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Comment and Chronicle

Comment and Chronicle COMMENT & CHRONICLE Comment & Chronicle The New England Conservatory Job Bulletin lists music performance, teaching, and arts administration opportunities worldwide. One of the most comprehensive job listings sources available, the Job Bulletin is produced by the Career Services Center at NEC and is available by subscription. Each edition includes hundreds of listings: opportunities with orchestras, opera companies, chamber ensembles, colleges and universities, public and private schools, churches and synagogues, and other arts organizations. In addition, the Job Bulletin includes information on competitions, festivals, grants, conferences, and workshops. Subscription cost is $45 per year, and the bulletin is sent every two weeks via e-mail. To view screen shot samples and to print the downloadable order form, go to the Career Services pages on the Conservatory’s website: www.newengland conservatory.edu/career and click on Job Bulletin. New View on The Hebrides. The third in their series of critical editions of Mendelssohn’s great overtures, the new Bärenreiter edition of The Hebrides Overture, op. 26 (1830/1832), edited by Christopher Hogwood, consists of two versions. Each contains additional material from further sources: (1) the “Rome” version exists in two versions and has never been published in a performing edition; (2) the “London” version also exists in two versions, one of which was published by Mendelssohn in 1835. This new edition documents the development of the composition and the various changes made by Mendelssohn and offers orchestras the possibility to perform his famous work based on all known sources. Contributors to this issue: Laura Basini works on late-nineteenth-century Italian opera and its twentieth-century reception. She has published on Verdi’s Falstaff, the use of Verdi’s music in postwar Italian film, and the Parma Verdi centennial celebrations of 1913. She is translator of Michele Girardi’s Puccini: His International Art. Carlo Caballero is assistant professor of music at the University of Colorado at Boulder. He is the author of Fauré and French Musical Aesthetics (Cambridge University Press, 2001) and essays on Saint-Saëns and Vernon Lee. His next major project centers on French “classicism” and the persistence of eighteenth-century social and aesthetic values in nineteenthcentury Paris. He is currently completing a study of Fauré, modality, and early music at the École Niedermeyer. Joel Haney is a doctoral candidate in music history at Yale University. His dissertation, in progress, seeks to reorient the discussion of Paul Hindemith’s compositional development immediately following the First World War. Violinist Maiko Kawabata earned her doctorate in musicology at the University of California, Los Angeles in 2001. She is an assistant professor in the Department of Music at the State University of New York, Stony Brook, and is working on a book on violin virtuosity in the time of Paganini. She can be contacted at mkawabata@notes.cc.sunysb.edu. l 19th-Century Music, XXVIII/2, p. 183. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2004 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm.. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Comment and Chronicle

19th-Century Music , Volume 28 (2) – Oct 1, 2004

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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2004.28.2.183
Publisher site
See Article on Publisher Site

Abstract

COMMENT & CHRONICLE Comment & Chronicle The New England Conservatory Job Bulletin lists music performance, teaching, and arts administration opportunities worldwide. One of the most comprehensive job listings sources available, the Job Bulletin is produced by the Career Services Center at NEC and is available by subscription. Each edition includes hundreds of listings: opportunities with orchestras, opera companies, chamber ensembles, colleges and universities, public and private schools, churches and synagogues, and other arts organizations. In addition, the Job Bulletin includes information on competitions, festivals, grants, conferences, and workshops. Subscription cost is $45 per year, and the bulletin is sent every two weeks via e-mail. To view screen shot samples and to print the downloadable order form, go to the Career Services pages on the Conservatory’s website: www.newengland conservatory.edu/career and click on Job Bulletin. New View on The Hebrides. The third in their series of critical editions of Mendelssohn’s great overtures, the new Bärenreiter edition of The Hebrides Overture, op. 26 (1830/1832), edited by Christopher Hogwood, consists of two versions. Each contains additional material from further sources: (1) the “Rome” version exists in two versions and has never been published in a performing edition; (2) the “London” version also exists in two versions, one of which was published by Mendelssohn in 1835. This new edition documents the development of the composition and the various changes made by Mendelssohn and offers orchestras the possibility to perform his famous work based on all known sources. Contributors to this issue: Laura Basini works on late-nineteenth-century Italian opera and its twentieth-century reception. She has published on Verdi’s Falstaff, the use of Verdi’s music in postwar Italian film, and the Parma Verdi centennial celebrations of 1913. She is translator of Michele Girardi’s Puccini: His International Art. Carlo Caballero is assistant professor of music at the University of Colorado at Boulder. He is the author of Fauré and French Musical Aesthetics (Cambridge University Press, 2001) and essays on Saint-Saëns and Vernon Lee. His next major project centers on French “classicism” and the persistence of eighteenth-century social and aesthetic values in nineteenthcentury Paris. He is currently completing a study of Fauré, modality, and early music at the École Niedermeyer. Joel Haney is a doctoral candidate in music history at Yale University. His dissertation, in progress, seeks to reorient the discussion of Paul Hindemith’s compositional development immediately following the First World War. Violinist Maiko Kawabata earned her doctorate in musicology at the University of California, Los Angeles in 2001. She is an assistant professor in the Department of Music at the State University of New York, Stony Brook, and is working on a book on violin virtuosity in the time of Paganini. She can be contacted at mkawabata@notes.cc.sunysb.edu. l 19th-Century Music, XXVIII/2, p. 183. ISSN: 0148-2076, electronic ISSN 1533-8606. © 2004 by the Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press’s Rights and Permissions website, at http://www.ucpress.edu/journals/rights.htm..

Journal

19th-Century MusicUniversity of California Press

Published: Oct 1, 2004

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