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Professor Niecks on Melodrama Author(S): Frederick Niecks Source: the Musical Times and Singing Class Circular, Vol
Professor Niecks on Melodrama Author(s): Frederick Niecks Source: The Musical Times and Singing Class Circular, Vol. 42, No. 696 (Feb. 1, 1901), pp. 96-97 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3366388 . Accessed: 21/12/2014 00:58 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 128.235.251.160 on Sun, 21 Dec 2014 00:58:46 AM All use subject to JSTOR Terms and Conditions L - g6 THE MUSICAL TIMES.-FEBRUARY I, I901. of any service is, of course, always undesirable. musical society as well as choir inspectorand con- But it is permissible to remind our young and ductor to the Church Choral Association for the enthusiastic present-day cathedral organists that the Archdeaconryof Coventry. In I898 he became rich store of music left to us by our old English church organistand masterof the choristersof Canterbury composers should not be passed by, even on Festival Cathedral,in succession to Dr. -
Iolanta Bluebeard's Castle
iolantaPETER TCHAIKOVSKY AND bluebeard’sBÉLA BARTÓK castle conductor Iolanta Valery Gergiev Lyric opera in one act production Libretto by Modest Tchaikovsky, Mariusz Treliński based on the play King René’s Daughter set designer by Henrik Hertz Boris Kudlička costume designer Bluebeard’s Castle Marek Adamski Opera in one act lighting designer Marc Heinz Libretto by Béla Balázs, after a fairy tale by Charles Perrault choreographer Tomasz Wygoda Saturday, February 14, 2015 video projection designer 12:30–3:45 PM Bartek Macias sound designer New Production Mark Grey dramaturg The productions of Iolanta and Bluebeard’s Castle Piotr Gruszczyński were made possible by a generous gift from Ambassador and Mrs. Nicholas F. Taubman general manager Peter Gelb Additional funding was received from Mrs. Veronica Atkins; Dr. Magdalena Berenyi, in memory of Dr. Kalman Berenyi; music director and the National Endowment for the Arts James Levine principal conductor Co-production of the Metropolitan Opera and Fabio Luisi Teatr Wielki–Polish National Opera The 5th Metropolitan Opera performance of PETER TCHAIKOVSKY’S This performance iolanta is being broadcast live over The Toll Brothers– Metropolitan Opera International Radio Network, sponsored conductor by Toll Brothers, Valery Gergiev America’s luxury in order of vocal appearance homebuilder®, with generous long-term marta duke robert support from Mzia Nioradze Aleksei Markov The Annenberg iol anta vaudémont Foundation, The Anna Netrebko Piotr Beczala Neubauer Family Foundation, the brigit te Vincent A. Stabile Katherine Whyte Endowment for Broadcast Media, l aur a and contributions Cassandra Zoé Velasco from listeners bertr and worldwide. Matt Boehler There is no alméric Toll Brothers– Keith Jameson Metropolitan Opera Quiz in List Hall today. -
Mannheim Le 12 Nov:Bre Mon Trés Cher Pére!2 1778 I Arrived Here Well
0504.1 MOZART TO HIS FATHER, SALZBURG Mannheim le 12 Nov:bre Mon Trés cher Pére!2 1778 I arrived here well on the 6th and surprised all my good friends in a pleasant way; – praise and thanks be to God that I am once again in my beloved Mannheim! [5] I assure you that you would say the same if you were here; I am lodging with Mad:me Cannabich3 – who, along with her family and all good friends, was almost beside herself for joy when she saw me again; – we have not finished talking yet, for she is telling me all the stories and changes that have happened my absence; – [10] I have not yet eaten at home the whole time I have been here – for it is full-blooded, this fighting over me; in a word; as I love Mannheim, Mannheim loves me; – And I do not know for sure, I believe I will yet in the end be taken on4 here! – here, not in Munich; for the Elector5 would, I believe, <be very glad to have his residence in Manheim again>, [15] since he will not possibly be able <to put up> with the <crudities> of the <Bavarian gentlemen> for long! – You know that the Mannheim troupe6 is in Munich? – there they have already whistled the 2 leading actresses, Mad:me Toscani7 and Mad:me Urban,8 off the stage, and there was so much noise that <the Elector himself> leaned out of his <box> and said sh– – [20] but after no-one allowed themselves to be put off by that, he sent someone down, – but <Count Seau9>, after he said to some officers they should not make so much noise, <the Elector> didn’t like to see it, received this answer; – <it was with their good money that they got in> there and <they are not taking orders from anyone> – yet what a fool I am! [25] You will long since have heard this from our – ;10 Now here comes something; – perhaps I can earn 40 louis d’or11 here! – Admittedly I must stay here 6 weeks – or 2 months at the most; – Seiler’s troupe12 is here – who will already be known to you by renomè;13 – Herr von Dallberg14 is their director; – this man 1 This letter contains passages in "family code"; these are marked with angle brackets < >. -
