2008 Fall Classical Update
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Let Me Be Your Guide: 21St Century Choir Music in Flanders
Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole. -
News 2009 Boosey & Hawkes · Schott Music Spring · Summer Peter-Lukas Graf Turns 80!
News 2009 Boosey & Hawkes · Schott Music Spring · Summer Peter-Lukas Graf turns 80! Born in Zurich (Switzerland) in 1929, Peter-Lukas Graf studied the flute with André Jaunet (Zurich), Marcel Moyse and Roger Cortet (Paris). He was awarded the First Prize as flautist and the conductor’s diploma (Eugène Bigot). The period as a principal flutist in Winterthur and in the Swiss Festival Orchestra Lucerne was succeded by many years of full time opera and symphonic conduct- ing. At present, Peter-Lukas Graf plays, conducts and teaches internationally. He has made numerous CD recordings, radio and television productions. He now lives in Basle (Switzerland) where he is professor at the Music Academy. Check-up 20 Basic Studies for Flautists (Eng./Ger.) ISMN 979-0-001-08152-8 ED 7864 · £ 12.50 / € 18,95 (Ital./Fr.) Da capo! Encore! ISMN 979-0-001-08256-3 ED 8010 · £ 11.99 / € 17,95 Zugabe! The Finest Encore Pieces from Bach to Joplin Interpretation for flute and guitar How to shape a melodic line ISMN 979-0-001-08184-9 (Eng.) ED 7908 · £ 12.50 / € 18,95 ISMN 979-0-001-08465-9 ED 9235 · £ 19.50 / € 29,95 for flute and piano ISMN 979-0-001-08185-6 ED 7909 · £ 12.50 / € 18,95 The Singing Flute How to develop an expres- sive tone. A melody book for flautists (Eng./Ger./Fr.) ISBN 978-3-7957-5751-9 ED 9627 · £ 9.50 / € 14,95 MA 4024-01 · 01/09 Dr. Peter Hanser-Strecker Publisher Welcome to Schott’s world of music! I am pleased to present you with just a few of the latest items from the different areas of our extensive publishing programme. -
2015-2016 Lynn University Wind Ensemble-Wind Works Wit'wit
Lynn Wind Ensemble Wind Works wit' Wit LYNN Conservatory of Music Wind Ensemble Roster FLUTE T' anna Tercero Jared Harrison Hugo Valverde Villalobos Scott Kemsley Robert Williams Al la Sorokoletova TRUMPET OBOE Zachary Brown Paul Chinen Kevin Karabell Walker Harnden Mark Poljak Trevor Mansell Alexander Ramazanov John Weisberg Luke Schwalbach Natalie Smith CLARINET Tsukasa Cherkaoui TROMBONE Jacqueline Gillette Mariana Cisneros Cameron Hewes Halgrimur Hauksson Christine Pascual-Fernandez Zongxi Li Shaquille Southwell Em ily Nichols Isabel Thompson Amalie Wyrick-Flax EUPHONIUM Brian Logan BASSOON Ryan Ruark Sebastian Castellanos Michael Pittman TUBA Sodienye Fi nebone ALTO SAX Joseph Guimaraes Matthew Amedio Dannel Espinoza PERCUSSION Isaac Fernandez Hernandez TENOR SAX Tyler Flynt Kyle Mechmet Juanmanuel Lopez Bernadette Manalo BARITONE SAX Michael Sawzin DOUBLE BASS August Berger FRENCH HORN Mileidy Gonzalez PIANO Shaun Murray Al fonso Hernandez Please silence or turn off all electronic devices, including cell phones, beepers, and watch alarms. Unauthorized recording or photography is strictly prohibited Lynn Wind Ensemble Kenneth Amis, music director and conductor 7:30 pm, Friday, January 15, 2016 Keith C. and Elaine Johnson Wold Performing Arts Center Onze Variations sur un theme de Haydn Jean Fran c;; aix lntroduzione - Thema (1912-1997) Variation 1: Pochissimo piu vivo Variation 2: Moderato Variation 3: Allegro Variation 4: Adagio Variation 5: Mouvement de va/se viennoise Variation 6: Andante Variation 7: Vivace Variation 8: Mouvement de valse Variation 9: Moderato Variation 10: Mo/to tranquil/a Variation 11 : Allegro giocoso Circus Polka Igor Stravinsky (1882-1971) Hommage a Stravinsky Ole Schmidt I. (1928-2010) II. Ill. Spiel, Op.39 Ernst Toch /. -
DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M
DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
The Critical Reception of Tippett's Operas
