Trumpet in Transition
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The Hills of Dreamland
SIR EDWARD ELGAR (1857-1934) The Hills of Dreamland SOMMCD 271-2 The Hills of Dreamland Orchestral Songs The Society Complete incidental music to Grania and Diarmid Kathryn Rudge mezzo-soprano† • Henk Neven baritone* ELGAR BBC Concert Orchestra, Barry Wordsworth conductor ORCHESTRAL SONGS CD 1 Orchestral Songs 8 Pleading, Op.48 (1908)† 4:02 Song Cycle, Op.59 (1909) Complete incidental music to 9 Follow the Colours: Marching Song for Soldiers 6:38 1 Oh, soft was the song (No.3) 2:00 *♮ * (1908; rev. for orch. 1914) GRANIA AND DIARMID 2 Was it some golden star? (No.5) 2:44 * bl 3 Twilight (No.6)* 2:50 The King’s Way (1909)† 4:28 4 The Wind at Dawn (1888; orch.1912)† 3:43 Incidental Music to Grania and Diarmid (1901) 5 The Pipes of Pan (1900; orch.1901)* 3:46 bm Incidental Music 3:38 Two Songs, Op. 60 (1909/10; orch. 1912) bn Funeral March 7:13 6 The Torch (No.1)† 3:16 bo Song: There are seven that pull the thread† 3:33 7 The River (No.2)† 5:24 Total duration: 53:30 CD 2 Elgar Society Bonus CD Nathalie de Montmollin soprano, Barry Collett piano Kathryn Rudge • Henk Neven 1 Like to the Damask Rose 3:47 5 Muleteer’s Serenade♮ 2:18 9 The River 4:22 2 The Shepherd’s Song 3:08 6 As I laye a-thynkynge 6:57 bl In the Dawn 3:11 3 Dry those fair, those crystal eyes 2:04 7 Queen Mary’s Song 3:31 bm Speak, music 2:52 BBC Concert Orchestra 4 8 The Mill Wheel: Winter♮ 2:27 The Torch 2:18 Total duration: 37:00 Barry Wordsworth ♮First recordings CD 1: Recorded at Watford Colosseum on March 21-23, 2017 Producer: Neil Varley Engineer: Marvin Ware TURNER CD 2: Recorded at Turner Sims, Southampton on November 27, 2016 plus Elgar Society Bonus CD 11 SONGS WITH PIANO SIMS Southampton Producer: Siva Oke Engineer: Paul Arden-Taylor Booklet Editor: Michael Quinn Front cover: A View of Langdale Pikes, F. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
International Trumpet Guild Journal
Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD June 2014 • Page 6 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
Thursday Playlist
February 20, 2020: (Full-page version) Close Window “Lesser artists borrow, great artists steal.” — Igor Stravinsky Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Liszt Hungarian Rhapsody No. 6 in D Budapest Festival Orchestra/Fischer Philips 456 570 028945657028 Awake! Symphony in D, "The Petrification of Phineus and 00:13 Buy Now! Dittersdorf Cantilena/Shepherd Chandos 8564/5 5014682856423 his Friends" 00:31 Buy Now! Haydn Symphony No. 076 in E flat Academy of Ancient Music/Hogwood BBC MM253 n/a Vonsattel/Sussmann/Swensen/O'Neill 01:01 Buy Now! Franck Piano Quintet in F minor Music@Menlo Live n/a 653738268220 /Finckel New York Chamber Music 01:35 Buy Now! Lully Suite ~ The Forced Marriage Dorian 90189 053479018922 Ensemble/Pederson 01:45 Buy Now! Mozart Fantasia in C minor, K. 475 Lars Vogt EMI 36080 094633608023 02:00 Buy Now! Weber Overture ~ Der Freischutz Philharmonia/Klemperer EMI 13073 n/a 02:11 Buy Now! Strauss, R. 2nd mvt (Andante) ~ Cello Sonata in F, Op. 6 Coppey/le Sage Harmonia Mundi 911550 794881314324 02:20 Buy Now! Mendelssohn Symphony No. 3 in A minor, Op. 56 "Scottish" London Classical Players/Norrington EMI 54000 077775400021 Rimsky- 02:59 Buy Now! Ivan the Terrible National Philharmonic/Stokowski Sony Classical 62647 074646264720 Korsakov 03:04 Buy Now! Tchaikovsky The Seasons (orchestrated version) Moscow Chamber Orchestra/Orbelian Delos 3255 013491325521 03:48 Buy Now! Handel Concerto Grosso in G, Op. 6 No. 1 Guildhall String Ensemble/Salter RCA 7895 078635789522 04:01 Buy Now! Devienne Flute Concerto No. -
Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
Vol. 18, No. 1 April 2013
