Schellackplattensammlung Zwarg, Ohne Signatur Stand: 29.08.2017
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Deutsches Volksliedarchiv: Private Sammlung Klavier- Und Akkordeonnoten , S 0368 Stand: 09.03.2017
Albert-Ludwigs-Universität Freiburg, Zentrum für Populäre Kultur und Musik Titelblat Deutsches Volksliedarchiv: Private Sammlung Klavier- und Akkordeonnoten , S 0368 Stand: 09.03.2017 Deutsches Volksliedarchiv: Private Sammlung Klavier- und Akkordeonnoten S 0368 Die Sammlung enthält 75 Bände Klavier- und Akkordeonnoten (teilweise mit Singstimme). Enthalten sind u.a. Opern, Opereten, Possen, Tänze, Märsche, Filmmusik (u.a. NS-Propagandafilme, Nachkriegs-Spielfilme), Noten für Klavier- und Akkordeonanfänger. Die Bände wurden vom Bestandsbildner teilweise selbst gebunden und somit mehrere Notendrucke zusammengefasst. Die vorhandene Nummerierung der Bände wurde soweit möglich beibehalten. Über den Bestandsbildner ist nichts bekannt. Die Notendrucke stammen etwa aus den Jahren 1900-1970, die Noten aus der Nachkriegszeit stammen aus der DDR. In einigen Bänden befindet sich ein Stempel „Ernst Koch“, einige wenige sind mit weiteren Stempeln versehen. Eine Kopie der handschriftlichen Auflistung der Bände und ihres Inhalts liegt dem Bestand bei. Quelle: http://kalliope-verbund.info/DE-611-BF-60497 Stand: 09.03.2017 Seite 1 von 195 Albert-Ludwigs-Universität Freiburg, Zentrum für Populäre Kultur und Musik Musiknoten Deutsches Volksliedarchiv: Private Sammlung Klavier- und Akkordeonnoten , S 0368 Stand: 09.03.2017 Musiknoten Band-Nr., Titel- Werktitel Incipit Person: Komponist Besetzung Signatur Nr. Band I. Opern-Fantasien in Potpourriform mit unterlegtem Text bearbeitet von Carl Heins. Enthält folgende Titel: S 0368-1 01 Der Freischütz Wälder, durch die Auen Weber, Carl M. von Kl., Singst. S 0368-1 01,01 Undine Im Wein ist Wahrheit nur allein Lortzing, G. A. Kl., Singst. S 0368-1 01,02 Der Waffenschmied Sprühe, Flamme! Glühe Eisen! Lortzing, G. A. Kl., Singst. S 0368-1 01,03 Die Weisse Dame Die weisse Dame kann uns hören Boildieu, A. -
Reine Männersache?
Landeshauptstadt Dresden Straßennamen in Dresden – Reine Männersache? Teil II Impressum Herausgeber: Landeshauptstadt Dresden Der Oberbürgermeister Gleichstellungsbeauftragte für Frau und Mann Telefon: (0351) 4 88 22 67 Telefax: (0351) 4 88 31 09 [email protected] Amt für Presse- und Öffentlichkeitsarbeit Telefon: (0351) 4 88 23 90 Telefax: (0351) 4 88 22 38 [email protected] Postfach 12 00 20 01001 Dresden www.dresden.de Redaktion: Frauenstadtarchiv Dresden, Nicole Schönherr (Träger: FrauenBildungsHaus Dresden e. V.) Gesamtherstellung: Union Druckerei Dresden GmbH November 2004 Kein Zugang für elektronisch signierte und verschlüsselte Dokumente. Verfahrens- anträge oder Schriftsätze können elektronisch, insbesondere per E-Mail, nicht rechtswirksam eingereicht werden. Dieses Informationsmaterial ist Teil der Öffentlichkeitsarbeit der Landeshauptstadt Dresden. Es darf nicht zur Wahlwerbung benutzt werden. Parteien können es jedoch zur Unterrichtung ihrer Mitglieder verwenden. www.dresden.de 1 Inhalt 1 Vorwort 3 2 Straßennamen in Dresden – Reine Männersache? Teil II 4 Biogramm Marie Hankel 6 Biogramm Dr. med. Mildred Scheel 7 3 Dresden ehrt Dr. med. Mildred Scheel – 8 Straßenbenennung nach der Gründerin der „Deutschen Krebshilfe“ e. V. 4 Vorschlagsliste für Straßenbenennungen und Biogramme 10 5 Danksagung 30 6 Bildnachweis, Literaturverzeichnis 31 3 1 Vorwort Liebe Leserinnen und Leser, bei Neu- und Umbenennungen von Straßen vordergründig verdienstvolle Frauen zu be- die im vergangenen Jahr erstmalig erschie- rücksichtigen sind. nene Broschüre „Straßennamen in Dresden – Der nun vorliegende 2. Teil entstand in Reine Männersache?“ fand große Resonanz enger Kooperation mit dem Frauenstadt- – sowohl unter den geschichtsinteressierten archiv Dresden, der AG Straßennamen und Bürgerinnen und Bürgern Dresdens, als auch dem Stadtarchiv Dresden. Auch in dieser bei den regional Verantwortlichen. -