Between Englishness and Modernism: The Critical Reception of Tippett’s Operas Ivan Hewett (Royal College of Music) [email protected] The relationship between that particular form of national identity and consciousness we term ‘Englishness’ and modernism has been much discussed1. It is my contention in this essay that the critical reception of the operas of Michael Tippett sheds an interesting and revealing light on the relationship at a moment when it was particularly fraught, in the decades following the Second World War. Before approaching that topic, one has to deal first with the thorny and many-sided question as to how and to what extent those operas really do manifest a quality of Englishness. This is more than a parochial question of whether Tippett is a composer whose special significance for listeners and opera-goers in the UK is rooted in qualities that only we on these islands can perceive. It would hardly be judged a triumph for Tippett if that question were answered in the affirmative. On the contrary, it would be perceived as a limiting factor — perhaps the very factor that prevents Tippett from exporting overseas as successfully as his great rival and antipode, Benjamin Britten. But even without that hard evidence of Tippett’s limited appeal, the very idea that his Englishness forms a major part of his significance could in itself be a disabling feature of the music. We are squeamish these days about granting a substantive aesthetic value to music on the grounds of its national qualities, if the composer in question is not safely locked away in the relatively remote past. -
Roger Parker: Curriculum Vitae
1 Roger Parker Publications I Books 1. Giacomo Puccini: La bohème (Cambridge, 1986). With Arthur Groos 2. Studies in Early Verdi (1832-1844) (New York, 1989) 3. Leonora’s Last Act: Essays in Verdian Discourse (Princeton, 1997) 4. “Arpa d’or”: The Verdian Patriotic Chorus (Parma, 1997) 5. Remaking the Song: Operatic Visions and Revisions from Handel to Berio (Berkeley, 2006) 6. New Grove Guide to Verdi and his Operas (Oxford, 2007); revised entries from The New Grove Dictionaries (see VIII/2 and VIII/5 below) 7. Opera’s Last Four Hundred Years (in preparation, to be published by Penguin Books/Norton). With Carolyn Abbate II Books (edited/translated) 1. Gabriele Baldini, The Story of Giuseppe Verdi (Cambridge, 1980); trans. and ed. 2. Reading Opera (Princeton, 1988); ed. with Arthur Groos 3. Analyzing Opera: Verdi and Wagner (Berkeley, 1989); ed. with Carolyn Abbate 4. Pierluigi Petrobelli, Music in the Theater: Essays on Verdi and Other Composers (Princeton, 1994); trans. 5. The Oxford Illustrated History of Opera (Oxford, 1994); translated into German (Stuttgart. 1998), Italian (Milan, 1998), Spanish (Barcelona, 1998), Japanese (Tokyo, 1999); repr. (slightly revised) as The Oxford History of Opera (1996); repr. paperback (2001); ed. 6. Reading Critics Reading: Opera and Ballet Criticism in France from the Revolution to 1848 (Oxford, 2001); ed. with Mary Ann Smart 7. Verdi in Performance (Oxford, 2001); ed. with Alison Latham 8. Pensieri per un maestro: Studi in onore di Pierluigi Petrobelli (Turin, 2002); ed. with Stefano La Via 9. Puccini: Manon Lescaut, special issue of The Opera Quarterly, 24/1-2 (2008); ed. -
Fourth International Congress for Church Music
caec1 1a Fourth International Congress for Church Music • VOLUME 88, NO. 2 , SUMMER, 1961 CAECILIA Published foiir times a year, Spring, Summer, Autumn and Winter. Second-Class Postage Paid at Omaha, Nebraska Subscription Price-$3.00 per year All articles for publication must be in the hands of the editor, 3558 Cass St., Omaha 31, Nebraska, 30 days before month of publication. Business Manager: Norbert Letter Change of address should be sent to the circulation manager: Paul Sing, 3558 Cass St., Omaha 31, Nebraska Postmaster: Form 3579 to Caecilia, 3558 Cass St., Omaha 31, Nebr. TABLE OF CONTENTS Editorial ______ ·---------------------------- --------······ ... ·------- ·-------·------·-------------------------- .. 