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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Myfanwy Mynyddog (Richard Davies), Joseph Parry
CANTABILE – THE LONDON QUARTET THE GREAT BRITISH A CAPPELLA SONGBOOK EIGENTUM DES VERLEGERS · ALLE RECHTE VORBEHALTEN ALL RIGHTS RESERVED PETERS EDITION LTD A member of the Edition Peters Group FRANKFURT/M. · LEIPZIG · LONDON · NEW YORK CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 1 110/8/20120/8/2012 1:06:361:06:36 PPMM Cantabile − The London Quartet is managed by artist management A Foggy Day. Music and Lyrics by George Gershwin and Ira Gershwin. Arranged by Cantabile − The London Quartet. © 1937 (renewed) Chappell & Co Inc, USA. This arrangement © 2012 Chappell & Co Inc, USA. Warner/Chappell North America Ltd, London W6 8BS. Reproduced by permission of Faber Music Ltd. All Rights Reserved. Pomp and Circumstance by Edward Elgar. Words © 2012 by Margarete and Julian Forsyth. Lullaby (‘Hush Macushla’) by Cantabile − The London Quartet. © Copyright 2012 by Cantabile − The London Quartet. All other arrangements in this collection © Copyright 2012 by Cantabile − The London Quartet. Peters Edition Limited 2−6 Baches Street London N1 6DN Tel: +44 (0)20 7553 4000 Fax: +44 (0)20 7490 4921 Email: [email protected] Internet: www.editionpeters.com CCantabileantabile AAnthologynthology LLAYOUT.inddAYOUT.indd 2 110/8/20120/8/2012 1:07:041:07:04 PPMM CONTENTS Foreword . 4 Vorwort . 5 About the Songs . 6 Über die Stücke . 8 Pastime with Good Company King Henry VIII of England . 11 Greensleeves Traditional English . 14 Oranges and Lemons Traditional English . 22 Myfanwy Mynyddog (Richard Davies), Joseph Parry . 30 Danny Boy, ‘I Would be True’ Traditional Irish (Londonderry Air) Frederic E. Weatherly, Howard Walter . 35 A Man’s a Man for A’ That Traditional Scottish / Robert Burns (‘Lady McIntosh’s Reel’) . -
General Rules of the Eisteddfod
Rhestr Testunau – English Version GENERAL RULES OF THE EISTEDDFOD Please note, the Rules stated below are relevant to every Eisteddfod – Local, Regional and National. Where a clarification of the Rules is necessary, the Welsh language version of the Rules shall be used as the basis for the decision. 1. Language policy The Eisteddfod aims to promote Welsh culture and to protect the Welsh Language. Welsh is the official language of the Eisteddfod. All creative works and competitions must be in Welsh except where noted otherwise for a particular competition. i Where there is no call for knowledge of the Welsh language the competitions are open to any member of the Urdd born in Wales, or any person who has a parent that were born in Wales, or any person living in Wales immediately before the festival or any person who can speak or write in Welsh. Words used in any work must be in Welsh. ii Recitation / Action Song / Dramatic Presentation / Theatre An exception may be made to use another language when there is a need to put part of the work into context. However, over - use of another language will not be permitted. iii Disco/Hip Hop/Street Dancing / Creative Dancing Music with Welsh language vocals or instrumental music only, should be used as an accompaniment. 2. Only full members of Urdd Gobaith Cymru may compete in Local, County/Regional and National Eisteddfodau. No one shall be considered a full member unless the membership fee has been paid and a Membership Card and number have been received for the year 2014/15. -
Mountains Faculty Concert Series
presents MUSIC IN THE MOUNTAINS FACULTY CONCERT SERIES SUMMER 2018 ROCKY RIDGE MUSIC CENTER, CONCERT HALL 465 LONGS PEAK RD. ESTES PARK, CO 80517 SUNDAYS @ 3:00 PM June 3, 10, 24 | July 1, 8, 22 | August 5 | September 2 $25/$20 JUNE 3, 2018 Adult Piano Seminar Faculty Sarabande from Partita No. 1 in B-flat Major Johann Sebastian Bach (1685–1750) Prelude and Fugue in B-flat Minor Étude 6, Pour les huit doigts Claude Debussy (1862-1918) Hsing-ay Hsu, piano Sonata for Four Hands in B-flat Major, Wolfgang Amadeus Mozart (1756-1791) K. 358 I. Allegro II. Adagio III. Molto presto Hsing-ay Hsu, piano Larry Graham, piano Sonata in B-flat Major, K.333 W.A. Mozart I. Allegro II. Andante cantabile III. Allegretto grazioso INTERMISSION Réminiscences de Lucia di Lammermoor Franz Liszt (1811-1886) 7 Fantasien, Op. 116 Johannes Brahms (1833-1897) Sergio Gallo, piano JUNE 10, 2018 Junior Artist Seminar Faculty Five Pieces for Two Violins and Piano Dmitri Shostakovich (1906-1975) arr. Levon Atovmyan I. Prelude II. Gavotte III. Elegy IV. Waltz V. Polka David Rife, violin Wynne Wong-Rife, violin James Welch, piano Trio in B-flat Major, Op. 11 Ludwig van Beethoven (1770-1827) I. Allegro con brio II. Adagio III. Tema con variazioni David Shea, clarinet Mary Beth Tyndall, cello James Welch, piano Épitaphe de Jean Harlow, Op. 164 Charles Koechlin (1867-1950) Catherine Peterson, Flute Grant Larson, Saxophone Marina Beretta-Hammond, piano INTERMISSION String Quartet No. 1 in E-flat Major, Op. 12 Felix Mendelssohn (1809-1847) I. -
