Nuit sur le mont Triglav. Troisième acte de l'opéra-ballet Mlada.

Mode of access: Internet.

Berceuse héroïque.

For orchestra; originally for piano.

Rêverie /

Caption title.

Ödipus in Kolonos des Sophokles :

Mode of access: Internet.

The orchestra,

Mode of access: Internet.

Drei Walzer /

Mode of access: Internet.

Dictators of the baton /

"The twenty-five major American symphony orchestras and their permanent conductors": pp.299-300.

Intercultural transfer and artistic innovation:German musicians in Victorian Britain

Throughout the nineteenth century, German classical music production was an aesthetic point of reference for British concert audiences. As a consequence, a sizeable number of German musicians were to be found in Britain as performers, conductors, teachers, musicologists and managers. They acted as agents of intercultural transfer, disseminating performance and organisational practices which had a transformative effect on British musical life. This article moves away from a focus on high-profile visiting artists such as Mendelssohn Bartholdy or Wagner and argues that the extent to which transfer took place can be better assessed by concentrating on the cohort of those artists who remained permanently. Some of these are all but forgotten today, but were household names in Victorian Britain. The case studies have been selected for the range of genres they represent and include Joseph Mainzer (choral singing), Carl Rosa (opera), August Manns, Carl Hallé and Julius Seligmann (orchestral music), and Friedrich Niecks (musicology). On a theoretical level, the concept of ‘intercultural transfer’ is applied in order to determine aspects such as diffusion, adaptation or sustainability of artistic elements within the new cultural context. The approach confirms that ‘national’ cultures do not develop indigenously but always through cross-national interaction. Während des neunzehnten Jahrhunderts war die klassische Musikszene Deutschlands ästhetischer Bezugpunkt für das britische Konzertpublikum. Dies hatte zur Folge, dass vermehrt Deutsche als Musiker, Dirigenten, Lehrer, Musikwissenschaftler und Manager in Großbritannien tätig wurden. Sie fungierten als Vermittler interkulturellen Transfers, indem sie aufführungs- und organisationstechnische Praktiken verbreiteten und damit zu einer Transformation des britischen Musiklebens beitrugen. Vorliegender Artikel konzentriert sich weniger auf bekannte Künstler mit kurzfristigen Engagements (z. B. Mendelssohn Bartholdy, Wagner), und argumentiert vielmehr, dass sich das Ausmaß des Transfers besser über solche Musiker feststellen lässt, die sich längerfristig ansiedelten. Einige davon waren allgemein bekannte Persönlichkeiten im Königreich, sind heute aber vergessen. Die Auswahl der Fallstudien gibt einen Überblick über verschiedene Gattungen und beinhaltet Joseph Mainzer (Chorgesang), Carl Rosa (Oper), August Manns, Carl Hallé und Julius Seligmann (Orchestermusik), sowie Friedrich Niecks (Musikwissenschaft). Auf der Theorieebene wird das Konzept des ‘interkulturellen Transfers’ herangezogen, um Aspekte wie Diffusion, Anpassung oder Nachhaltigkeit künstlerischer Elemente im neuen kulturellen Kontext zu beleuchten. Der Ansatz bestätigt, dass sich ‘nationale’ Kulturen nicht indigen entwickeln sondern immer im Austausch mit anderen Kulturen

An orchestral audience: Classical music and continued patterns of distinction

This paper considers the key findings of a year-long collaborative research project focusing on the audience of the London Symphony Orchestra and their introduction of a new mobile telephone (‘app’) ticketing system. A mixed-method approach was employed, utilizing focus groups and questionnaires with over 80 participants, to research a sample group of university students. This research develops our understanding of classical music audiences, and highlights the continued individualistic, middle-class, and exclusionary culture of classical music attendance and patterns of behaviours. The research also suggests that a mobile phone app does prove a useful mechanism for selling discounted tickets, but shows little indication of being a useful means of expanding this audience beyond its traditional demographic.

José Antonio Gómez’s Ynvitatorio, Himno y 8 Responsorios : historical context and music analysis of a manuscript ; José Antonio Gómez y Olguín, Ynvitatorio, Himno y 8 Responsorios, orchestral score

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Ambient music with orchestral percussion (I dream of Jean-Michele)

I Dream of Jean-Michele is a non-lyrical instrumental piece that harks back to the 1980s ambient scene. A good piece for digital projects that are ambient, or require the space in synthesizer styled music from the 1980s.

Arias, duets, terzets and quartets with orchestral accompaniment. [music] : in four volumes.

Mode of access: Internet.

The mystic trumpeter; orchestral fantasy after the poem by Walt Whitman.

"Op. 19."

Concerto in F♯ minor, op. 69, [for pianoforte], the orchestral parts arranged for a second piano in score /

Acc. arr. for 2d piano.

Concertos for the piano, the orchestral accompaniments arranged for a second piano.

Mode of access: Internet.