51 The Basis of the Relationship Between Chant and Cult Dr. Basilius Ebel ______ --------------------------------------------------------------------- 58 Father William Joseph Finn, C.S.P.-William Ripley Dorr -------------------- 70 Monsignor Quigley-Mary Grace Sweeney ---------------------------------------------- 74 New York Report-James B. Welch ..... ----------------------------- ------------------·-· 76 Musical Programs at the Congress ... -------------- --------------------------------------------- 79 VOLUME 88, NO. 2 SUMMER, 1961 CAECILIA A Quarterlr ReYiew deYoted to the liturgical music apostolate. Published with ecclesiastical approval by the Society of Saint Caecilia in Spring, Summer, Autwnn and Winter. Established in 1874 by John B. Singenberger, K.C.S.G., K.C.S.S. (1849-1924). Editor _______________________ _ _____________ -
Creativity in Crisis Rev. Kim Mason June 7, 2020 Order of Service
Creativity in Crisis Rev. Kim Mason June 7, 2020 Order of Service Ringing of the Bowl Welcome and Announcements Norma Vogelweid Prelude Mit Freuden zart Ernst Pepping Call to Worship Rev. Kim Mason Hymn #1029 Love Knocks and Waits for Us to Hear Love knocks and waits for us to hear, to open and invite; Love longs to quiet every fear, and seeks to set things right. Love offers life, in spite of foes who threaten and condemn; embracing enemies, Love goes the second mile with them. Love comes to heal the broken heart, to ease the troubled mind; without a word Love bids us start to ask and seek and find. Love knocks and enters at the sound of welcome from within; Love sings and dances all around, and feels new life begin. Chalice Lighting Norma Vogelweid Sung Response Come as we light this candle of memory. Come as we light this candle of hope. Come as we light this candle of reverence. Come into the flame. Come into the flame. Story Say Something by Peter Reynolds Ben Rosensweig Prayer and Meditation Rev. Kim Mason Spirit of Life #123 Spirit of Life Spirit of life, come unto me. Sing in my heart all the stirrings of compassion. Blow in the wind, rise in the sea; Move in the hand, giving life the shape of justice. Roots hold me close; wings set me free; Spirit of Life, come to me, come to me. Story Ish, by Peter Reynolds Ben Rosensweig & Rev. Kim Mason Call for the Offering Rev. Kim Mason Offertory Shine on Me Arr. -
Iiib. Nazi-Musik Und Nazi-Musikliteratur (Titelliste)
- 1 - Musikantiquariat Dr. Ulrich Drüner Ameisenbergstraße 65 D-70188 Stuttgart Tel. 0(049)711-486165 oder 0(049)1795199826 - Fax 0(049)711-4800408 E-mail: [email protected] - Internet: www.musik-druener.de Mitglied im Verband Deutscher Antiquare e. V. und in der Antiquarian Booksellers’ Association (als Associate von Otto Haas, London) USt-IdNr. DE 147436166 Ergänzungsliste zu Katalog 64 1907 bis 1957 50 Jahre Musik in Deutschland Geschäftsbedingungen, Abkürzungs- und Literaturverzeichnis S. 81-83 Katalog-Redaktion: Dr. Ulrich Drüner, Dr. Georg Günther und Annie-Laure Drüner M.A. © 2009 by Dr. Ulrich Drüner, 70188 Stuttgart, Germany - 2 - Vorwort Introduction In den letzten Jahren ergingen an unsere Firma diver- In recent years , we have been commissioned to se Kommissionsaufträge für Autographen, Musika- offer autographs, music and books which had been lien und Bücher, die während der Zeit des National- confiscated during the Nazi period and which, af ter sozialismus beschlagnahmt und nach 1990 restituiert 1990, were then restored to their right ful owners by worden waren. Dies gab Anlass zur Auseinanderset- German institutions. This became a reason for t ack - zung mit dieser Problematik und führte schließlich ling the problem, and finally led to planning a cat a - dazu, einen speziellen Katalog zum Thema Musik logue on the subject of Music and the ‘Third Reich’. und ‚Drittes Reich’ zu erarbeiten. Dieser Katalog The aim of this cat alogue is not, however, to explain dient allerdings nicht dazu, über Grundsätzliches auf- basic historical fact s, to accuse or to condemn – this zuklären, anzuklagen oder zu verdammen – das wur- has already been done, quite rightly, as recently as de spätestens in den 80er und 90er Jahren des letzten the 1980s and 1990s. -
JOS-075-1-2018-007 Child Prodigy
From the Bel Canto Stage to Reality TV: A Musicological View of Opera’s Child Prodigy Problem Peter Mondelli very few months, a young singer, usually a young woman, takes the stage in front of network TV cameras and sings. Sometimes she sings Puccini, sometimes Rossini, rarely Verdi or Wagner. She receives praise from some well meaning but uninformed adult Ejudge, and then the social media frenzy begins. Aunts and uncles start sharing videos, leaving comments about how talented this young woman is. A torrent of blog posts and articles follow shortly thereafter. The most optimistic say that we in the opera world should use this publicity as a means to an end, to show the world at large what real opera is—without ever explaining how. Peter Mondelli The sentiment that seems to prevail, though, is that this performance does not count. This is not real opera. Opera was never meant to be sung by such a voice, at such an age, and under such conditions. Two years ago, Laura Bretan’s performance of Puccini’s “Nessun dorma” on America’s Got Talent evoked the usual responses.1 Claudia Friedlander responded admirably, explaining that there are basic physiological facts that keep operatic child prodigies at a distance from vocally mature singers.2 More common, however, are poorly researched posts like the one on the “Prosporo” blog run by The Economist.3 Dubious claims abound—Jenny Lind, for exam- ple, hardly retired from singing as the post claims at age twenty-nine, the year before P. T. Barnum invited her to tour North America. -
EJ Full Draft**
Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy By Edward Lee Jacobson A dissertation submitted in partial satisfacation of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Mary Ann Smart, Chair Professor James Q. Davies Professor Ian Duncan Professor Nicholas Mathew Summer 2020 Abstract Reading at the Opera: Music and Literary Culture in Early Nineteenth-Century Italy by Edward Lee Jacobson Doctor of Philosophy in Music University of California, Berkeley Professor Mary Ann Smart, Chair This dissertation emerged out of an archival study of Italian opera libretti published between 1800 and 1835. Many of these libretti, in contrast to their eighteenth- century counterparts, contain lengthy historical introductions, extended scenic descriptions, anthropological footnotes, and even bibliographies, all of which suggest that many operas depended on the absorption of a printed text to inflect or supplement the spectacle onstage. This dissertation thus explores how literature— and, specifically, the act of reading—shaped the composition and early reception of works by Gioachino Rossini, Vincenzo Bellini, Gaetano Donizetti, and their contemporaries. Rather than offering a straightforward comparative study between literary and musical texts, the various chapters track the often elusive ways that literature and music commingle in the consumption of opera by exploring a series of modes through which Italians engaged with their national past. In doing so, the dissertation follows recent, anthropologically inspired studies that have focused on spectatorship, embodiment, and attention. But while these chapters attempt to reconstruct the perceptive filters that educated classes would have brought to the opera, they also reject the historicist fantasy that spectator experience can ever be recovered, arguing instead that great rewards can be found in a sympathetic hearing of music as it appears to us today.