Guitar Syllabus
TheThe LLeinsteinsteerr SScchoolhool ooff MusMusiicc && DDrramama Established 1904 Singing Grade Examinations Syllabus The Leinster School of Music & Drama Singing Grade Examinations Syllabus Contents The Leinster School of Music & Drama ____________________________ 2 General Information & Examination Regulations ____________________ 4 Grade 1 ____________________________________________________ 6 Grade 2 ____________________________________________________ 9 Grade 3 ____________________________________________________ 12 Grade 4 ____________________________________________________ 15 Grade 5 ____________________________________________________ 19 Grade 6 ____________________________________________________ 23 Grade 7 ____________________________________________________ 27 Grade 8 ____________________________________________________ 33 Junior & Senior Repertoire Recital Programmes ________________________ 35 Performance Certificate __________________________________________ 36 1 The Leinster School of Music & Drama Singing Grade Examinations Syllabus TheThe LeinsterLeinster SchoolSchool ofof MusicMusic && DraDrammaa Established 1904 "She beckoned to him with her finger like one preparing a certificate in pianoforte... at the Leinster School of Music." Samuel Beckett Established in 1904 The Leinster School of Music & Drama is now celebrating its centenary year. Its long-standing tradition both as a centre for learning and examining is stronger than ever. TUITION Expert individual tuition is offered in a variety of subjects: • Singing and -
HINDEMITH VAN DER ROOST Clarinet Concertos Eddy Vanoosthuyse, Clarinet Central Aichi Symphony Orchestra Sergio Rosales, Conductor
HINDEMITH VAN DER ROOST Clarinet Concertos Eddy Vanoosthuyse, Clarinet Central Aichi Symphony Orchestra Sergio Rosales, Conductor 1 Paul Hindemith (1895−1963): Clarinet Concerto Born in Frankfurt in 1895, the son of a house-painter, Paul Hindemith studied the violin privately with teachers from the Hoch Conservatory before being admitted to that institution with a free place at the age of thirteen. By 1915 he was playing second violin in his teacher Adolf Rebner’s quartet and had a place in the opera orchestra, of which he became leader in the same year. His father was killed in the war and Hindemith himself spent some time from 1917 as a member of a regimental band, returning after the war to the Rebner Quartet and the Frankfurt Opera Orchestra. At the same time he was making his name as a composer of particular originality, striving to bring about a revolution in concert-going with his concept of Gebrauchsmusik (functional or utility music), and devoting much of his energy to the promotion of new music, in particular at the Donaueschingen Festival. Having changed from violin to viola, he formed the Amar-Hindemith Quartet in 1921, an ensemble that won considerable distinction for its performances of new music. In 1927 Hindemith was appointed professor of composition at the Berlin Musikhochschule, two years later disbanding the quartet – to which he could no longer give time – and instead performing in a string trio with Josef Wolfsthal, (replaced on his death by Szymon Goldberg) and the cellist Emanuel Feuermann. He was also enjoying a career as a viola soloist. -
Ralph W. Judd Collection on Cross-Dressing in the Performing Arts
http://oac.cdlib.org/findaid/ark:/13030/kt487035r5 No online items Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. ONE National Gay and Lesbian Archives 909 West Adams Boulevard Los Angeles, California 90007 Phone: (213) 741-0094 Fax: (213) 741-0220 Email: [email protected] URL: http://www.onearchives.org © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Finding Aid to the Ralph W. Judd Coll2007-020 1 Collection on Cross-Dressing in the Performing Arts Finding Aid to the Ralph W. Judd Collection on Cross-Dressing in the Performing Arts Collection number: Coll2007-020 ONE National Gay and Lesbian Archives Los Angeles, California Processed by: Michael P. Palmer, Jim Deeton, and David Hensley Date Completed: September 30, 2009 Encoded by: Michael P. Palmer Processing partially funded by generous grants from Jim Deeton and David Hensley. © 2009 ONE National Gay and Lesbian Archives. All rights reserved. Descriptive Summary Title: Ralph W. Judd collection on Cross-Dressing in the Performing Arts Dates: 1848-circa 2000 Collection number: Coll2007-020 Creator: Judd, Ralph W., 1930-2007 Collection Size: 11 archive cartons + 2 archive half-cartons + 1 records box + 8 oversize boxes + 19 clamshell albums + 14 albums.(20 linear feet). Repository: ONE National Gay and Lesbian Archives. Los Angeles, California 90007 Abstract: Materials collected by Ralph Judd relating to the history of cross-dressing in the performing arts. The collection is focused on popular music and vaudeville from the 1890s through the 1930s, and on film and television: it contains few materials on musical theater, non-musical theater, ballet, opera, or contemporary popular music. -
The Stockholm Philharmonic Orchestra
HansSchmidt-lsserstedt and the StockholmPhilharmonic Orchestra (1957) TheStockholm Philharmonic Orchestra - ALL RECORDINGSMARKED WITH ARE STEREO BIS-CD-421A AAD Totalplayingtime: 71'05 van BEETHOVEN,Ludwig (1770-1827) 23'33 tr SymphonyNo.9 in D minor,Op.125 ("Choral'/, Fourth Movemenl Gutenbuts) 2'.43 l Bars1-91. Conductor.Paavo Berglund Liveconcert at the StockholmConcert Hall 25thMarch 19BB Fadiorecording on tape:Radio Stockholm 1',44 2. Bars92' 163. Conductor:Antal Dor6t Liveconcerl at the StockholmConcert Hall 15thSeptember 1976 Privaterecording on tape.SFO B 276lll 1',56 3 Bars164 '236. Soloist:Sigurd Bjorling, bass Conduclor.Antal Dordti '16th Liveconcert at theStockholm Concert Hall December 1967 Privaterecording on tape.SFO 362 Recordingengineer. Borje Cronstrand 2',27 4 Bars237 '33O' Soloists.Aase Nordmo'Lovberg, soprano, Harriet Selin' mezzo-soprano BagnarUlfung, tenor, Sigurd Biorling' bass Muiit<alisxaSallskapet (chorus master: Johannes Norrby) Conductor.Hans Schmidt-lsserstedt Liveconcert at the StockholmConcert Hall, 19th May 1960 Privaterecording on tape SFO87 Recordingengineer' Borje Cronstrand Bars331 -431 1IAA Soloist:Gosta Bdckelin. tenor MusikaliskaSdllskapet (chorus-master: Johannes Norrbv) Conductor:Paul Kletzki Liveconcert at the StockholmConcerl Hall, ist Octoberi95B Radiorecording on tape:RR Ma 58/849 -597 Bars431 2'24 MusikaliskaSallskapet (chorus-master: Johannes Norroy,l Conductor:Ferenc Fricsay Llverecording at the StockholmConcert Hall,271h February 1957 Radiorecording on tape:RR Ma 571199 Bars595-646 3',05 -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Classics in Jazz
