A Radio Program for the King of Instruments
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ORDER of EXERCISES at E X H IB ITI O N Fbr PHILLIPS ACADEMY
ORDER OF EXERCISES AT EXH I B ITI O N fbr PHILLIPS ACADEMY ANDOVER, MASSACHUSETTS Sunday, June Eighth Two Thousand Eight Two Hundred Thirtieth Year *- •** •tiodiilta M^ta PROCESSION Trustees, Faculty Emeriti,. Faculty, and Seniors Processional Airs and Marches Clan MacPherson Pipes and Drums INVOCATION Dr. Ted Kepes Roman Catholic Chaplain "AMERICA" Brass Ensemble with the Assembly My country, 'tis of thee Sweet land of liberty, Of thee I sing; Land where my fathers died, Land of the Pilgrims' pride, From every mountain side Let freedom ring. Our fathers' God, to Thee, Author of Liberty, To Thee we sing; Long may our land be bright With freedom's holy light; Protect us by Thy might, Great God, our King. Samuel Francis Smith, 1808-1895 Andover Theological Seminary, 1832 INITIATION CEREMONY OF THE CUM LAUDE SOCIETY Thomas S. Hodgson, B.A., M.A. President of the Andover Chapter The following members of the Class of 2008 were elected in February 2008: Oliver David Bloom Jae-Kyu Lee Sebastian Joseph Caliri Jin Won Lee Man-Kit Chris Cheung Meng Li Andrew Eastman Clay Jeffrey Jiefei Lu Sarah Anne Cohan Paul Robert McCarthy Jessica Michelle Cole Benjamin Edward Niedzielski Christina Marie Coravos Jay Yun Park Jennifer Leslie Downing Ryan Jin-Hyung Park Zachary Michael Alexander Feldman Alexandra Anwara Rahman Kelly Xenia Fox Stephanie Jayne Schuyler Sara Ashley Ho Sophie Carolyn Scolnik-Brower Blaine Frances Johnson James Jan Yang Paul Joo Jorden Anthony Zanazzi Nicholas Li Yong Koh Michael Yu Zhan William Sutherland Koven Katherine Anne Zimmerman The following members of the Class of 2008 were elected in June 2008: Jonathan David Adler Christopher S. -
REGULATIONS for the 27Th SUMMER UNIVERSIADE 2013 KAZAN – RUSSIA 6 to 17 July 2013
FISU REGULATIONS version June 2012 SU 2013 Kazan, Russia FEDERATION INTERNATIONALE DU SPORT UNIVERSITAIRE INTERNATIONAL UNIVERSITY SPORTS FEDERATION REGULATIONS FOR THE 27th SUMMER UNIVERSIADE 2013 KAZAN – RUSSIA 6 to 17 July 2013 FISU Secretariat 1 FISU REGULATIONS version June 2012 SU 2013 Kazan, Russia TABLE OF CONTENTS I. GENERAL REGULATIONS .......................................................................................7 1. GENERAL TERMS..........................................................................................7 2. PROGRAMME.............................................................................................11 2.1 Compulsory programme...................................................................11 2.2 Optional sport..................................................................................12 2.3 Preliminary rounds...........................................................................13 2.4 Cancellation.....................................................................................13 2.5 Dates................................................................................................13 3. RESPONSIBILITIES OF FISU..........................................................................13 3.1 Generalities......................................................................................13 3.2 FISU Executive Committee ...............................................................15 3.3 International Control Committee (CIC).............................................16 3.4 International -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
Jean Guillou – Wikipedia
Jean Guillou – Wikipedia https://de.wikipedia.org/wiki/Jean_Guillou Jean Guillou aus Wikipedia, der freien Enzyklopädie Jean Victor Arthur Guillou (* 18. April 1930 in Angers) ist ein französischer Komponist, Organist, Pianist und Musikpädagoge. Inhaltsverzeichnis 1 Leben 2 Kompositionen 2.1 Orgel Solo 2.2 Orgel mit / und anderen Instrumenten 2.3 Orchesterwerke 2.4 Kammermusik 2.5 Musiktheater/Oratorium 2.6 Musik ohne Opus 2.7 Transkriptionen für Orgel Jean Guillou auf der 3 Schriften Orgelempore der St. Eustache 4 Literatur 5 Einzelnachweise 6 Weblinks Leben Nach autodidaktischen Studien in Klavier und Orgel wurde Jean Guillou im Alter von 12 Jahren Organist an der Kirche Saint-Serge in seiner Heimatstadt Angers. Ab 1945 studierte er am Pariser Konservatorium, wo Marcel Dupré, Maurice Duruflé und Olivier Messiaen zu seinen Lehrern zählten. Von 1955 bis 1958 unterrichtete er als Professor für Orgel am Instituto de Musica Sacra in Lissabon (Portugal). Nach einem mehrjährigen Aufenthalt in Berlin (1958–1963) wurde Guillou 1963 zum Titularorganisten an Saint-Eustache in Paris ernannt, wo er André Marchal nachfolgte. Als Konzertorganist und Improvisator ist Jean Guillou weltweit in Erscheinung getreten. Darüber hinaus konzertiert er als Pianist, der die britische und französische Erstaufführung einer vergessenen Klaviersonate der Romantik-Epoche von Julius Reubke spielte. Sein Engagement im Orgelbau führte zur Konzeption mehrerer bedeutender Instrumente, 1 von 8 18.04.17, 23:46 Jean Guillou – Wikipedia https://de.wikipedia.org/wiki/Jean_Guillou wie in der Kirche Notre-Dame des Neiges in L’Alpe d’Huez (1978, Kleuker), in der Kirche Chant d’Oiseau in Brüssel (1981, Kleuker), in der Tonhalle in Zürich (1988, Kleuker/Steinmayer), im Konservatorium von Napoli (2006, Tamburini/Zanin), dem Auditorio de Tenerife (Blancafort), der Sant’Antonio dei Portoghesi in Rom (2008, Mascioni) und der Catedral in Leon (2013, Klais). -
Club Fair Play of the Slovak Olympic and Sports Committee
National Fair Play Reports European Fair Play Movement General Assembly Budapest (HUN) September 13, 2019 Club Fair Play of the Slovak Olympic and Sports Committee Kukučínova 26 838 08 Bratislava Slovakia www.olympic.sk Members of the Executive Board 2016-2020 Katarína Ráczová, chairwoman, Member of the Executive Committee of the European Fair Play Movement, National Ambassador for Sport, Tolerance and Fair Play, former national athlete in fencing Jana Stašová, vice-chairwoman, former handball national player Peter Buček, radio sports moderator Eva Lysičanová, Special Olympics Slovakia Andrea Ristová, Slovak School Sport Association Samuel Roško, Slovak Paralympic Committee Tatiana Švecová, director of Sports High School Miroslav Tomášik, sport journalist Zuzana Wisterová, sport journalist European Fair Play Movement 1030 Vienna, Maria Jacobi Gasse 1, Austria Webpage: www.fairplayeur.com www.facebook.com/EuropeanFairPlay/ Under the Patronage of the EOC The Award Ceremonies of the Fair Play Club of the Slovak Olympic and Sports Committee (SOSC) at Major Youth Sports Events The SOSC Fair Play Club sees the Fair Play Awards ceremony as one of their most important activities at major youth sports events in the Slovak Republic. The Club has been working together with sports federations and it prefers events where visualised Fair Play Cards have been used. These cards are the opposite of the infamous red and yellow cards shown by referees for breaking the rules. The Fair Play Card may be given to a player who does not commit a foul or quarrel with the referee, who acknowledges his or her breach of the rules or behaves fairly in a critical situation during a sports match and they may also be given to a coach, parent or teacher. -
Commencement
COMMENCEMENT SUMMER | AUGUST 4, 2019 Pomp, circumstance, and other songs of a lifetime selves that balance this globe and enable were it not for the lullabyes and songs of it to spin true. Grandson of peasant dear parents, their parents, theirs. Some by Professor David Citino, 1947–2005, Late University Poet Laureate immigrants, I was given are here today in the flesh. Many are not. We mourn them with cadences of our (Originally presented as the 2000 Winter Commencement address) the opportunity to earn a doctorate hearts. Think how many people in English literature from Ohio State— If you’re like me, you’ve got a big head, Heartbreak Hotel, down at the end to because my family labored long nights sang before us, gave us a name, a voice, not to mention a funny robe, full of do your best. Tennessee Ernie Ford, around the kitchen table trying to learn taught us the right words. We must music— poems and melodies, the tunes “Sixteen Tons”: St. Peter don’t you call this arduous English. I sat where cherish them by remembering every we move to, shower and shave by, study, me ‘Cause I can’t go. I owe my soul to song. When we sing to others, we honor write to. Not just the incidental, the company store. you’re sitting twenty-six years ago. our fathers and mothers, thank them Bob Dylan and Smokey Robinson got but the momentous music keeping time. You have been digging deep in mines of me through. Yes, it took a prophet and Our histories are measures of song. -
3. Fisu International Technical Committee for the Winter Universiade (Cti – Uh)
