Advanced Student Recital: Randall Clack, clarinet

Mr. Clack is a student of Richard Pickar.Sonata in G Major, Bach-Bellison -- Fantasy-Pieces, Op. 73, Schumann -- Three Pieces for clarinet solo, Stravinsky -- Grand Duo Concertant, Op. 48, Weber (1786-1826

FACULTY CHAMBER MUSIC RECITAL ROBERT ROUX, Piano KENNETH GOLDSMITH, Violin JAMES DUNHAM, Viola CHRISTOPHER FRENCH, Cello Tuesday, February 24, 2004 8:00 p.m. Lillian H. Duncan Recital Hall

Program: Sonata for Violin and Piano, Op.10 No.6 / Carl Maria von Weber (1786-1826) -- Piano Trio in E Major, KV 542 / Wolfgang Amadeus Mozart (1756-1791) -- Piano Quartet in G Minor, Op.25 / Johannes Brahms (1833-1897)

The Shepherd Sinfonia

Andante and Rondo, Carl Maria von Weber (1786-1826) -- Violin Concerto No. 1. Andante sostenuto, Béla Bartók (1881-1945) -- Concerto No. 1, Sergey Prokofiev (1891-1953) -- Tropos, Allyson Brown -- Symphony No. 8 ("Le Soir"), Joseph Haydn (1732-1809

Student Recital

Sonata No. 3 for Flute, George Frideric Handel (1685-1759) -- Quartet in D Major, K. 499, Wolfgang Amadeus Mozart (1756-1791) -- Andante and Rondo Hungarese, Carl Maria von Weber (1786-1826) -- Concerto No. 5 in A Major, K.219, for Violin and Piano, Wolfgang Amadeus Mozart (1756-1791) -- Concerto for Violin, Jean Sibelius (1865-1957

Mont Blanc in British Literary Culture 1786 – 1826

This thesis makes an original contribution to the field of Romantic literary studies by adopting a geocritical framework alongside more conventional literary analysis to consider the relationship between Mont Blanc and British literature in the Romantic period, with a primary focus on the years 1786-1826. Essential to this approach is a methodology that focusses on the relationship between texts and both material place and the associations of material place in the mind. The geo-centred research presented in this thesis has deployed a range of strategies that has involved mapping texts, experiencing and examining material place in detail, and contextualising Mont Blanc writings within a broader understanding of mountain activity and the realities of mountain environments. Pictorial evidence has been used to support these methodologies and textual analyses. An original contribution is made towards understanding a number of major canonical and lesser-known British writings of the Romantic period, including Samuel Taylor Coleridge’s ‘Chamouny; The Hour Before Sunrise. A Hymn’ (1802) and ‘Kubla Khan’ (1816), William Wordsworth’s The Prelude (1805), Percy Bysshe Shelley’s ‘Mont Blanc’ (1817), Mary Shelley’s Frankenstein (1818) and The Last Man (1826), and Lord Byron’s Childe Harold’s Pilgrimage Canto III (1816) and Manfred (1817). While a number of previously unrecognised connections between selected Mont Blanc-oriented writings over a forty year period have been revealed, the thesis also presents an experiment that has tested the potentialities of a geocritical methodology

Le Freyschütz : opéra romantique en trois actes

Copia digital. Valladolid : Junta de Castilla y León. Consejería de Cultura y Turismo, 201

[Aufforderung zum Tanze ; arr.]

Orgánico: 2[1.pic] 2 2 4 -- 4 4 3 0 -- tmp -- 2hp -- strDuración: 9Sumario: Originalmente para piano, orquestada por Berlioz en 1841.Copia digital. España : Ministerio de Cultura y Deporte. Subdirección General de Coordinación Bibliotecaria, s2021Tít. de la carp.: `Preciosa Obertura [y] Invitation to the dance`Partes: Fl 1, Pic, Ob 1, 2, Cl 1, 2, Bn 1, 2, 3, 4, Hn 1, 2, 3, 4, Tp 1, 2, Crt 1, 2, Tbn 1, 2, 3, Tmp, Hp 1, 2Faltan las partes de la cuerda

Second Shostakovich Festival: "Festival Without End," February 1, 1985

This is the concert program of the Second Shostakovich Festival: "Festival Without End" performance on Friday, February 1, 1985 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Overture to "Oberon" by Carl Maria von Weber, Symphony No. 40 in G minor, K. 550 by Wolfgang Amadeus Mozart, "As Quiet As" by Michael Colgrass, and Symphony No. 9, Op. 70 by Dmirtri Shostakovich. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund