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English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN -
Press Information Eno 2013/14 Season
PRESS INFORMATION ENO 2013/14 SEASON 1 #ENGLISHENO1314 NATIONAL OPERA Press Information 2013/4 CONTENTS Autumn 2013 4 FIDELIO Beethoven 6 DIE FLEDERMAUS Strauss 8 MADAM BUtteRFLY Puccini 10 THE MAGIC FLUte Mozart 12 SATYAGRAHA Glass Spring 2014 14 PeteR GRIMES Britten 18 RIGOLetto Verdi 20 RoDELINDA Handel 22 POWDER HeR FAce Adès Summer 2014 24 THEBANS Anderson 26 COSI FAN TUtte Mozart 28 BenvenUTO CELLINI Berlioz 30 THE PEARL FISHERS Bizet 32 RIveR OF FUNDAMent Barney & Bepler ENGLISH NATIONAL OPERA Press Information 2013/4 3 FIDELIO NEW PRODUCTION BEETHoven (1770–1827) Opens: 25 September 2013 (7 performances) One of the most sought-after opera and theatre directors of his generation, Calixto Bieito returns to ENO to direct a new production of Beethoven’s only opera, Fidelio. Bieito’s continued association with the company shows ENO’s commitment to highly theatrical and new interpretations of core repertoire. Following the success of his Carmen at ENO in 2012, described by The Guardian as ‘a cogent, gripping piece of work’, Bieito’s production of Fidelio comes to the London Coliseum after its 2010 premiere in Munich. Working with designer Rebecca Ringst, Bieito presents a vast Escher-like labyrinth set, symbolising the powerfully claustrophobic nature of the opera. Edward Gardner, ENO’s highly acclaimed Music Director, 2013 Olivier Award-nominee and recipient of an OBE for services to music, conducts an outstanding cast led by Stuart Skelton singing Florestan and Emma Bell as Leonore. Since his definitive performance of Peter Grimes at ENO, Skelton is now recognised as one of the finest heldentenors of his generation, appearing at the world’s major opera houses, including the Metropolitan Opera, New York, and Opéra National de Paris. -
Guildhall School Gold Medal 2020 Programme
Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners -
Crossing Over: from Black Rhythm Blues to White Rock 'N' Roll
PART2 RHYTHM& BUSINESS:THE POLITICAL ECONOMY OF BLACKMUSIC Crossing Over: From Black Rhythm Blues . Publishers (ASCAP), a “performance rights” organization that recovers royalty pay- to WhiteRock ‘n’ Roll ments for the performance of copyrighted music. Until 1939,ASCAP was a closed BY REEBEEGAROFALO society with a virtual monopoly on all copyrighted music. As proprietor of the com- positions of its members, ASCAP could regulate the use of any selection in its cata- logue. The organization exercised considerable power in the shaping of public taste. Membership in the society was generally skewed toward writers of show tunes and The history of popular music in this country-at least, in the twentieth century-can semi-serious works such as Richard Rodgers and Lorenz Hart, Cole Porter, George be described in terms of a pattern of black innovation and white popularization, Gershwin, Irving Berlin, and George M. Cohan. Of the society’s 170 charter mem- which 1 have referred to elsewhere as “black roots, white fruits.’” The pattern is built bers, six were black: Harry Burleigh, Will Marion Cook, J. Rosamond and James not only on the wellspring of creativity that black artists bring to popular music but Weldon Johnson, Cecil Mack, and Will Tyers.’ While other “literate” black writers also on the systematic exclusion of black personnel from positions of power within and composers (W. C. Handy, Duke Ellington) would be able to gain entrance to the industry and on the artificial separation of black and white audiences. Because of ASCAP, the vast majority of “untutored” black artists were routinely excluded from industry and audience racism, black music has been relegated to a separate and the society and thereby systematically denied the full benefits of copyright protection. -
2007 Esol Project
