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Intermezzo - Boaz Avni - Ingredients (CD, Album) download full album zip cd mp3 vinyl flac

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Melisma 3. Panic 2. Falling 3. Questioning 4. Round 1 Pitches 2. Roung 2 Steel 3. The Tartar who dwells on the plains of Thibet A desolate region of snow Has for centuries made it a nursery pet, And surely the Tartar should know.

Then tell you papa where the Yak can be got, And if he is awfully rich He will buy you the creature or else he will not. I can not be positive which. The Rhinoceros Rhinoceros, your hide looks all undone.

You do not take my fancy in the least. You have a horn where other brutes have none. Rhinoceros, you are an ugly beast. The Frog Be kind and tender to the Frog and do not call him names, As slimy skin or pollywog or like wise ugly James or gape-a-grin or toad gone wrong or Billy Bandy-knees.

The Frog is justly sensitive to epithets like these. No animal will more repay a treatment kind and fair At least so lonely people say who keep a frog and by the way, they are extremely rare. The Python A python I should not advise It needs a doctor for its eyes and has the measles yearly.

However, if you feel inclined to get one to improve your mind and not from fashion merely Allow no music near its cage and when it flies into a rage chastise it most severly. I had a Aunt in Yucatan who bought a python from a man and kept it for a pet. She died because she never knew these simple little rules and few and the snake is living yet. The Scorpion The scorpion is as black as soot. He dearly loves to bite.

He is a most unpleasant brute to find in bed at night. The Vulture The vulture eats between his meals and thats the reason why he very, very rarely feels as well as you and I.

His eye is dull His head is bald His neck is growing thinner. What a lesson for us all to only eat at dinner. The Viper Yet another great truth I record in my verse That some vipers and venomous, some there-verse; A fact you may prove if you try by procuring two vipers and letting them bite; with the first you are only the worst for the fright, but after the second — you die. Barrus, conductor Gayle Smith, cellist Children at Play, op. Assisted by Michael Munson and Charis Bean.

In partial fulfillment of the requirements for the degree Master of Music in performance. At such events today's professional songwriters present their work both to their peers and to representatives of music publishers. Some of tonight's writers are veterans, while many are writing for the first time.

Collaboration is encouraged, and it is not mandatory for the writer to perform his own song. While the lead vocal must be presented live, the "track," or accompaniment, may be live or pre-recorded, at the option of the student.

The students' creative goal is to write a song representing the exact style of a pre-selected pop-music category.

Required for the degree Bachelor of Music with a major in Performance and Pedagogy. Dutton Arr. The Herald Angels Sing Hark!

Peace on earth and mercy mild, God and sinners reconciled! Joyful, all ye nation, rise; Join the triumph of the skies; With th'angelic host proclaim Christ is born in Bethlehem! Light and life to all he brings, Ris'n with healing in his wings. Mild he lays his glory by, Born that man no more may die; Born to raise the sons of earth, Born to give them second birth.

Rejoice when Jesus reigns, And Saints their songs employ, While fields and flood, rocks, hills, and plains Repeat the sounding joy, Repeat the sounding joy, Repeat, repeat the sounding joy. Oh, come ye, oh, come ye to Bethlehem. Come and behold him, Born the King of angels; Oh, come, let us adore him; Oh, come, let us adore him; Oh, come, let us adore him, Christ, the Lord. Sing, choirs of angels, Sing in exultation; Sing, all ye citizens of heav'n above!

Glory to God, Glory in the highest; Oh, come, let us adore him; Oh, come, let us adore him; Oh, come, let us adore him, Christ, the Lord.

French Suite no. In lieu of Jury Examination. Sonata in F-sharp Major, op. Barrus, conductor and K. Newell Dayley, conductor Wednesday, December 7, - p. Sonata in F Major, K. African, Zulu Arr. Africa, Xhosa Arr. For every activity in the life of the individual or the community there was an appropriate music. It was an integral part of life from the hour of birth to beyond the grave. Included in our repertory are two South African songs -- one in the Xhosa language, the other, in Zulu.

Ungoma characterizes the village hypochondriac as a whiney, complaining, comedic person, while the women express various disdaining attitudes.

Hareje, the Song of the Harvest, is a prayer of thanksgiving to the gods of the field for the rich return of fresh food. It is combined with a dance. Spirituals First references to the religious folksongs of Blacks began to appear in the early Nineteenth Century. Musicologists have agreed that the name came into common usage in the s.

By that time, the spiritual repertory must have been quite extensive. These songs, as folksongs, are impossible to trace or pinpoint in their original form, Album).

The music is adapted to the taste of both those who sing and those who listen. Consciously, or unconsciously, one may 1 improvise upon a song already in existence, 2 combine material from several songs, or 3 compose the song entirely of new materials. This devout interest in Christianity and prophetic characters came as a result of the great conversion of slaves during a sixty-year period from the turn of the Eighteenth Century to Emancipation.

Our repertory consists of traditional arrangements in call-and-response- style, such as Great Gettin' Up Mornin;, Ride on King Jesus, Witness, and other more contemporary forms. We sing in the traditional a cappella concert arrangements made famous by the Fisk Jubilee Singer, circa James in The world learned of Negro Spirituals for the first time. Gospel Music To Black people, the White gospel hymns belonged to the same class as the standard Protestant hymns. The spirituals, jubilees a jubilant setting of the spiritualand "church songs" were products of their own creativity.

The differences began to appear in the s, particularly in Chicago. Its churches produced the most celebrated of the pioneering writers and singers. Thomas Dorsey b. The Black forms of Gospel Music presently include elaborate jazz and rock arrangements using synthesizers, small vocal combos, large choruses, and a distinguished array of performer-composers, such as James Cleveland, Aretha Franklin, The Winans, Richard Smallwood, and the sensational vocal jazz oriented gospel group "Take Six.

George Gershwin Porgy and Bessincluded in our repertory, reflects the jazz milieu of New York in the s, yet at the same time portrays the musical habits of Black folk in the South.

With a Charleston, South Carolina, setting in the city's imaginary Catfish Row, Gershwin paid particular attention to the Gullahs an isolated group of Blacks who spoke in a distinctive dialect on James Island.

Their folkways seemed close to the African tradition, and to the Holy Roller prayer meeting that he attended which left an indelible impression on him.

This helped him to create an American masterpiece. This work has given enormous opportunities to a host of Black singers and performers, and it continues to excite audiences worldwide. The Music of Edward "Duke" Ellington Despite his limited formal training, other than piano lessons, Ellington was perhaps one of the greatest jazz innovators of all time.

His experimentation with large jazz bands, inclusion of "new" instrumental combinations, collaboration with his side men in collective improvisation, and his work with Billy Strayhorn have all contributed to his international reputation.

He left more than 2, compositions -- an impressive record equaled by few composers in the history of American music. Meine Liebe ist grun, op. Her recitals at such venues as Alice Tully Hall, the Metropolitan Museum, London's Wigmore Hall, The Library of Congress and the Kennedy Center have received the highest praise for her extraordinary musicianship, her unusually comprehensive repertoire and her exquisite vocal quality.

Lucy Shelton has appeared as soloist with the orchestras of Chicago, Boston, St. The repertoire has ranged from Bach, Handel and Mozart oratorio; to Mahler, Berlioz and Strauss; to over thirty premieres of works in the past ten years, more than half of which were written specifically for her.

Active in chamber music here and abroad, she has been featured at the festivals of Marlboro, Chamber Music Northwest, Casals, Cricklade and Lockenhaus. In addition to the release of some fifteen recordings, Miss Shelton has recently made six discs for the Nonesuch label: two solo recital albums song cycles by Faure and Messaien, and "Gypsy Songs" ; "Moore's Irish Melodies," a vocal ensemble collection; and three issues of orchestral works written for her: Joseph Schwanter's "Magabunda" and "Sparrows" with the St.

Spillman taught at Eastern Kentucky State for one year, then served in the U. Army from as a pianist in the U. Military Academy Band at West Point. As piano soloist, he won second prize in the Vercelli competition in Shortly thereafter, he moved to West Berlin where he spent the next seven years. He returned to the United States and joined the faculty at Eastman inwhere he coached opera and taught accompanying and vocal literature.

Professor Spillman is currently Co-Director of the Opera Center at the Aspen Music Festival after spending numerous summers at the Chautauqua Institution as student, accompanist and coach. He has several compositions published through Edition Musicus and his textbook, The Art of Accompanying, was published by Schirmer Books in Munson piano Required for the degree Bachelor of Music with a major in performance.

Tonschdnheit ist Nebensache. Praise to the Lord, the Almighty, the King of creation! O my soul, praise him, for he is thy health and salvation! Join the great throng, Psaltery, organ and song, Sounding in glad adoration! Praise to the Lord! Oh, let all that is in me adore him! All that hath breath, join with Abraham's seed to adore him! Let the "amen" sum all our praises again, Now as we worship before him. II Hosanna D. Livingston Gearhart Arr. John Coats Arr.

Aaron Copland Arr. How just, King of Saints, and true are thy ways! Oh, who shall not fear thee and honor thy name? Thou only art holy, Thou only supreme. To nations long dark Thy light shall be shown. Their worship and vows shall come to Thy throne. Thy truth and Thy judgments shall spread all abroad, Till earth's ev'ry people confess thee their God. Till earth's ev'ry people confess thee their God. Murray Schafer Arr. Redeemer of Israel, Our only delight, On whom for a blessing we call, Our shadow by day And our pillar by night, Our king, our Deliverer, our all!