Abram Loft Collection
ABRAM LOFT COLLECTION RUTH T. WATANABE SPECIAL COLLECTIONS SIBLEY MUSIC LIBRARY EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER Processed by Gail E. Lowther, Fall 2019 1 The Fine Arts Quartet (Leonard Sorkin, Abram Loft, Gerald Stanick, and George Sopkin). Photograph from publicity flyer distributed by Colbert Artists Management, from Abram Loft Collection, Box 38, Folder 3, Sleeve 1. Photograph from unidentified event, from Abram Loft Collection, Box 38, Folder 1, Sleeve 4. 2 TABLE OF CONTENTS Description of Collection . 5 Description of Series . 8 INVENTORY Sub-Group I: Papers Series 1: Publicity and press materials Sub-series A: Concert programs . 16 Sub-series B: Press clippings . 20 Series 2: Fine Arts Quartet papers Sub-series A: Papers . 30 Sub-series B: Itineraries, calendars, contract, and programs . 33 Sub-series C: Financial records . 44 Sub-series D: Program notes . 49 Sub-series E: Proposals, projects, and scripts . 57 Series 3: Eastman School of Music papers . 65 Series 4: Professional papers . 70 Series 5: Personal papers . 81 Series 6: Lecture and pedagogical material . 82 Series 7: Writing and research Sub-series A: Writing (music) . 86 Sub-series B: Card files . 109 Sub-series C: Writing (other interests) . 110 3 Series 8: Correspondence Sub-series A: Correspondence pertaining to the Fine Arts Quartet . 116 Sub-series B: Professional correspondence . 118 Sub-series C: Personal correspondence . 125 Series 9: Iconography . 126 Sub-Group II: Printed Music Series 1: Chamber music . 130 Series 2: Performance parts . 132 Series 3: Solo music . 143 Series 4: Consort music . 145 Sub-Group III: Audio-Visual Materials Series 1: 5” and 7” audio reels . -
Sounds Like Home Sounds Like Home
May 7 & 8 • Capitol Theater at Overture Center for the Arts SOUNDS LIKE HOME Music in Diaspora NEW SUBSCRIBERS: save up to 50% CONTENTS 4 From the Director 6 MYC Staff and Board of Directors 6 Sponsors Program Notes 7 7:00pm | Saturday, May 7, 2016 SEPTEMBER 23, 24, 25 DECEMBER 2, 3, 4 MARCH 10, 11, 12 Purcell, Britten, Holst The Planets: Madison Symphony Peak Performance 15 3:30pm | Sunday, May 8, 2016 Tine Thing Helseth, Trumpet An HD Odyssey Christmas Choraliers, Con Gioia, Capriccio, Cantilena, Cantabile Enescu | Corigliano | Holst Madison Symphony Chorus Beethoven | Hummel | Strauss Madison Youth Choirs OCTOBER 21, 22, 23 Mount Zion Gospel Choir APRIL 7, 8, 9 25 7:30pm | Sunday, May 8, 2016 Beethoven’s Pastorale Colossal Piano Cantilena, Ragazzi, Cantabile Henning Kraggerud, Violin JANUARY 15* Philippe Bianconi, Piano Elgar | Bruch | Kraggerud Beyond the Score: Schumann | Lutosławski 34 Our Graduating Seniors Beethoven Scheherazade Rachmaninoff Multi-media/symphony concert NOVEMBER 11, 12, 13 MAY 5, 6, 7 Rimsky-Korsakov 38 Music Educators Paired to Perfection Brahms’ Requiem Christina and Michelle FEBRUARY 17, 18, 19 Nathan Laube, Organ Naughton, Piano Ultimate Tchaikovsky Madison Symphony Chorus 40 MYC Members Debussy | Mozart Stephen Hough, Piano Stanford | Brahms Shostakovich Barber | Saint-Saëns 46 Friends and Donors Tchaikovsky *Not a subscription concert NEW SUBSCRIBERS SAVE UP TO 50% To subscribe, order a brochure or for more information, subscribe today visit: madisonsymphony.org or call (608) 257-3734. 2 From the Director By the waters of Babylon we lay down and wept for thee, Zion. Throughout history, people have been sold into slavery, forced to forget their own culture and language, made to endure unspeakably harsh treatment, and yet from these horrific experiences have come some of our most powerful music. -
Programme Information