2007 ESOL PROJECT http://www.bbc.co.uk/radio3/worldmusic/a4wm2007 1 www.myspace.com/bbcawardsforworldmusic Contents Introduction 3 Evaluation Form 4 Entry 3 Material 7 Entry 3 Answer Sheet 18 Entry 3 Lesson Plan 20 Level 1 Material 25 Level 1 Answer Sheet 38 Level 1 Lesson Plan 39 Level 2 Material 43 Level 2 Answer Sheet 50 Level 2 Lesson Plan 51 Extension Activities 56 http://www.bbc.co.uk/radio3/worldmusic/a4wm2007 2 www.myspace.com/bbcawardsforworldmusic Introduction Britain - a diverse society It is no accident that the term ‘world music’ was coined in a nation whose favourite dish is Chicken Tikka Masala; ever since Sir Francis Drake returned from the Americas with the now humble potato the UK has looked to the rest of the world to expand its culture, tastes and creativity. These days the ‘Golden Hind’ bobs in the swell of a well-earned retirement, a tourist attraction whose ‘golden’ years are spent as a memorial to world culture and exploration. Her voyage, which took three years, is now an anachronism, replaced by the modern galleons of the Internet, TV and more importantly the multiculturalism of British society. Reaching a diverse new audience Britain has a uniquely diverse nation. There is now an estimated minority ethnic population of more than 4 million, 7.1% of the population. Modern Britain is a home to communities from every corner of the globe; their plethoras of cultures, cuisines and skills have been an important force in Britain’s development socially, culturally and economically. Historically, the British world music audience has, in its ethnic make-up, been somewhat less diverse than the background picture of the UK. -
Boston Symphony Orchestra Concert Programs, Summer, 1991, Tanglewood
/JQL-EWOOD . , . ., An Enduring Tradition ofExcellence In science as in the lively arts, fine performance is crafted with aptitude attitude and application Qualities that remain timeless . As a worldwide technology leader, GE Plastics remains committed to better the best in engineering polymers silicones, superabrasives and circuit board substrates It's a quality commitment our people share Everyone. Every day. Everywhere, GE Plastics .-: : ;: ; \V:. :\-/V.' .;p:i-f bhubuhh Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President T Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, V ice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. Smith Julian Cohen Mrs. BelaT. Kalman Ray Stata William M. Crozier, Jr. Mrs. George I. Kaplan William F. Thompson Mrs. Michael H. Davis Harvey Chet Krentzman Nicholas T. Zervas Mrs. Eugene B. Doggett R. Willis Leith, Jr. Trustees Emeriti Vernon R. Alden Mrs. Harris Fahnestock Mrs. George R. Rowland Philip K. Allen Mrs. John L. Grandin Mrs. George Lee Sargent Allen G. Barry E. Morton Jennings, Jr. Sidney Stoneman Leo L. Beranek Albert L. Nickerson John Hoyt Stookey Mrs. John M. Bradley Thomas D. Perry, Jr. -
Clarence Williams
MUNI 2017-2 – Flute 1-2 Shooting the Pistol (Clarence Williams) 1:26 / 1:17 Clarence Williams Orchestra: Ed Allen-co; Charlie Irvis-tb; possibly Arville Harris-cl, as; Alberto Socarras-fl; Clarence Williams-p; Cyrus St. Clair-tu New York, July 1927 78 Paramount 12517, matrix number 2837-2 / CD Frog DGF37 3 I’ll Take Romance (Ben Oakland) 2:39 Bud Shank-fl; Len Mercer and His Strings Bud Shank With Len Mercer Strings: Giulio Libano (trumpet) Appio Squajella (flute, French horn) Glauco Masetti (alto sax) Bud Shank (alto sax, flute) Eraldo Volonte (tenor sax) Fausto Pepetti (baritone sax) Bruno De Filippi (guitar) Don Prell (bass) Jimmy Pratt (drums) with unidentified harp and strings, Len Mercer (arranger, conductor) Milan, Italy, April 4 & 5, 1958 LP World Pacific WP-1251, Music (It) EPM 20096, LPM 2052 4-5 What’ll I Do (Irving Berlin) 1:26 / 1:23 Bud Shank-fl; Bob Cooper-ob; Bud Shank - Bob Cooper Quintet: Bud Shank (alto sax, flute) Bob Cooper (tenor sax, oboe) Howard Roberts (guitar) Don Prell (bass) Chuck Flores (drums) Capitol Studios, Hollywood, CA, first session, November 29, 1956 LP Pacific Jazz X-634, PJ 1226, matr. ST-1894 / CD Mosaic MS-010 6-7 Flute Bag (Rufus Harley) 2:06 / 2:15 Herbie Mann.fl; Rufus Harley-bagpipes; Roy Ayers (vibes) Oliver Collins (piano) James Glenn (bass) Billy Abner (drums) "Village Theatre", NYC, 2nd show, June 3, 1967 LP Atlantic SD 1497, matr. 12589 8-10 Moment’s Notice (John Coltrane) 4:58 / 1:04 / 0:52 Hubert Laws-fl; Ronnie Laws-ts; Bob James-p, elp, arranger; Gene Bertoncini-g; Ron Carter-b; Steve -