As children of Zion, Good tidings for us. The tokens already appear. Fear not, and be just, for the kingdom is ours. The hour of redemption is near. Autumn II. In the Barn III. The recordings are chosen from the Schwann Record and Tape Guide, the publication which lists all currently available discs, tapes and CDs.

Their inclusion here represents a general consensus of high critical acclaim, but certainly does not deny the considerable merit of most other recordings. Both are eminently readable, and make fine additions to the book shelf as guides to home listening and preparation for concerts.

Most of the composers on this season's schedule are included in these enjoyable volumes. Check your local library for these and other selections, and further information.

Further listening: Symphonies Nos. Notes on the Program Richard E. Premiered on March 14, in Leipzig, conducted by the composer. It is not surprising that a man of Schumann's deep sensibilities and refined literary tastes his father was a bookseller would be irresistibly drawn to the writings of that quintessential figure of English Romanticism, George Gordon -- Lord Byron.

The work of Byron that most affected Schumann was the verse drama ofManfred. Schumann's acquaintance and early Album)Joseph Willhelm von Wasielewski, recorded of the composer, "When reading Manfred out loud before two people in Dusseldorf, his voice suddenly faltered, he burst into tears, and was so overcome that he could read no further.

Being unable to appease his torment, he attempted to die and Astarte appeared before him to prophesy his end. He died surrounded by the genies he had conjured up, defying them and refusing the help of a holy man. Almost all of the persons- -but two or three- -are spirits of the earth and air, or the waters; the scene is in the Alps; the hero is a kind of magician, who is dominated by a species of remorse, the cause of which is left half- explained.

He wanders about, invoking these spirits, which appear to him and are of no use; at last he goes to the very abode of the Evil Principle, in propria persona, to evoke a ghost, which appears and gives him an ambiguous and disagreeable answer; and in the third act he is found by an attendant, dying in a tower, where he has studied his art.

Though nominally a drama, Byron never intended that Manfred be staged but rather that it be read in the manner of poetic recitation. He wrote to his publisher that it was "quite impossible to stage," and that negotiations with the Drury Lane Theatre to mount a production "have given me the greatest contempt.

He had just completed his only opera, Genoveva, and began immediately sketching an Overture inspired by Byron's poem which he completed in early November. During the Overture's composition, he tinkered with German translations of Manfred by Posgarn and Bdttger with the hope of bringing the poem into stage-worthy shape, and conceived a set of incidental music that would accompany its presentation.

By November 23rd, he had finished fifteen additional pieces, including entr'actes, choruses, solos and "melodramas," poetic lines recited above a musical accompaniment. The Overture was first heard at a "Schumann Evening" in the Leipzig Gewandhaus on March 14,conducted by the composer.

The complete drama with Schumann's incidental music in situ was given at Weimar on June 2, by Franz Liszt, one of the mid- 19th century's greatest promoters of new music. Schumann told liszt that Manfred was "one of my finest brain children. Georges Bizet exclaimed, "What a masterpiece, but what despair! Wasielewski felt that the quality of this work may have derived from Schumann's identification with its subject: "The music to Byron's Manfred seems to have been singularly significant to Schumann's own nature; we can hardly resist the thought that his own soul-life, and a foreboding of his dreadful fate i.

For what is this Byronic Manfred but a restless, wandering, distracted man, tormented by fearful thoughts; and the mad, soul- destroying intercourse with spirits — which must of course be taken symbolically — was also the culminating point of Schumann's last illness. Doubtless he was strangely attracted to this subject by a sense of affinity. Premiered on October 23, in Berlin, with Samuel Dushkin as soloist and the composer conducting.

Late inWilly Strecker, co-owner and director of Schott, the prestigious German publishing house, suggested to Igor Stravinsky that a violin concerto might make a welcome addition to the catalog of his music. Strecker told Stravinsky that the violinist Samuel Dushkin was willing to offer technical advice for the project. The composer was, however, reluctant to accept the proposal. On the one hand, he still lacked complete confidence in writing for the violin as a solo instrument, despite the challenging part he had included for it in The Soldier's Tale.

On the other, he was worried that Dushkin might be interested only in a virtuoso showpiece, with little concern for the musical niceties inherent in the form. It was the composer Paul Hindemith who reassured him on the first point. He told Stravinsky that his unfamiliarity with the violin might actually be a benefit since he could apply fresh ideas to the use of the instrument rather than just composing what Hindemith said would be "suggested by the familiar movements of the fingers.

Stravinsky's second concern was allayed by Dushkin himself. Before they met, Stravinsky thought that Dushkin might be one of those performers interested only in "immediate triumphs. Stravinsky recalled that he perceived in his new colleague, "besides his remarkable gifts as a born violinist, a musical culture, a delicate understanding, and--in the exercise of his profession- -an abnegation of selfish interest that is very rare. Stravinsky began the Violin Concerto at his home in Nice early inbut was soon obliged to put it aside for his performances as pianist and conductor in a European concert tour.

