William Burden Vídeos
cantante de ópera estadounidense
- tenor
- Estados Unidos
- cantante de ópera
Última actualización
2024-05-09
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David Steffens Steffens Burden 2018
Setting the Stage Panel How Cognitive Burden Affects Communication David Steffens, M.D., M.H.S., Chair, Psychiatry, University of Connecticut
Burden Gavin Bryars Buxtehude Sheppard 2020 2021 2022
Make or renew your donation today to be part of the story behind “one of the bravest ensembles around”! (http•••) Video footage of The Song Company's Principal, Associate, and Guest Artists in action with Artistic Director Antony Pitts and guest choreographer/dancer Thomas E.S. Kelly from Karul Projects. ALWAYS UNEXPECTED – ALWAYS MOVING The past 12 months have seen perhaps the biggest upheaval in the arts and creative environments in recent history. In a year that was marked out by cancellations, lockdowns, empty theatres and an increasingly insular society, we also witnessed resilience, the embracing of technologies and a realisation of just how important the creative arts are to the well-being of society. DONATE NOW: (http•••) OUR SUPPORTERS Great art is supported by people who love great art. The Song Company’s ambitious and innovative programming would not exist without our audiences and our donors. In 2020, the company was humbled by the number of ticket buyers who became donors for the first time, when they offered to return cancelled tickets, due to COVID, back to the company. Read on to find out exactly how your support enables The Song Company to bring the power and beauty of the human voice into your life. YOUR COMPANY ★★★★★ “Demonstrated the excellence, precision and mastery of all singers involved.” Daily Review March 2020 The Song Company is Australia’s only national professional vocal ensemble. Our artists are leaders in their fields – singing, teaching, composing and conducting in their home towns across the country. When we come together to perform, the warmth and clarity of our sound is unmistakeable. EXPECT THE UNEXPECTED ★★★★★ “This is the country’s pre-eminent choir and a-cappella ensemble.” Daily Review March 2020 The Song Company performs the widest range of repertoire of any ensemble in Australia. When you attend a performance by The Song Company, you are trusting us to present an incredible range of music, much of which you may not be familiar with. And if we are performing a piece that you do know, you can always expect that it will be done in a new way – based both on scholarship and performance practice of the highest calibre, as well as creative and often radical reinvention and of course, excellent singing from the incredible vocal artists that make up our ensemble. FROM PEN TO STAGE Support the entire ecosystem of composers and performers when you donate to The Song Company. The Song Company’s proud tradition of commissioning and new work creation continues in 2021 with all our MainStage productions built on substantial new works. Burden of Truth in May and June 2021 sees the presentation of two new major large-scale works in three cities. English composer Gavin Bryars wrote his iconic reflection on homelessness and hope, Jesus’ Blood Never Failed Me Yet, 50 years ago. He has created a new 32-part vocal arrangement, of which The Song Company give the world première performances. Now rescheduled for 2022, Arms of Love will feature a major new work, I pray the sea, by Australian composer Chris Williams intertwined by one of the marvels of the baroque period, Membra Jesu Nostri by Buxtehude. Throw away any expectations you may have about the old and the new – this project promises to be one of the most exciting and original fusion of chamber music, dance from Karul Projects' Thomas E.S. Kelly, and incredible vocalism from The Song Company's Artists. Songs From The Heart is an significant new project, entirely curated by two important Indigenous voices in Australian composition, Elizabeth Sheppard and Sonya Holowell. Elizabeth and Sonya are creating an original vocal response to the Uluru Statement, employing the full range of vocal possibilities from a seven-voice ensemble. INVESTING IN THE NEXT GENERATION “A fantastic cathartic experience” Limelight Magazine March 2021 The Song Company’s Ensemble Artist Program is the country’s only early career professional development program for aspiring classical and ensemble singers. Only 18 months old, it is already drawing praise for the calibre of the artists involved. ALWAYS MOVING “A thoroughly enthralling experience with superb singing throughout” ClassikON December 2020 The power of the human voice, the magic of singing in harmony, the moment when individual lines come together in a single chord – this is The Song Company. Lose yourself in the intricacies of 16th-century polyphony. Marvel as a multi-voice work unfolds layer by layer. Feel the connection between light and hope; darkness and despair; optimism after sacrifice. Leave the everyday world behind when you experience your national vocal ensemble. DONATE TODAY: (http•••)