WU 2019 TECHNICAL HANDBOOK TABLE OF CONTENT WU 2019 TECHNICAL HANDBOOK TABLE OF CONTENT ........................................................................... 2 1. WELCOME MESSAGES ......................................................................................................................... 3 2. ABBREVIATIONS .................................................................................................................................. 5 3. FISU INTERNATIONAL TECHNICAL COMMITTEE FOR THE WINTER UNIVERSIADE (CTI – UH) ...... 6 4. GENERAL INFORMATION .................................................................................................................... 7 4.1. 29TH WINTER UNIVERSIADE 2019 KRASNOYARSK ................................................................... 7 4.2. 29TH WINTER UNIVERSIADE 2019 KRASNOYARSK COMPETITION SCHEDULE ....................... 7 4.3. OPENING AND CLOSING CEREMONIES ...................................................................................... 7 5. COMPETITION INFORMATION ............................................................................................................8 5.1. TECHNICAL COMMITTEE ............................................................................................................ 8 5.2. INTERNATIONAL TECHNICAL OFFICIALS .................................................................................. 8 5.3. FIGURE SKATING STRUCTURAL CHART.................................................................................... 10 5.4. TECHNICAL -
Thomas Ospital Orgue Bruno Delepelaire Violoncelle Résonances 19:15 Grand Auditorium Artist Talk
2019 20:00 14.10.Grand Auditorium Lundi / Montag / Monday Autour de l’orgue Thomas Ospital orgue Bruno Delepelaire violoncelle résonances 19:15 Grand Auditorium Artist talk: Thomas Ospital et Bruno Delepelaire en conversation avec Charlotte Brouard-Tartarin (F) Wolfgang A. Mozart (1756–1791) Adagio und Fuge c-moll (ut mineur) KV 546 (arr. pour orgue de Jean Guillou) (1783/1788) 9’ Camille Saint-Saëns (1835–1921) Prière op. 158 pour violoncelle et orgue (1919) 6’ Josef Gabriel Rheinberger (1839–1901) Sechs Stücke für Violoncello und Orgel op. 150 (1887) 1. Abendlied 2. Pastorale 3. Elegie 12’ Maurice Duruflé (1902–1986) Prélude et fugue sur le nom d’Alain op. 7 (1942) 12’ — Joseph Jongen (1873–1953) Humoresque op. 92 pour violoncelle et orgue (1930) 5’ Kaija Saariaho (1952) Offrande pour orgue et violoncelle (2014) 6’ Thomas Ospital (1990) Improvisation 10’ Marcel Dupré (1886–1971) Sonate pour violoncelle et orgue op. 60 (1964) Allegro marcato Allegro moderato Allegro ma non troppo 15’ De Schnaarchert Martin Fengel De Schnaarchert Orgue et violoncelle, alliance insolite Claire Delamarche Violoncelle et orgue, le mariage est insolite. À vrai dire, passé les violons ou les flûtes dans les sonates « d’église » de l’époque baroque (mais il s’agissait alors d’orgues beaucoup plus modestes), rares sont les instruments qui ont osé se mesurer à celui que Mozart qualifia un jour de« roi des instruments » – ou plutôt de reine, puisque le nom est féminin en allemand : sauf à jouer exclusivement sur ses jeux les plus doux, l’orgue a tôt fait d’éclipser des instruments à cordes ou des bois peu sonores. -
EUSA Magazine 2013
EUROPEAN UNIVERSITY SPORTS ASSOCIATION YEAR MAGAZINE 2013 CONTENTS Page 01 EUSA Structures 4 02 European Universities Championships 8 03 EUSA Patronage 46 04 EUSA Conferences and Projects 52 05 EU Initiatives 70 06 Our Partners 78 07 Cooperation and Alliances 98 08 Future Program 104 2 EUROPEAN UNIVERSITY SPORTS ASSOCIATION YEAR MAGAZINE 2013 www.eusa.eu WELCOME ADDress Dear friends, With great pleasure and pride I am writing General Assembly which was held in Funchal, Adam Roczek, this Welcome Address, presenting the annual Madeira in March 2013, an international EUSA President EUSA Magazine for the year 2013. I invite you conference was organised, presenting new to check the highlights we have prepared and opportunities for university sport. The topic do not hesitate to check our website for more of education will be further developed in the information. future as well, also through a newly established Educational Services Commission. We paid European University Sports Association – special recognition to the special achievements of EUSA concluded the year 2013 very positively, individuals, teams and organisations by awarding undoubtedly due to engagement of our member them at the Gala, also held in Madeira. At this associations, dedication of the members of occasion let me sincerely thank our Portuguese Executive Committee, EUSA Commissions, hosts for all their efforts and hospitality. Office, EUSA event organisers, volunteers and entire EUSA Family, with strong support of our The International University Sports Federation – partners. Lots of new records have been set, FISU as the world umbrella organisation in the namely in terms of organised sports events and field of university sport remains a strong partner participation number & structure. -