He was able to finish the first two movements in May soon after he returned to Nice, but was frequently distracted by the city's social whirl, and decided to look for a quieter venue in which to finish the piece.

He found a large, comfortable house in Voreppe, a small town near Grenoble, and rented it. He liked it so well that he stayed there for three years. Rushing to get on with Dushkin's Concerto, he recalled, "I finished it among half-unpacked trunks and boxes and the coming and going of movers, upholsterers, electricians and plumbers. My faithful friend Dushkin, who had moved to Grenoble to be nearby, used to come to see me everyday.

The work was made particularly pleasant by the enthusiasm and understanding with which Dushkin followed my progress. It was a salubrious atmosphere in which to work, and the Concerto was completed by September. The Concerto opens with a "motto" gesture, a widely spaced chord which Stravinsky called "a passport to the music," and which returns at important structural junctures throughout the work, most notably at the beginning of each subsequent movement.

The body of the first movement titled Toccata commences with a jaunty main theme in precise rhythm delivered by the trumpets. Contrasting ideas are presented, all wedded together in a pellucid texture by the motoric rhythm. The two Arias both in three-part, A-B-A form follow: the first uses an angular melody in its outer sections but turns scherzo-ish for its central portion; the second is slower in tempo and doleful in expression.

The concluding Capriccio, a dazzling showpiece for the soloist despite Stravinsky's disavowal of virtuoso pyrotechnics, returns the dancing motion of the opening movement. Symphony No. Premiered on March 21, in Leipzig, conducted by Felix Mendelssohn. One of the pleasures of a visit to Vienna in years gone by, as it remains today, was the chance to commune with the shades of the great masters — to breath the air of the Wienerwald; to stop for a leisurely Kaffee mit Schlag at some ancient cafe; to stand misty- eyed and pensive before silent gravestones.

Robert Schumann was not immune to these charms when he went to Vienna in the autumn of He was looking to improve his fortunes from those he had known in Germany, and he thought the imperial city of the Habsburgs might prove to be a lucky place.

It was not to be. As with many men of genius, Vienna threw up a cold shoulder to him, and Schumann's visit lasted only a few months. Two of the places Schumann was most anxious to visit when he arrived in Vienna were the gravesites of the composers who stood above all others in his estimation. This was easily accomplished as Beethoven and Schubert were buried side by side in the Wahring Cemetery.

In later years, the bodies were moved to Vienna's vast Central Cemetery. Schumann, full of Jean-Paul's fantasies and bursting with heady Romanticism, found a steel pen on Beethoven's grave, and took it to be an omen.

It was with this enchanted pen that he composed his First Symphony. Standing before Schubert's grave had no less effect. In those early years after Schubert's death at the age of 31 inhis works were known only to a limited but devoted following of music lovers who were determined to see that he received the recognition he deserved. As one of that enthusiastic band, Schumann's visit to the Wahring Cemetery strengthened his resolve as one of Schubert's most ardent disciples.

Franz Schubert's brother, Ferdinand, a teacher of organ at a local conservatory, had become custodian of the unsorted piles of manuscripts that were left at the composer's death. Ferdinand, whom Schumann described as "a poor schoolmaster, entirely without means and with eight children to support," was trying to have Franz's works performed and published, and was probably happy to arrange a visit with Schumann, better known at the time as the editor of the important periodical Neue Zeitschrift fur Musik than as a composer.

The two men met on New Year's Day and Schumann set about digging through the musty stacks of manuscript paper. Among the many treasures waiting to be salvaged from this pile, Schumann discovered one of Schubert's jewels- -the wondrous C Major Symphony.

The extent of these then-unknown compositions may be appreciated if it is realized that three decades later George Grove- -author of the first edition of the music dictionary that still bears his name- -and Arthur Sullivan — who was to become England's most successful composer of operetta- -were still able to uncover among them the scores for the Symphonies Nos.

As Schumann excitedly turned the pages of the bulky manuscript, he realized that he had in his hands something of surpassing beauty, perhaps Schubert's greatest work. Later he wrote, "I was in a state of bliss. It is not possible to describe it; all the instruments are human voices; it is gifted beyond measure, and the instrumentation is superb.

I was completely happy. Mendelssohn at once realized the extraordinary nature of the Symphony, and he revealed it to the world in a performance only three months after Schumann had unearthed the score. Little is known of the circumstances of the composition of the C major Symphony. Schubert had no commission for the work, and it was certainly too difficult for him to expect a performance by the amateur musical societies for which most of his earlier symphonies had been written.

The finished score was dated in Marchbut when the composition was begun is uncertain. It is known that he was working on a symphony during a country retreat in the summer of This score, the mysterious "Gmunden-Gastein" Symphony, has never appeared, and it was long assumed that the work had disappeared without a trace. John Reed, in a article in Music and Letters, however, presented strong evidence that the labor in was actually on the C major Symphony, and that the "missing" work never existed.