1 Classics in Jazz Introduction - 2 First Jazz Recording - 5 The Influence of Jazz in Europe and the World - 70 Harling - A Light From St. Agnus - 205 2 Jazz’s Use of Classical Material Introduction Jazz, through its history, has progressed past a number of evolutions; it has had its influences and had both a musical and social background. History never begins or stops at a definite time, nor is it developed by one individual. Growth happens by various situations and experimentation and by creative people. Jazz is a style and not a form. Styles develop and forms are created. Thus jazz begins when East meets West. Jazz evolved in the U.S. with the environment of the late 19th and early 20th century; the music system of Europe, and Africa (with influence of Arab music with the rhythms of the native African. The brilliant book “Post & Branches of Jazz” by Dr. Lloyd C. Miller describes the musical cultures that brought their styles that combined to produce jazz. The art of jazz is over 100 years old now and we have the gift of time to examine the past and by careful research and thought we can produce more accurate conclusions of jazz’s past influences. Jazz could not have developed anywhere but the U.S. In his article” Jazz – The National Anthem” by Frank Patterson in the May 4th, 1922 Musical Courier we read: “Is it Americanism? Well, that is a fine point of contention. There are those who say it is not, that it expresses nothing of the American character; that it is exotic, African Oriental, what not. -
Österreichisches Jugendblasorchester EINLADUNG ZUM PROBESPIEL
Fach- und VerbandszeitschriFt des Österreichischen blasmusikVerbandes Österreichisches Jugendblasorchester EINLADUNG ZUM PrOBESPIEL FRANZ CIBULKA komponist im spannungsfeld zwischen tradition und moderne FLICORNO D’ORO Fünf musikkapellen beim 15. internationalen blasorchesterwettbewerb MUSIKMESSE FRANKFURT 61. Jahrgang | GZ02Z034669M | P.b.b. | Verlagspostamt 7400 Oberwart Verlagspostamt | | P.b.b. | GZ02Z034669M 61. Jahrgang messedirektor Wolfgang lücke im interview Ausgabe 03 | 2013 Infotelefon 0 77 54/82 54 Editorial | Ausgabe März 2013 Editorial Liebe Leserinnen und LESER, unsere Märzausgabe steht im Zeichen des aktiven Musizierens. Infotelefon 0 77 54/82 54 Das Österreichische Jugendorchester, das 2012 sehr erfolgreich konzertierte, ruft interessierte Musikerinnen und Musiker zum Probespiel, fünf heimische Musikkapellen messen sich auf einem internationalen Parcours beim 15. Blasorchesterwettbewerb in Riva del Garda und zwei weitere Kapellen vom Bundeswettbewerb Musik in Bewegung in Südtirol stellen sich vor. Doch was wäre ein Wertungsspiel ohne die entsprechende Kon- zertliteratur? Eben. Landeskapellmeister-Stellvertreter Philipp Fruhmann analysiert in seinem Komponistenporträt „New Age“ (Suite für Blasorchester) und „Buen Camino“ (Konzert für Flöte, Englischhorn oder Altflöte, Piccolo und Blasorchester) für uns und spricht mit dem Komponisten Franz Cibulka, der sich selbst als Komponist zwischen „Tradition und Moderne“ einordnet. Gleich zwei Jahresregenten präsentiert Fritz Anzenberger mit Josef Bayer (100. Todestag) und Militärkapellmeister Eduard Wagnes (150. Geburtstag). Alois Loidl, der als Berichterstatter bei der Musikmesse Frankfurt vor Ort sein wird, hat im Vorfeld Messedirektor Wolfgang Lücke interviewt, der uns über Neuerungen und Highlights informiert und uns den Besuch der Musikmesse schmackhaft macht. Trauriges ist ebenfalls zu vermelden. Mit Gilbert Klien und Rudi Hofer verstarben zwei Rundfunkpioniere in Vorarlberg. Ein aus- führlicher Nachruf von Fritz Jurmann findet sich auf Seite 20. -
ARSC Journal