Međimusrko Veleučilište Čakovec Stručni Studij
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository MEĐIMUSRKO VELEUČILIŠTE ČAKOVEC STRUČNI STUDIJ MENADŽMENT TURIZMA I SPORTA VALENTINA PONGRAC POVIJEST I RAZVOJ UNIVERZIJADE ZAVRŠNI RAD ČAKOVEC, 2017. MEĐIMURSKO VELEUČILIŠTE U ČAKOVCU STRUČNI STUDIJ MENADŽMENT TURIZMA I SPORTA VALENTINA PONGRAC POVIJEST I RAZVOJ UNIVERZIJADE HISTORY AND DEVELOPMENT OF UNIVERSIADE ZAVRŠNI RAD Mentor: mag. kin. Hublin Tomislav ČAKOVEC, 2017. SAŽETAK Cilj ovog rada je objasniti kako je nastala Univerzijada, opisati njezin razvoj i njezinu povijest. Također će se i izvršiti analiza postignutih rezultata na Univerzijadi s obzirom na sport i države koje dominiraju pojedinim sportom. Rad se sastoji od dva dijela. Prvi dio rada sastoji se od teorijskog dijela. U tom dijelu, objasnit će se što je Univerzijada, od kojih se ona sportova sastoji i koliko Univerzijada je do sada održano. Također, navedeni su svi gradovi i države te sve godine održavanja igara te su navedeni i neki od rekorda u broju sudionika. Kako je FISU najvažniji međunarodni savez pod kojim se organiziraju Univerzijade, navest će se nešto i o njezinoj povijesti. Spomenuto je i Svjetsko sveučilišno prvenstvo te je objašnjeno kakvu ono ulogu ima u organiziranju Univerzijada. Posljednji dio teorijskog dijela rada odnosi se na strukturu natjecanja gdje su opisani propisi koji govore koliko se sportaša može natjecati u određenom sportu. Drugi dio rada odnosi se na analizu rezultata. U analizi rezultata, uzeto je u obzir 15 sportova koji se nalaze na popisu obveznih sportova na posljednjim igrama u Taipei- u 2017. godine. Analiza se temelji na rezultatima uzetim od 2003. -
The Influence of Folklore on the Modern Czech School of Composition
The Influence of Folklore on the Modern Czech School of Composition BORIS KREMENLIEV The influences which shaped musical growth in European countries such as France, Italy, and Germany, played a part in the development of Czech music as a major cultural achievement. But in addition, the Czech people shared the rich heritage of the Slavs, whose cultural resources had begun forming in primitive societies at the start of the Christian era, or even earlier. When Cyril and Methodius went to Moravia in the 9th century 1 at the invitation of Prince Rostislav, the culture of Byzantium was at a much higher level than that of the Moravians. Thus, the Gospel passages which Cyril translated into Slavic dialects in preparation for his trip 2 can be said to mark the very beginning of Slavic literature. It is not equally clear, however, to what extent Byzantine music influenced that of the Western Slavs in general, and of the Moravians in particular, since the earliest musical records we have go back only to the 12th century.3 After the Great Moravian Empire collapsed in the 10th century, the Roman liturgy emerged victorious in its bitter struggle with the Slavonic liturgy, but the seeds had already been sown so deeply that some Slavonic liturgical tunes lingered long after the 10th and 11th centuries half as sacred tunes, half as folk songs. One of them, for instance, Lord 1 Cyril and Methodius arrived in Moravia in the spring of 863, although, ac- cording to Samuel Hazzard Cross, Rostislav seems to have requested Slavic- speaking missionaries three years earlier (Slavic Civilization Through the Ages, pp. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Loya, S. ORCID: 0000-0002-9156-2804 (2018). Liszt’s National Compositions in the Year of the Franco-Prussian War. In: Kelly, E., Mantere, M. and Scott, D. B. (Eds.), Confronting the National in the Musical Past. (pp. 31-48). London: Routledge. ISBN 9781138287426 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/19363/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] [Chapter 2] Liszt’s National Compositions in the Year of the Franco-Prussian War The six-month Franco-Prussian war of July 1870–January 1871 had an immense impact on European political history, redrawing maps, upsetting a longstanding balance of power, creating the German Empire, causing the fall of the French one, further weakening the new Austro-Hungarian Empire (formed in 1867), and setting the stage for World War I.1 When searching for equivalent large-scale shifts in compositional practices, the effects of the war are debatable.