Schubert's Seventh Symphony, incidentally, exists only as an extended but incomplete sketch. It seems likely that Schubert hoped for a performance of the C major Symphony by the orchestra of the Gesellschaft der Musikfreunde in Vienna. A friend reported that Schubert had decided at the time that he was finished with song writing, and would devote himself henceforth to opera and symphony.

This Symphony and the magnificent C major Quintet are evidence of the importance Schubert gave to large pieces late in his brief life. At any rate, the score was submitted to the Viennese organization, which accepted it for consideration. It is uncertain if they held a trial run-through of the work if they did, it would have been the only time Schubert could have heard any of this musicbut it was decided that the work would not be performed publicly because of its length and difficulty.

It was a full decade before Schumann again brought the score to light. Schubert's C major Symphony opens with a broad introductory melody intoned by the horns.

This theme not only establishes the mood and tonality of the piece, but also serves, with its emphasis on a dotted long-short rhythmic pattern, as the germ from which much of the material of the movement is derived. The strings provide a complementary phrase before the trombones restate the opening melody.

The burnished tone color of the trombones is an important component of the orchestral sonority of the Symphony, and their treatment shows an important advance by Schubert in the art of orchestration. The main part of the movement begins, at a quicker tempo, with the presentation of the main theme by the strings.

This section is enlivened by the interplay between this skipping theme and a contrasting triplet rhythm supplied by the woodwinds. The second theme, a melody in E minor given by the oboes and bassoons, has a slight tang of the gypsy about it. The third section of the exposition is a re-examination of the melody from the introduction, employing the rich tones of the trombones. The exposition closes with a grand, lyrical theme in G major for full orchestra.

The development as a masterful construction into which are woven all of the themes of the movement: dotted-rhythm main theme, woodwind triplets, second theme and introductory melody. The recapitulation returns all of the earlier themes in heightened settings. The coda is vivified by a faster tempo and an exalted version of the first theme materials. The movement closes with a triumphant restatement of the introductory melody, a magnificent transformation of the quiet opening into a joyous proclamation that seems to ring to heaven.

The second movement partakes of the introspective mood of Schubert's late song cycle Die Winterreise. Its form is subject to more than one interpretation sonatina--sonata without development — is perhaps the closest descriptionand the best way to listen to this music is as a series of splendid melodies, carefully balanced in mood, tonality and emotional weight. Schumann wrote that this movement "seems to have descended from another sphere. And every instrument seems to listen, as if aware that a heavenly guest had glided into the orchestra.

This Scherzo is actually a complete sonata-allegro structure, containing a true development section that explores some wonderful Romantic harmonies.

The Trio encompasses one of the most inspired melodies in all of symphonic literature, a triumph of Viennese Gemutlichkeit, sentiment and sensuality. The finale bristles with a barely contained riot of unquenchable high spirits. Perhaps only in the last movement of Beethoven's Seventh Symphony is there a comparable whirling, Dionysiac rhythmic exuberance. One of the manifold miracles of this Symphony is the manner in which Schubert controls the ebb and flow of this bursting energy to produce a large, perfectly proportioned formal structure.

Every page is part of a logical progression leading to an ending which is satisfying, overwhelming and seemingly inevitable. This movement is an indelible reminder that every composition of Schubert, who died at the age of only 31, was a youthful work, brimming with the vital life force. By comparison, Beethoven was 32 when he produced his Second Symphony. The C major Symphony is a remarkable combination of mature experience and youthful joie de vivre, of which Sir George Grove wrote, "Schubert did nothing to extend the formal limits of the symphony, but he endowed it with a magic, a romance, a sweet naturalness which no one has yet approached.

Hayes piano Student of Paul C. Pollei Sonata in E-flat Major, Hob. Im wundershflnen Monat Mai 2. Aus meinen TrSnen spriessen 3. Die Rose, die Lilie, die Taube, die Sonne 4. Wenn ich in deine Augen sen' 5. Ich will meine Seele tauchen 6. Im Rhein, im heiligen Strome 7. The winners will receive fair glances, smiles and kisses. The losers win tears, laments, rebuffs, disdain. Each lover must make a deposit of patience, humility and pious servility.

Lovers, put in your entry form-- you 1!! Alia cazza To the hunt; come on, everyone hurry! Come gladly with pointers and hounds. Call the hounds-- Balzan, Lion, Fasan. Now you, have a keen eye for the deer! It's yours, Augustino. Look there, carry it on your shoulders, so the dogs can't get at it. We remembered the peace in Zion, and in the midst of our habitation where regrets and tears were shed, we hung our harps on the willow trees. Then, to those who held us captive, it was difficult to sing out loudly and recite the songs of Zion.