HISTORICAL VOCAL RECORDINGS ROSSINI: Le Comte Ory. Michel Roux, basso (Robert); Jeannette Sinclair, soprano (Alice); Juan Oncina, tenor (Count Ory); Monica Sinclair, con tralto (Ragonde); Ian Wallace, baritone (The Governor); Cora Canne Meijer, mezzo-soprano (Isolier); Sari Barabas, soprano (Countess Adele); Dermot Troy, tenor (A Young Nobleman); The Glyndebourne Festival Or chestra and Chorus; Vittorio Gui, conductor. EMI RLS 744. "The delicious Comte Ory," wrote Chorley in 1854, "has, with all the beauty of its music, never been a favorite anywhere. Even in the theater for which it was written, the Grand Oplra of Paris, where it still keeps its place - when Cinti-Damoreau was the heroine - giving to the music all the playfulness, finish, and sweetness which could possibly be given - the work was heard with but a tranquil pleasure ••• " He goes on to blame the libretto (by Scribe and Delaistre-Poirson) which in its day was indeed rather shocking, with Count Ory's "gang" gaining admission, disguised as nuns, to the castle of the Countess he is pursuing - male voices and all! The opera was rediscovered in the 1950's and enjoyed a real success at Glyndebourne in 1954. The recording was made two years later. The New York City Opera finally got around to Le Comte Ory a year or so ago. There are several obvious reasons for the neglect of this gem of an opera. Though the score is full of delights there is no Largo al facto tum or Una voce poco fa. The arias are brilliant but not sure fire. It is not a vehicle; the soprano and tenor roles call for virtuosity of a high order, but this is an ensemble opera and no one can take over the spotlight. -
Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
RCA Victor LCT 1 10 Inch “Collector's Series”
RCA Discography Part 28 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor LCT 1 10 Inch “Collector’s Series” The LCT series was releases in the Long Play format of material that was previously released only on 78 RPM records. The series was billed as the Collector’s Treasury Series. LCT 1 – Composers’ Favorite Intepretations - Vienna Philharmonic Orchestra [195?] Rosca: Recondita Amonia – Enrico Caruso/Madama Butterfly, Entrance of Butterfly – G. Farrar/Louise: Depuis Le Jour – M. Garden/Louise: Depuis Longtemps j’Habitais – E Johnson/Tosca: Vissi D’Arte – M. Jeritza/Der Rosenkavailier Da Geht ER Hin and Ich Werd Jetzt in Die Kirchen Geh’n – L Lehmann/Otello: Morte d’Otello – F. Tamagno LCT 2 – Caruso Sings Light Music – Enrico Caruso and Mischa Elman [195?] O Sole Mio/The Lost Chord/For You Alone/Ave Maria (Largo From "Xerxes")/Because/Élégie/Sei Morta Nella Vita Mia LCT 3 – Boris Goudnoff (Moussorgsky) – Feodor Chalipin, Albert Coates and Orchestra [1950] Coronation Scene/Ah, I Am Suffocating (Clock Scene)/I Have Attained The Highest Power/Prayer Of Boris/Death Of Boris LCT 4 LCT 5- Hamlet (Shakespeare) – Laurence Olivier with Philharmonia Orchestra [1950] O That This Too, Too Solid Flesh/Funeral March/To Be Or Not To Be/How Long Hast Thou Been Gravemaker/Speak The Speech/The Play Scene LCT 6 – Concerto for Violin and Orchestra No. 2 in G Minor Op. 63 (Prokofieff) – Jascha Heifetz and Serge Koussevitzky and the Boston Symphony Orchestra [1950] LCT 7 – Haydn Symphony in G Major – Arturo Toscanini and the NBC Symphony Orchestra [195?] LCT 8 LCT 9 LCT 10 –Rosa Ponselle in Opera and Song – Rosa Ponselle [195?] La Vestale: Tu Che Invoco; O Nume Tutelar, By Spontini/Otello: Salce! Salce! (Willow Song); Ave Maria, By Verdi/Ave Maria, By Schubert/Home, Sweet Home, By Bishop LCT 11 – Sir Harry Lauder Favorites – Harry Lauder [195?] Romin' In The Gloamin'/Soosie Maclean/A Wee Deoch An' Doris/Breakfast In Bed On Sunday Morning/When I Met Mackay/Scotch Memories LCT 12 – Concerto for Piano and Orchestra No.