Programme information Saturday 6th March to Friday 12th March 2021 WEEK 10 ALEXANDER ARMSTRONG GREAT BRITISH ORCHESTRAS WEEK on CLASSIC FM Monday 8th to Friday 12th March, 9am to 12pm It’s Great British Orchestras Week on Classic FM. Each day in the Classic FM Hall of Fame Hour (9am to 10am), Alexander Armstrong features the best recordings taken from the top 300, performed by some of the greatest orchestras that Britain is fortunate to have. The programme begins with Elgar’s uplifting Chanson de Matin played by the Royal Philharmonic Orchestra, and one of the country’s oldest orchestras, the Royal Liverpool Philharmonic Orchestra, play Tchaikovsky’s Piano Concerto No.1, with Simon Trpceski as soloist. Classic FM is available across the UK on 100-102 FM, DAB digital radio and TV, on Global Player on your smart speaker (“play Classic FM”), iOS or Android device and at ClassicFM.com. 1 WEEK 10 SATURDAY 6TH MARCH 4pm to 7pm: MOIRA STUART’S HALL OF FAME CONCERT It’s the final week of voting for the Classic FM Hall of Fame 2021, so Moira plays one of her choices: Mussorgsky’s Pictures at an Exhibition, heard in its orchestration by Ravel, whose most famous work is also on the menu this afternoon. Elsewhere, there’s a moving performance of Tchaikovsky’s ‘Pathetique’ symphony from the Rotterdam Philharmonic Orchestra conducted by Yannick Nézet-Séguin, who celebrates his birthday today, a choral Mozart favourite, and Yuja Wang plays Rachmaninov. Ralph Vaughan Williams The Wasps – Overture James Judd conducts the Royal Liverpool Philharmonic Orchestra -
Charles Ives, 129 Songs. Critical Commentaries
Cri tic al Com me n tar ie s f o r C h a r l e s I v e s 1 2 9 S O N G S Edited by H. Wiley Hitchcock To accompany Music of the United States of America • Volume 12 Recent Researches in American Music • Volume 46 Published for the American Musicological Society by A-R Editions, Inc., Middleton, Wisconsin Copyright © 2004 American Musicological Society Typography by Ron Wiecki P r e f a c e The Charles Ives Society commissioned the critical edition of 129 Songs by Ives in 1990. Accepted in 1993 for inclusion as a volume of the American Musicological Society’s series Music of the United States of America "MUSA#, 129 Songs was published in the summer of 2004 as MUSA Volume 12. The critical commentaries of the edition were prepared according to the Ives Society’s exceptionally generous editorial guidelines, resulting in very detailed and lengthy commentaries. These were considered unnecessarily elaborate for the published MUSA volume; instead, that includes briefer critical $reports,% the report for each song being abstracted from its corresponding critical commentary. Hard copies of the complete critical commentaries herein are deposited for on-site study in the music libraries of Yale University and the University of Michigan, the Music Research Division of the New York Public Library of the Performing Arts at Lincoln Center, and the Music Division of the Library of Congress; they will also be available for viewing and downloading on the Ives Society and MUSA websites. Here, preceding the critical commentaries are explanatory excerpts from the $Apparatus% of the MUSA vol- ume, slightly revised as necessary. -
FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the Code and Complete Your Entry
FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the code and complete your entry. backunmusical.com gives a soul to theMusic universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. ~Plato Now, more than ever, E DWIN • HUD RE EIGAN SO • • W D N H R • T • C E R D I D IP i V Y I L E N P U S S IT T I A S play on! • S N I L R A E Meet Some I K W B • I A K S T • E L Players D A L G A E N R O R D We Love! O c a B M • B • U E L S N F O I V A D A • Z M H E Patents. See website. www.rovnerproducts.com Established 2013 Heather Rodriguez Alcides Rodriguez RMS offers a premium selection of Hand selected Buffet clarinets clarinets for the demanding artist, and accessories educator and student. Artist level set ups, upgrades, repair work and overhauls www.rodriguezmusical.com 470-545-9803 [email protected] A NEW SPECIES OF REED VENN signals the dawn of a new era in woodwinds innovation: combining the stability and longevity of a synthetic reed with the sound and feel of natural cane. To mimic the organic structure of cane, we reverse-engineered cane itself, layering di erent strengths of polymer fi bers with resin and organic reed elements to make up the reed blank. -
Brass Showcase
David Childs was born in the mining village of Grimethorpe in 1981, to a family whose name had been synonymous with brass for the last two generations. His grandfather John inspired his sons, Robert & Nicholas to take up euphonium. Robert began teaching his son David from an early age and in recent years David has emerged as one of the finest brass soloists of his generation. In the year 2000 he broke new ground for the euphonium becoming the first euphonium soloist to win the brass final of the televised ‘BBC Young Musician of the Year’. In the same PRESENTS year David was awarded the coveted ‘Euphonium Player of the Year’ title, a title he won again in 2004 and still holds today. Still in the early stages of his career, David has already toured extensively performing as a soloist in Australia, the Middle East, Japan, Hong Kong, Europe and the U.S.A. He is a keen advocate of new music and has premièred seven concerti for euphonium including a Royal Albert Hall radiobroadcast of Alun Hoddinott’s, ‘Sunne Rising - The King Will Ride’. David has performed solos on BBC Radio 2, BBC Radio 3, Classic fm, channel 4 television, BBC 2 television, BBC 1 television and S4C. He has also been featured in the Classic fm, Gramophone, Classical Music, and MUSO magazines. David has had the pleasure of performing as a soloist with some of the UK’s finest orchestras including the BBC Philharmonic, Royal Philharmonic, BBC Concert Orchestra, BBC National Orchestra of Wales and Sinfonia Cymru. He has given solo BRASS performances at a number of high profile music festivals including the BBC Proms, Melbourne International Festival, Cheltenham International Festival and the New York Festival. -
London's Symphony Orchestra
London Symphony Orchestra Living Music Sunday 14 May 2017 7pm Barbican Hall MOZART & TCHAIKOVSKY London’s Symphony Orchestra Mozart Violin Concerto No 5 INTERVAL Tchaikovsky Symphony No 5 Nikolaj Znaider conductor/violin Concert finishes approx 9pm 2 Welcome 14 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to this evening’s LSO concert at the Barbican, SIR EWEN FERGUSSON GCMG GCVO the second in a series featuring Nikolaj Znaider as both violinist and conductor, exploring the parallels We were saddened to hear that Sir Ewen Fergusson, between Mozart’s violin concertos and Tchaikovsky’s a valued member of the LSO Advisory Council, final symphonies. passed away on 20 April. We are delighted to be joined by Nikolaj Znaider to Sir Ewen became a member of the LSO Advisory continue the series, which began in December last Council in the early 1990s, following his retirement year. He is a regular and long-standing collaborator from the diplomatic service. Sir Ewen dedicated with the LSO, performing with the Orchestra during much time and energy to supporting the LSO over a recent tour to China and at the Brighton Festival two decades and was also extremely generous yesterday evening. in supporting the Orchestra’s work as a Patron. Tonight’s programme places two ‘Fifths’ side by Sir Ewen shall be greatly missed by the LSO, and side, beginning with Mozart’s Fifth Violin Concerto, our thoughts and condolences are with his wife followed by Tchaikovsky’s Symphony No 5. Sara and the family circle. We look forward to continuing this project with Nikolaj Znaider next season on Thursday 7 December. -
Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology
Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and Methodology Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Alison Warrenburg, M.A. Graduate Program in Music The Ohio State University 2019 Dissertation Committee: Daniel Shanahan, Advisor David Huron Anna Gawboy Dónal O’Mathúna Copyright by Lindsay Alison Warrenburg 2019 2 Abstract Music, perhaps more than any other art form, is able to influence moods and affect behavior. There are limitless accounts of music eliciting feelings of nostalgia, transcendence, and other seemingly ineffable emotions. In the scientific study of music and emotion, however, only five music-induced emotions have been studied in depth: happiness, sadness, fear, anger, and tenderness (Juslin, 2013). Although these emotions are certainly important and can be expressed and elicited through music listening, a pertinent question becomes the following: do these five words accurately capture all affective states related to music? Throughout my dissertation, I argue that in order to better understand emotional responses to musical stimuli, we need to change the way we use emotional terminology and examine emotional behaviors. In the first part of the dissertation (Chapters 1-4), I review how emotional music has been theoretically characterized and which excerpts have been utilized in research. I will show that the field of music and emotion is fraught with conceptual difficulties and that passages of music expressing a single emotion (e.g., sadness) span an unmanageably large area of emotional space. The second part of the dissertation (Chapters 5-8) provides an in-depth analysis of music that has been classified by other researchers as sad.