Alas, we said, who could persuade our sad chorus to sing praise to our God in a strange land? Per Wein schmeckt wohl The wine tastes good and makes me drunk: That's why one should praise it! The rest of the text is full of nonsense, misquoted proverbs, and rhymes which don't work. Ov comamos. In honour of Saint Antruejo, let's end today in comfort, let's fill our paunches and stuff our skin; tomorrow we shall fast!

To do honour to the saint, let's eat and drink till we burst. Drink up, Blaise, have some more, Benedict. Let's take our pleasure today, death comes tomorrow. Let's eat and drink fully. Nach meiner Lieb A hundred boys compete for my love, but the one I love pays no attention to me. Ah, woe is me, poor maid, I languish for sorrow.

Every man offers himself to me, but he whom I love destroys me. Ah woe is me, poor maid, what shall I do? They all say kind words to me, but the one I love can't stand me. Ah, woe is me, poor maid, what will become of me? La mort est ieu Death is a game, more dangerous than skittles, chess or billiards.

In this wretched game of shells, he lost his life and his cockles. Faulte d'argent Lack Album) money — that's sadness without equal. If I say so, I've got good reason. Without cash, one has to remain silent, but a woman who is sleeping can be awakened for money.

Alix avoit aux dens la malerage Alice had a toothache and couldn't stand it; her lover comes, a man of few words, and promises to cure her at once, sayihg, I know all the ills you feel — the ache of love is worse than a toothache. Die Weiber mit dem Flohen Women wage a constant war against fleas- -they would pay a big reward to have them all slain. The war begins in the morning and goes on into the night. If I had a guilder everytime women search for fleas under their clothes I'd be a rich man If the Pope could interdict that dreaded pest the flea Bon jour, mon coeur Good day, my heart, good day, my life, good day, my eye, good day, my dear!

Good day, my beauty, my darling, good day, my delight, my love, my gentle Spring, my budding flower, my pleasure, my sweet dove, my little sparrow, my turtle dove! Good day my unruly beloved. Qui n'a senti qu'une flamme He who has felt love's flame only once, and has served only one lady cannot know love or its power I have made thorough proofs, and had many new loves since the first, each on madder than the last. The latest of my affections is worthy above all others, and has conquered my heart.

So don't think it's strange that I've changed, my dear ladies, you have feelings and most charming of you would change in the same way.

Vesame v abracame Kiss me and hug me, my husband, and in the morning I'll give you a clean shirt. I never saw a man who was alive and so dead, nor one who pretended to be asleep when he was really awake.

Come to, my husband and show some spirit, and in the morning I'll give you a clean shirt. Smith Sonata in A Minor, K. Schirmer, Inc. There and in the ten opera houses which were to be built beforethe new form of dramma in musica developed and became the model for all Italy and the rest of Europe to copy. When he granted, inthe first patent for the establishment of an opera in Paris, Louis XIV ordered that they should be 'equal to and resemble those of Italy,' and by Italy, he meant Venice.

Their production was supervised by the composer or one of his assistants who would vary and adjust them during production much like the original production of one of our Broadway musicals today. Since much of the production therefore remained in the composers head, operas were seldom revived. Cavalli for example, composed and produced over 40 complete new operas between and with as many as four in alone. Monteverdi, recognized as the great master of this musical flowering, was closely followed in popularity by his pupil and eventual colleague, Cavalli, one of a dozen Venetian opera composers who were as famous to their contemporaries as Puccini was to his.

During the 17th century the subtlety in plots quickly descended from the princely tastes of the Medici to those of the ribald public at about the same speed and into a similarly intense vulgarity as our movies have regressed from the 's to the 's. Cavalli is "above all a great melodist with a power to penetrate and respond to a dramatic situation with his tunes that none of his contemporaries possessed- - including his mentor, Monteverdi.

It begins as a light-hearted comedy typical of the period witness, Shakespeare's comedy plots in which the two pairs of lovers seem to be working out their relationships at a very superficial level. From this moment the whole pattern of relationships deepens, and Album) opera begins it's descent towards seriousness, and finally, tragedy. Allegro II. Lento III. Allegro vivo Cindy Child, clarinet Concertino for Marimba op. Vigorous II. Calm III. Hebble Leon Boellmann arr.

James Erb Arr. Dudleigh Vernon Arr. Ed Waesche Arr. Ed Lojeski Arr. Gwyn Arch Arr. John Coates Arr. Fanfare: Maestoso poco presto II. Villes: Allegro energico III. Phrase: Lento ed estatico b. Antique: Allegretto, un poco mosso IV. Royaute: Allegro maestoso V. Marine: Allegro con brio VI. Interlude: Moderato ma comodo VII. Parade: Alia marcia IX. Following his acclaimed performance at Carnegie Hall, Bachlund was immediately invited to join the roster of the Metropolitan Opera where he has appeared in works including Parsifal, Boris Godunov and Khovanschina.

He also sang performances of John Cage's new work entitled Europera and appeared with the company in performances on tour in Israel. He was also heard at the Carmel Bach Festival as Florestan.

In Gary Bachlund will make his debut at the Theatre de la Monnaie in Brussels in the title role in a new production of Wagner's Parsifal. Gary Bachlund first began his singing activities as a baritone as did many dramatic tenors in the past.

Other roles in his developing repertoire include Siegmund in Die Walkiire, Laca in Jenufa and the title role in Lohengrin. The years around saw the efflorescence of grand opera, with the genre's most elaborate examples appearing in Paris. Auber's Le Muette de PorticiRossini's William TellMeyerbeer's Robert le Diable and Les Huguenots and Halevy's La Juive overwhelmed contemporary audiences with their potent combination of opulent spectacle and pompous music placed in a pageant-like historical setting.

Richard Wagner, then an ambitious stripling in his twenties whose second opera, Das Liebesverbot, had failed gloriously enough in Magdeburg in to bring the company tumbling down and cost him his job there as music director, longed to enter the pantheon of grand opera composers.

In the summer before he took up a position as conductor at the opera house in Riga in Russia, on the Baltic Sea in Julyhe read Barmann's German translation the novel Rienzi, the Last of the Tribunes by the British writer E. Bulwer-Lytton, which was in turn based on Mary Russel Mitford's play of Wagner saw operatic potential in the sweeping story of 14th-century struggles of the Orsinis and the Collonas in Rome, and finished the libretto in summer He started the music immediately, and continued work on it until Septemberwhen he was hounded out of Riga by cabals and creditors.

Wagner was a notorious financial deadbeat throughout his life, always looking for a Maecenas. He fled to Paris, where he met many of that city's most important musicians, including Meyerbeer a transplanted Germanbut, speaking virtually no French, he could not make any professional headway and struggled to exist with the most menial musical tasks.

The nadir of his fortunes came in Octoberwhen he was briefly incarcerated in debtor's prison. His faith in himself and in his Rienzi produced in Paris were fruitless. It was finally accepted by the Dresden Court Opera on the recommendation of the generous Meyerbeer, who called it the best of all the grand operas, and Wagner left France for Germany in April to oversee the production.

The premiere was delayed several times, but finally staged on October 20th. Heinrich Heine wrote of the worried young composer that night that he "looked like a ghost; he laughed and wept at the same time and embraced everybody who came near him, while all the time cold perspiration ran down his forehead. Its popularity not only led to Wagner receiving an appointment to the opera house's musical staff but also to the premiere there of The Flying Dutchman the following January.

Wagner's international fame began with these two operas. The Overture, a "violently splendid' piece according to George Bernard Shaw, is based on several themes from the opera drawn into a loose sonata form. The opening trumpet blast, the signal for the uprising of the people, begins the slow introduction, much of which is given over to the majestic theme of Rienzi's Act V prayer. The main body of the Overture, commencing with the faster tempo, comprises several melodies: the music of the chorus, "Gegrihsi sei hoher Tag!

An energetic development and an abbreviated recall of the themes, initiated by the trumpet summons that opened the Overture, bring this stirring piece to its grand close.

Passacaglia from the Opera, Peter Grimes, Op. Premiered in London on June 7,conducted by Reginald Goodall. Peter Grimes, one of the most characteristically English of all operas, was born in California. Benjamin Britten had followed his friend the poet W. Auden to the United States in both to find greater artistic freedom and to escape the frustration and depression of the European political situation.

Britten was also an avowed pacifist, and he probably viewed the American sojourn as a time when he could sort out his feelings and decide on what his stance should be with his country heading inexorably into war. He lived for several months with Auden in a Brooklyn apartment, but had to leave because the ceaseless commotion of visitors made concentration impossible.

He moved into a private home in Amityville, Long Island, and composed no fewer than six major scores over the three years of his American visit, including the Violin Concerto, Les Illuminations and Sinfonia da Requiem.

It was during a holiday in California in summer that he chanced upon a back issue of The Listener, the periodical of the British Broadcasting Corporation, which contained an article by E. Forster on the poet George Crabbe The article led Britten to Crabbe's poem The Borough, which dealt with the rugged life in the fishing villages of the region in Suffolk in which the composer had grown up. Overwhelmed by homesickness, he wrote, "I suddenly realized where I belonged and what I lacked. I had become without roots.

Serge Koussevitzky, conductor of the Boston Symphony, inquiring about the composer's plans, asked him if he were considering writing an opera. Britten said he was, that he even had a subject in mind, but that it was financially impossible for him to set aside the time required.

Koussevitzky, who had established a Foundation to commission new musical works in memory of his late wife, Natalie, assured Britten that the Foundation would help subsidize the composition, and when Britten was finally able to book passage to England that spring he had a firm commission in hand. Shortly after his return home, Britten appeared before the Tribunal of Conscientious Objectors and was exempted from active military service.