Adolf Lotter McAllister Wiley Burden 1918 1936 1937 1942 1959 1971 1972 1973 1974 2019
“Three Days, Fantasia-Overture” by Adolf Lotter +••.••(...)). Performed by the Heart of Texas Concert Band for the “Symphonic Classics” concert held November 24, 2019 at McAllister Auditorium, San Antonio College. Conducted by R. Mark Rogers. This remastered video is made possible in part with funding from Humanities Texas and the National Endowment for the Humanities (NEH) as part of the federal ARP Act. All opinions, findings, conclusions, or recommendations expressed in this video do not necessarily represent those of the National Endowment for the Humanities. Lotter was a Czech composer and double-bass player who spent most of his adult career living in London, where he was employed as a composer and music editor for Boosey & Hawkes. His “Three Days” was published for orchestra in 1918 during the heyday of silent motion pictures, and appeared in a band arrangement in 1936. It is cast is seven sections, the fourth of which (3:30) is the source music for the “Fight, Raiders, Fight”, the fight song used at Texas Tech University in Lubbock, Texas. A SHORT HISTORY OF “FIGHT RAIDERS, FIGHT!” by R. Mark Rogers Legend has it that the band at Texas Technological College (as TTU was known in those days) was rehearsing “Three Days, Fantasia-Overture" in 1937 under the direction of D. O. Wiley, and several members of the band noted that the catchy tune in the middle of “Three Days” might serve well as a fight song for the college. It is not known to this writer if Texas Tech at that time had no fight song or whether the fight song in use at that time had been borrowed from some other college. Words were written and the tune quickly found acceptance among the student body. The middle section of “Three Days” is in the key of D-flat (this is important for the latter part of the discussion), and features a syncopated rhythm (2/4 time: eighth-quarter-eighth-half) in the first phrase: Fight RAID-ers Fight, with emphasis and additional length given to the syllable “Raid.” Dean Killion arrived at Texas Tech in 1959, and sometime during the early part of his tenure, the rhythm was changed: the syncopation was eliminated (new rhythm in 2/4 time: quarter-2 eighths-half, sounding FIGHT Raid-ers FIGHT) to allow the piece to be played at a somewhat quicker pace; the rhythm was NOT changed in the parts, but was handed down to entering freshmen by upper level band members. [Also during the 60s the name of the institution was changed to Texas TECH UNIVERSITY - those of us who lived nearby will recall our parents’ difficulty, as they continued to refer to the the street that bordered Tech the on east as “College Avenue” instead of “University Avenue”.] In 1972 when this writer arrived as a freshman at Texas Tech University, the band was still playing the fight song in D-flat. During the mid-70s (perhaps 1973 or 1974), Killion wanted to raise the key from D-flat to E-flat which would somewhat brighten the sound of the piece (and reduce the burden on less skilled members of the band who didn’t like five flats in the key signature), so he asked John Tatgenhorst, the band’s main arranger at that time, to transpose the piece a tone higher and create a new arrangement. The raise to E-flat made the counter-melody in the trombones and euphoniums too high for secure performance, so Tatgenhorst wrote a different counter-melody; and the change of rhythm in the first phrase was written into the parts at that time. The next season, Killion asked Tatgenhorst to write a fanfare-like introduction to the piece, to be used in the traditional pre-game show and in other settings. At this time, the introduction and the fight song itself were on two separate pieces of paper. This being found to be inconvenient, Rogers (the author of this reminiscence) recopied the parts to put the introduction and fight song on the same sheet. It is very possible (perhaps certain) that the parts used by the Texas Tech band to this day are these same hand-written parts from the mid 70s. Licensed by the Association of Concert Bands, ASCAP, BMI HTxCB.org 4128 Warm Winds San Antonio, TX 78253
Richard Wagner Alan Held Elizabeth Bishop Moore Cox Ryan McKinny William Burden Gordon Hawkins Hawkins Lindsay Ammann Ammann 1813 1869 1883
Das Rheingold, WWV 86A by Richard Wagner +••.••(...)) Libretto by Richard Wagner, inspired by the Nordic and Germanic mythology, particularly the Nibelungenlied, an epic poem from Germanic Middle Ages. Premiere - September 22, 1869, Munich National Theatre. Cast: Alan Held - Wotan Fricka - Elizabeth Bishop Freia - Melody Moore Froh - Richard Cox Donner - Ryan McKinny Loge - William Burden Alberich - Gordon Hawkins Mime - David Cangelosi Erda - Lindsay Ammann Woglinde - Jacqueline Echols± Wellgunde - Catherine Martin Flosshilde - Renée Tatum Fasolt - Julian Close Fafner - Soloman Howard
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- cronología: Cantantes líricos (Norteamérica).
- Índices (por orden alfabético): B...