Download Program Notes
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Erwartung (Expectation), from Vier Lieder (Four Songs), Op. 2, No. 1 Erwartung, Monodrama in One Act, Op. 17 Arnold Schoenberg rnold Schoenberg spent the summer In any case, her libretto did serve as the ba- A of 1909 in the Lower Austrian town of sis for Schoenberg’s Erwartung, a monodrama Steinakirchen, ostensibly on vacation. In in which a single character, a woman, wanders fact, he kept busy composing, and during through a forest searching for her lover, who that summer he not only wrote his mono- has deceived her, finally stumbling across his drama Erwartung (Expectation) but also murdered, still-bleeding corpse. Schoenberg, completed his Five Orchestra Pieces (Op. however, removed from Pappenheim’s libret- 16) and the third of his Three Piano Pieces to language that suggested that the woman (Op. 11) — landmark works all. Devotees sur- rounded him, including the composer Alex- In Short ander von Zemlinsky, who had become his brother-in-law when Schoenberg married Born: September 13, 1874, in Vienna, Austria Zemlinsky’s sister Mathilde in 1901. Also Died: July 13, 1951, in Los Angeles, California passing through was Marie Pappenheim, Works composed and premiered: the song a published poet who had just graduated Erwartung, to a text by Richard Dehmel, was from medical school. Although her special- premiered August 9, 1899; premiered December 1, ty was dermatology, she was well versed in 1901, in Vienna, by tenor Walter Pieau with the recent advances in psychology proposed pianist Alexander von Zemlinsky. -
The Study of the Relationship Between Arnold Schoenberg and Wassily
THE STUDY OF THE RELATIONSHIP BETWEEN ARNOLD SCHOENBERG AND WASSILY KANDINSKY DURING SCHOENBERG’S EXPRESSIONIST PERIOD D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sohee Kim, B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Donald Harris, Advisor Professor Jan Radzynski Professor Arved Mark Ashby Copyright by Sohee Kim 2010 ABSTRACT Expressionism was a radical form of art at the start of twentieth century, totally different from previous norms of artistic expression. It is related to extremely emotional states of mind such as distress, agony, and anxiety. One of the most characteristic aspects of expressionism is the destruction of artistic boundaries in the arts. The expressionists approach the unified artistic entity with a point of view to influence the human subconscious. At that time, the expressionists were active in many arts. In this context, Wassily Kandinsky had a strong influence on Arnold Schoenberg. Schoenberg‟s attention to expressionism in music is related to personal tragedies such as his marital crisis. Schoenberg solved the issues of extremely emotional content with atonality, and devoted himself to painting works such as „Visions‟ that show his anger and uneasiness. He focused on the expression of psychological depth related to Unconscious. Both Schoenberg and Kandinsky gained their most significant artistic development almost at the same time while struggling to find their own voices, that is, their inner necessity, within an indifferent social environment. Both men were also profound theorists who liked to explore all kinds of possibilities and approached human consciousness to find their visions from the inner world. -
Wiebe, Confronting Opera
King’s Research Portal DOI: 10.1080/02690403.2017.1286132 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Wiebe, H. (2020). Confronting Opera in the 1960s: Birtwistle’s Punch and Judy. Journal of the Royal Musical Association , 142(1), 173-204. https://doi.org/10.1080/02690403.2017.1286132 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
18 Contemporary Opera and the Failure of Language
18 CONTEMPORARY OPERA AND THE FAILURE OF LANGUAGE Amy Bauer Opera after 1945 presents what Robert Fink has called ‘a strange series of paradoxes to the historian’.1 The second half of the twentieth century saw new opera houses and companies pro- liferating across Europe and America, while the core operatic repertory focused on nineteenth- century works. The collapse of touring companies confined opera to large metropolitan centres, while Cold War cultural politics often limited the appeal of new works. Those new works, whether written with political intent or not, remained wedded historically to ‘realism, illusion- ism, and representation’, as Carolyn Abbate would have it (as opposed to Brechtian alienation or detachment).2 Few operas embraced the challenge modernism presents for opera. Those few early modernist operas accepted into the canon, such as Alban Berg’s Wozzeck, while revolu- tionary in their musical language and subject matter, hew closely to the nature of opera in its nineteenth-century form as a primarily representational medium. As Edward Cone and Peter Kivy point out, they bracket off that medium of representation – the character singing speech, for instance, in an emblematic translation of her native tongue – to blur diegetic song, ‘operatic song’ and a host of other conventions.3 Well-regarded operas in the immediate post-war period, by composers such as Samuel Barber, Benjamin Britten, Francis Poulenc and Douglas Moore, added new subjects and themes while retreating from the formal and tonal challenges of Berg and Schoenberg. -
Boston Symphony Orchestra Concert Programs, Season 119, 1999-2000
O Z A W A Dl R ECTOR BOSTON ^SYMPHONY # E S T R A M 1 i! kff^^f y-^fflfe 1 ^WVIi 19 9 9-2000 SEASON Bring your Steinway: With floor plans from acre gated community atop 2,100 to 5,000 square feet, prestigious Fisher Hill. you can bring your Concert Jointly marketed by Sotheby's Grand to Longyear. International Realty and You'll be enjoying full-service, Hammond Residential Real Estate. single-floor condominium living at Priced from $1,200,000. its absolutefinest, all harmoniously Call Hammond Real Estate at located on an extraordinary eight- (617) 731-4644, ext 410. LONGYEAR, a/ Lr/sner Jiili BROOKLINE pssf^te. "-J ' jjmgr^^8PL'ti n-^a >/:i LlEii'••*' ^^ ^^^v SSi^Ty^f-vg^^i^fe jSP&^j : HE^Sg^^ • .^^^^.*y£^\&?* .TV ,.->< VH) 11. |1»W mm DBD CORTLAND Hammond SOTHEBYSI PROPERTIES INC. RESIDENTIAL International Realty Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Nineteenth Season, 1999-2000 Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Vincent M. O'Reilly, Treasurer Harvey Chet Krentzman, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Deborah B. Davis George Krupp Robert P. O'Block Diane M. Austin, Nina L. Doggett Ed Linde ex-ojficio ex-ojficio Nancy J. Fitzpatrick R. Willis Leith, Jr. Peter C. Read Gabriella Beranek Charles K. Gifford Mrs. August R. Meyer Hannah H. Schneider Jan Brett Avram J. Goldberg Richard P. Morse Thomas G. Sternberg James F. Cleary Thelma E. -
Salvatore Sciarrino. the Sicilian Alchemist Composer
Interdisciplinary Studies in Musicology 12,2012 © PTPN & Wydawnictwo Naukowe UAM, Poznań 2012 PIETRO MISURACA The Department of Humanities, Palermo University Salvatore Sciarrino. The Sicilian alchemist composer ABSTRACT: Salvatore Sciarrino (Palermo, 1947) began his career in the fervent climate of the six Settimane Internazionali Nuova Musica. Still very young he attracted the attention of the musical world, with his sonorous invention full of startling innovation that was to make him one of the protago nists of the contemporary musical panorama. Sciarrino is today the best-known and most performed Italian composer. His catalogue is a prodigiously large one, and his career is dotted with prestigious prizes and awards. Alchemically transmuting sound, finding new virginity in it has for fifty years been the objective of his music. Timbric experimentation is the goal of his virtuosity. The prevailing use of harmonic sounds and other subversive emission techniques make his sonorous material elusive, incorporeal, particularly close to noise: hence not sounds in the traditional sense, but ghosts and shades of sounds, systematically deprived of the attack and situated in a border zone between the being of the material and its not-being. The sound comes out changed by the osmotic relationship with silence: it is a mysterious epiphany, a “presence” that strives to appear on the surface, living and pulsating almost according to a physiology of its own. Hence it is a music of silences furrowed by minimal sound phenomena, for an “ecology of listening” - an antidote to the noise pollution of consumer society - able to clear perception, to sharpen auditory sensibility and to free the mind of stereotyped stimuli. -
PMA Polonica Catalog