Annual Review 2007-2008
• ABRSM ANN.REV. 07-08 23/4/08 15:53 Page 40 Annual Review 2007-2008 The Associated Board of the Royal Schools of Music • ABRSM ANN.REV. 07-08 17/4/08 12:48 Page 1 Contents About the Associated Board n 3 Who’s Who n 3 Highlights of the Year n 4 Chief Executive’s Review n 5 Message from the Chairman n 8 Exams and Assessments n 9 Online Innovation n 13 Commitment to Excellence n 15 Publishing n 16 Professional Development n 19 Nurturing Relationships n 22 Financial Summary n 24 New Diploma Holders n 25 Scholarships, Bursaries and Awards n 29 New CT ABRSM Holders n 30 Prize Winners n 30 Examiners n 34 CT ABRSM Course Leaders and Mentors n 36 Representatives n 37 Editor-in-chief n Leslie East Editor n Ruth Garner Design n www.9thplanetdesign.co.uk Print n Caligraving Ltd Annual Review for the year ended 31 January 2008 2 n • ABRSM ANN.REV. 07-08 17/4/08 12:48 Page 2 About the Who’s Who Associated Board The Associated Board of the Royal Schools of Music is a Patron charitable company established for the benefit of music Her Majesty The Queen education by four Royal Schools of Music in the UK: President Royal Academy of Music His Royal Highness The Prince of Wales Royal College of Music Royal Northern College of Music Governing Body Royal Scottish Academy of Music and Drama Lord Sutherland of Houndwood KT, Chairman The Associated Board’s core activity is the operation of an Professor Edward Gregson, Principal of RNCM authoritative and internationally recognized system of Dr Colin Lawson, Director of RCM exams and assessments to encourage and motivate players Professor Sir Curtis Price KBE, Principal of RAM and singers at all levels through the provision of goals and Philip Ramsbottom the measurement of progress. -
NSF Programme Book 23/04/2019 12:31 Page 1
two weeks of world-class music newbury spring festival 11–25 may 2019 £5 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 1 A Royal Welcome HRH The Duke of Kent KG Last year was very special for the Newbury Spring Festival as we marked the fortieth anniversary of the Festival. But following this anniversary there is some sad news, with the recent passing of our President, Jeanie, Countess of Carnarvon. Her energy, commitment and enthusiasm from the outset and throughout the evolution of the Festival have been fundamental to its success. The Duchess of Kent and I have seen the Festival grow from humble beginnings to an internationally renowned arts festival, having faced and overcome many obstacles along the way. Jeanie, Countess of Carnarvon, can be justly proud of the Festival’s achievements. Her legacy must surely be a Festival that continues to flourish as we embark on the next forty years. www.newburyspringfestival.org.uk 1 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 2 Jeanie, Countess of Carnarvon MBE Founder and President 1935 - 2019 2 box office 0845 5218 218 2019-NSF book.qxp_NSF programme book 23/04/2019 12:31 Page 3 The Festival’s founder and president, Jeanie Countess of Carnarvon was a great and much loved lady who we will always remember for her inspirational support of Newbury Spring Festival and her gentle and gracious presence at so many events over the years. Her son Lord Carnarvon pays tribute to her with the following words. My darling mother’s lifelong interest in the arts and music started in her childhood in the USA. -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
November 2016
November 2016 Igor Levit INSIDE: Borodin Quartet Le Concert d’Astrée & Emmanuelle Haïm Imogen Cooper Iestyn Davies & Thomas Dunford Emerson String Quartet Ensemble Modern Brigitte Fassbaender Masterclasses Kalichstein/Laredo/ Robinson Trio Dorothea Röschmann Sir András Schiff and many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–X Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – X AAAA AAAA Lowest price This brochure is available in alternative formats.