would like to express my gratitude for the support and encouragement offered by my mentors and friends. -
Eine Symphonie Zu Dantes Divina Commedia Deux Légendes
Liszt SYMPHONIC POEMS VOL. 5 Eine Symphonie zu Dantes Divina Commedia Deux Légendes BBC Philharmonic GIANANDREA NOSEDA CHAN 10524 Franz Liszt (1811–1886) Symphonic Poems, Volume 5 AKG Images, London Images, AKG Eine Symphonie zu Dantes Divina Commedia, S 109* 42:06 for large orchestra and women’s chorus Richard Wagner gewidmet I Inferno 20:03 1 Lento – Un poco più accelerando – Allegro frenetico. Quasi doppio movimento (Alla breve) – Più mosso – Presto molto – Lento – 6:31 2 Quasi andante, ma sempre un poco mosso – 5:18 3 Andante amoroso. Tempo rubato – Più ritenuto – 3:42 4 Tempo I. Allegro (Alla breve) – Più mosso – Più mosso – Più moderato (Alla breve) – Adagio 4:32 II Purgatorio 21:57 5 Andante con moto quasi allegretto. Tranquillo assai – Più lento – Un poco meno mosso – 6:22 6 Lamentoso – 5:11 Franz Liszt, steel plate engraving, 1858, by August Weger (1823 –1892) after a photograph 3 Liszt: Symphonic Poems, Volume 5 7 [L’istesso tempo] – Poco a poco più di moto – 3:42 8 Magnificat. L’istesso tempo – Poco a poco accelerando e Deux Légendes published by Editio Musica in Budapest in crescendo sin al Più mosso – Più mosso ma non troppo – TheDeux Légendes, ‘St François d’Assise: la 1984. ‘St François d’Assise’ is scored for strings, Un poco più lento – L’istesso tempo, ma quieto assai 6:40 prédication aux oiseaux’ (St Francis of Assisi: woodwind and harp only, while ‘St François de the Sermon to the Birds) and ‘St François de Paule’ adds four horns, four trombones and a Deux Légendes, S 354 19:10 Paule marchant sur les flots’ (St Francis of bass trombone. -
Dominick Argento
Deux-Elles DominickDominick ArgentoArgento Shadow and Substance Howard Haskin tenor ominick Argento is generally considered Classical Contemporary Composition’, in respect season, is set in the early days of Hollywood and quaver accompaniment that just occasionally a vocal composer; he is one of the leading of Frederica von Stade’s recording of his song- examines the effects of fame and the immigrant’s may remind us of Balinese gamelan patterns. DUS composers of lyric opera and one of cycle Casa Guidi on the Reference Records label. experience in America. Very different is the treatment of Samuel the most successful, in terms of performances. He was elected to the American Academy of Daniel’s ‘Care-Charmer Sleep’, a depressive The three song-cycles on this disc give some Arts and Letters in 1979, and in 1997 the lifetime A man of wide literary tastes, during the 1970s poem memorably set by Peter Warlock and indications why this should be the case. appointment of Composer Laureate to the and 1980s Argento turned increasingly to the Havergal Brian, amongst others. The agitation Minnesota Orchestra was bestowed on him. composition of song-cycles. His major of Argento’s middle section is graphically Argento was born in York, Pennsylvania and productions in this form include Six Elizabethan expressive of the poet’s tormented emotions. studied at the Peabody Conservatory from 1947 Argento has composed copious orchestral and Songs (1958), Letters from Composers (1968) for Shakespeare’s marvellous ‘When icicles hang to 1954, where his teachers included Nicholas chamber music (notably the Variations for voice and guitar, To Be Sung Upon the Water (1973) by the wall’ is set as a kind of vigorous round- Nabokov, Henry Cowell and Hugo Weisgall; this orchestra The Mask of Night, 1965) but the bulk for voice, piano and clarinet, From the Diary of dance – a good remedy to keep out the cold. -
Lynn Freeman Olson Collection Cassette
LYNN FREEMAN OLSON COLLECTION CASSETTE RECORDINGS LIST Beethoven 9 Symphonien Ouverturen (6 tape boxed set)- Karajan Berliner Philharmonikar Vivaldi: Two Concertos for Two Violins / Two Sonatas for Two Violins and Continuo - Aston Magna Vivaldi: Concerti E Sinfonie - I Solisti Veneti/Claudio Scimone Mahler: Symphony No. 10 - Philadelphia Orchestra / James Levine (2 cassettes) Mahler: Symphony So, 1 - London Philharmonic - Klaus Tennstedt Debussy: 3 Nocturnes Ravel: Pavane & Bolero - Moscow Radio Large Symphony Orchestra / Yevgeni Svetlanov Debussy: La Mer, Nocturnes - Cleveland Orchestra/ Lorin Maazel Rachmaninoff: Symphony No. 2 - Royal Philharmonic Orchestra / Yuri Temirkanov Rachmaninoff: Symphony Mo. 3 Shostakovich: Symphony No. 6 - London Symphony Orchestra / Andre Previn Rachmaninoff: Second Piano Concerto - Balakirev Islamey, Julius Katchen - London Symphony Orchestra / Sir Georg Solti Rachmaninoff: Piano Concerto No. 3 - Vladimir Ashkenazy - The London Symphony / Anatola Fistoulari Rachmaninoff: Piano Concertos 2 & 4 -Vladimir Ashkenazy - Concertgebouw Orchestra / Bernard Haitink Shostakovich: Symphony No. 11 ("1905") - Houston Symphony Orchestra / Leopold Stokowski Shostakovich: Symphony No. 6 / The Age of Gold (Ballet Suite) - Chicago Symphony / Leopold Stokowski Shostakovich: Symphony No. 7 ("Leningrad") - Bournemouth Symphony Orchestra / Paavo Berglund Shostakovich: Symphony No. 10 e minor Op, 93 - Austrian Broadcast Symphony Orchestra / Milan Horvat (2 cassette set) LYNN FREEMAN OLSON REFERENCE COLLECTION OF RECORDED SOUND -
Composing Each Time Robert Morris
Composing Each Time Robert Morris Introduction Each time I finish a piece, there is little time to rest or reflect; something else demands my attention, and I attend to it. Of course, finishing a piece is not really abrupt; after the first draft, there is revision, computer engraving, and editing. During these tasks, new ideas and conceptions begin to enter consciousness so the experience of writing a particular piece fades even before all the work is done. Later, when I return to a work—to coach a performance or lecture on it—I try to reconstruct the process of composition and return to the way it felt to write it, but much of the passion and clarity that brought the work into being is lost. With some thought of addressing this problem I decided immediately after completing my piano piece Each Time to write about it while the experience of its composition was still fresh in my memory. In this way, I hope to express as vividly as possible what I try to put into a piece and how and why—something which might be useful to future performers or listeners. In some respects, Each Time is not very different from my other piano pieces; however, I wanted to express in music some new insights I had into the phenomenology of time derived from Buddhist philosophy. Rather than spelling this out now, I’ll just say that I composed the piece so it might suggest to an attentive listener that impermanence is at the root of experience and that time is both flowing and discontinuous at once.