Instead, he performed in hospitals, shelters and bombed-out villages while he continued to compose during those difficult years. Britten had already established the personality of the protagonist before he left America, a process in which his personal situation played no small part: "A central feeling was that of the individual against the crowd, with ironic overtones for my own situation.

As a conscientious objector I was out of it. I couldn't say I suffered physically, but naturally I experienced tremendous tension. I think it was partly this feeling which led me to make Grimes a character of vision and conflict, the tortured idealist he is, rather than the villain he was in Crabbe. Since his home village on the east coast of England was still in danger of air attack, he carried the manuscript pages of his opera with him whenever he was out so that he could save them from being burned, should the village be bombed.

Peter Grimes was put into rehearsal by the Sadler's Wells Company early inwith its premiere planned for the return of that organization to its own auditorium, which had been bombed in The date was set for June 7th. The announcement of the production generated tremendous excitement, not only because of the resurrection of the venerable Sadler's Wells, but also because it marked the premiere of the first important British opera in many years.

The opening night was a triumph, and established Britten as one of the most important modern composers. Michael Kennedy, among others, cited the premiere of Peter Grimes as the most momentous event in British music since the presentation of Elgar's Enigma Variations in The American writer Edmund Wilson reflected on the Sadler's Wells performance, "The opera seizes you, possesses you, keeps you riveted to your seat during the action and keyed up during the intermissions, and drops you, purged and exhausted, at the end.

Grimes, a fisherman, has had one apprentice die under suspicious circumstances, and, though a court trial has officially cleared him of guilt, the rumors in the village continue. One of the few who support him is the schoolmistress, Ellen Orford, and Grimes believes all will be well if he could only marry her. Grimes takes another apprentice and, despite Ellen's pleadings, treats the boy roughly.

The villagers decide to take the law into their own hands, and their march on Peter's shack produces such excitement that the boy, in running to assess the trouble, slips over the cliff to his death. Balstrode, Grimes' only other friend, arrives ahead of the mob, and advises Peter to sail his boat into the sea and scuttle it, taking his secrets and his unhappiness to a watery grave.

Of the Passacaglia, which occurs as the interlude between the two scenes of Act II, The Earl of Harewood, one of Britain's leading opera scholars and administrators, wrote, "[It] expresses Grimes' divided nature--his loneliness; his need to give, as well as to receive, affection; his turbulent and ferocious spirit and attacks of violence, together with the poetic quality of his vision, which only serves to puzzle and still further alienate his fellow citizens.

Benjamin Britten was 26 inand much unsettled about his life. Though he had already produced fourteen works important enough to be given opus numbers and a large additional amount of chamber music, choral works, songs and film and theater scores, he felt his career was stymied both by an innate conservatism among the British music public and by the increasingly assured threat of war in Europe. Additionally troubling was his proclaimed pacificism in a nation girding itself for battle.

In Januaryhis friends W. Auden and Christopher Isherwood left for America in search of creative stimulation and freedom from what Auden called the English artist's feeling of being "essentially lonely, twisted in dying roots. They arrived in New York in late June, and were invited "for a weekend" by William and Elizabeth Mayer to their home in Amityville, Long Island—except for short trips away and a brief, rowdy period with a houseful of artists headed by Auden in Brooklyn, it was to be their principal residence for almost three years.

One of the first works that Britten wrote in the United States was a song cycle for high voice Intermezzo - Boaz Avni - Ingredients (CD string orchestra on poems by Arthur Rimbaudthe French writer whose decadent, hallucinatory verses were influential on the Symbolist poets of the following generation. Drug Status Availability Discontinued. Drug Class. Miscellaneous anxiolytics, sedatives and hypnotics.

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Boaz Avni, an album by Boaz Avni on Spotify We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. By using our website and our services, you agree to our use of cookies as described in our Cookie Policy. Check out Intermezzo by Boaz Avni on Amazon Music. Stream ad-free or purchase CD's and MP3s now on liehageludedownfumetheamegilern.coinfog: Ingredients. Contact Boaz Avni on Musicians Page. Classical Composer. Added: Apr 15, Last update: Sep 30, Last logged: Apr 16, Missing: Ingredients.

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Echoes From the Past — Tzvi Avni. Clarinet in B-Flat, piano — — Composed by Tzvi Avni. With Standard notation. Duration 6 minutes. Israel Music Institute # Published by Israel Music Institute (PR). Price: $ Category:Avni, Boaz All works by this person are still under copyright in Canada, the EU, Japan, and elsewhere and are thus subject to deletion. The works are also probably copyrighted in the U.S. if first published after

Echoes From the Past — Tzvi Avni. Clarinet in B-Flat, piano — — Composed by Tzvi Avni. With Standard notation. Duration 6 minutes. Israel Music Institute # Published by Israel Music Institute (PR). Price: $

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