PMA Polonica Catalog PLACE OF AUTHOR TITLE PUBLISHER DATE DESCRIPTION CALL NR PUBLICATION Concerns the Soviet-Polish War of Eighteenth Decisive Battle Abernon, De London Hodder & Stoughton, Ltd. 1931 1920, also called the Miracle on the PE.PB-ab of the World-Warsaw 1920 Vistula. Illus., index, maps. Ackermann, And We Are Civilized New York Covici Friede Publ. 1936 Poland in World War I. PE.PB-ac Wolfgang Form letter to Polish-Americans asking for their help in book on Appeal: "To Polish Adamic, Louis New Jersey 1939 immigration author is planning to PE.PP-ad Americans" write. (Filed with PP-ad-1, another work by this author). Questionnaire regarding book Plymouth Rock and Ellis author is planning to write. (Filed Adamic, Louis New Jersey 1939 PE.PP-ad-1 Island with PE.PP-ad, another work by this author). A factual report affecting the lives Adamowski, and security of every citizen of the It Did Happen Here. Chicago unknown 1942 PA.A-ad Benjamin S. U.S. of America. United States in World War II New York Biography of Jan Kostanecki, PE.PC-kost- Adams , Dorothy We Stood Alone Longmans, Green & Co. 1944 Toronto diplomat and economist. ad Addinsell, Piano solo. Arranged from the Warsaw Concerto New York Chappell & Co. Inc. 1942 PE.PG-ad Richard original score by Henry Geehl. Great moments of Kosciuszko's life Ajdukiewicz, Kosciuszko--Hero of Two New York Cosmopolitan Art Company 1945 immortalized in 8 famous paintings PE.PG-aj Zygumunt Worlds by the celebrated Polish artist. Z roznymi ludzmi o roznych polsko- Ciekawe Gawedy Macieja amerykanskich sprawach. -
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance
Live and Interactive Electronic Vocal Compositions: Trends and Techniques for the Art of Performance • Julieanne Klein F acuIty of Music McGill University, Montreal January 2007 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements of the degree of Doctor of Music. r © Julieanne Klein 2007 • Abstract This thesis deals with technological, compositional and performance-practice aspects of computer-based live and interactive electronic vocal music. Live performance-based electronic music indicates a composition by which the vocal, instrumental and/or electronic sounds are processed in real time. By surveying historical developments, technological advances, aesthetics, and important figures, this document intends to assist singers in gaining a global perspective of the field in hopes of facilitating interest in the performing and commissioning of live electronic vocal compositions. An important element of this thesis is an annotated appendix of computer-based live and interactive electronic vocal music detailing instrumentation, technical requirements, texts, performance notes and publisher contact information. In order to assist in the study and performance of these works, relevant performance issues are explored, and a methodology and step-by-step checklist for learning contemporary and electronic vocal music is included. An analysis of three vocal works in this genre is presented: En Écho by Philippe Manoury, Erba nera che cresci segno nero tu l!il!i by Mauro Lanza, and a new work commissioned especially for this study, Avant la lawe by David Adamcyk. Cette thèse traite des aspects technologiques et compositionnels ainsi que de l'interprétation d'oeuvres pour voix et traitement électronique interactif en temps réel. -
Schoenberg and the Gesamtkunstwerk Path to Abstraction By
Schoenberg and the Gesamtkunstwerk Path to Abstraction by John Blythe A thesis submitted to the University of Birmingham for the degree of MA by Research in the History of Art Dept. of Art History, Curating and Visual Studies, College of Arts and Law, University of Birmingham. February 2019. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. To the technicians Tom and Marlowe Contents Lists of Figures Lists of Illustrations Introduction page 1 Schoenberg’s First Exhibitions page 3 Review of literature page 14 National Gallery Exhibition page 20 Berlinische Exhibition page 27 Richard Gerstl page 29 Schoenberg’s Jewish Antecedents page 35 Research Methodology page 43 Thesis Structure page 51 Chapter 1 Schoenberg’s fin-de-siècle Vienna and Harmonielehre. page 53 The Discourse on Synaesthesia in fin-de-siècle Vienna page 53 Austrian culture and politics page 56 Origins of Viennese Discourse on Synaesthesia page 60 A Widening Discourse page 66 Schoenberg’s Harmonielehre page 76 Honoré de Balzac’s Seraphita page 90 Summary page 92 Chapter 2: First Triad – Wagner, Schopenhauer and Schoenberg. page 94 Gesamtkunstwerk page 94 Overtones to the First Triad page 116 Gurrelieder, a new redemption page 125 Summary page 128 Chapter 3: Second Triad and the Idea of Language.