Journal April 2013 Vol.18, No. 1 The Elgar Society Journal The Society 18 Holtsmere Close, Watford, Herts., WD25 9NG Email: [email protected] April 2013 Vol. 18, No. 1 Editorial 3 President Julian Lloyd Webber FRCM Julia Worthington - The Elgars’ American friend 4 Richard Smith Vice-Presidents Redeeming the Second Symphony 16 Sir David Willcocks, CBE, MC Tom Kelly Diana McVeagh Michael Kennedy, CBE Variations on a Canonical Theme – Elgar and the Enigmatic Tradition 21 Michael Pope Martin Gough Sir Colin Davis, CH, CBE Dame Janet Baker, CH, DBE Music reviews 35 Leonard Slatkin Martin Bird Sir Andrew Davis, CBE Donald Hunt, OBE Book reviews 36 Christopher Robinson, CVO, CBE Frank Beck, Lewis Foreman, Arthur Reynolds, Richard Wiley Andrew Neill Sir Mark Elder, CBE D reviews 44 Martin Bird, Barry Collett, Richard Spenceley Chairman Letters 53 Steven Halls Geoffrey Hodgkins, Jerrold Northrop Moore, Arthur Reynolds, Philip Scowcroft, Ronald Taylor, Richard Turbet Vice-Chairman Stuart Freed 100 Years Ago 57 Treasurer Clive Weeks The Editor does not necessarily agree with the views expressed by contributors, Secretary nor does the Elgar Society accept responsibility for such views. Helen Petchey Front Cover: Julia Worthington (courtesy Elgar Birthplace Museum) Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much preferred) in Microsoft Word or Rich Text Format. A longer version is available in case you are prepared to do the formatting, but for the present the editor is content to do this. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if Editorial required, are obtained. -
Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991, Subscription
&Bmm HHH 110th Season 19 9 0-91 Boston Symphony Orchestra Seiji Ozawa, Music Director 90th Anniversary of Symphony Hall m<K Only The few will own an aldemars. Only the few will seek the exclusivity that comes with owning an Audemars Piguet. Only the few will recognize wn more than a century of technical in- f\Y novation; today, that innovation is reflected in our ultra-thin mech- Memars Piguet anical movements, the sophistica- tion of our perpetual calendars, and more recently, our dramatic new watch with dual time zones. Only the few will appreciate The CEO Collection which includes a unique selection of the finest Swiss watches man can create. Audemars Piguet makes only a limited number of watches each year. But then, that's something only the few will understand. SHREVECRUMP &LOW JEWELERS SINCE 1800 330BOYLSTON ST., BOSTON, MASS. 02116 (617) 267-9100 • 1-800-225-7088 THE MALL AT CHESTNUT HILL • SOUTH SHORE PLAZA Seiji Ozawa, Music Director Grant Llewellyn and Robert Spano, Assistant Conductors One Hundred and Tenth Season, 1990-91 Trustees of the Boston Symphony Orchestra, Inc. Nelson J. Darling, Jr., Chairman Emeritus J. P. Barger, Chairman George H. Kidder, President Mrs. Lewis S. Dabney, Vice-Chairman Archie C. Epps, Vice-Chairman Mrs. John H. Fitzpatrick, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer David B. Arnold, Jr. Avram J. Goldberg Mrs. August R. Meyer Peter A. Brooke Mrs. R. Douglas Hall III Mrs. Robert B. Newman James F. Cleary Francis W. Hatch Peter C. Read John F. Cogan, Jr. Julian T. Houston Richard A. -
The Elgar Sketch-Books
THE ELGAR SKETCH-BOOKS PAMELA WILLETTS A MAJOR gift from Mrs H. S. Wohlfeld of sketch-books and other manuscripts of Sir Edward Elgar was received by the British Library in 1984. The sketch-books consist of five early books dating from 1878 to 1882, a small book from the late 1880s, a series of eight volumes made to Elgar's instructions in 1901, and two later books commenced in Italy in 1909.^ The collection is now numbered Add. MSS. 63146-63166 (see Appendix). The five early sketch-books are oblong books in brown paper covers. They were apparently home-made from double sheets of music-paper, probably obtained from the stock of the Elgar shop at 10 High Street, Worcester. The paper was sewn together by whatever means was at hand; volume III is held together by a gut violin string. The covers were made by the expedient of sticking brown paper of varying shades and textures to the first and last leaves of music-paper and over the spine. Book V is of slightly smaller oblong format and the sides of the music sheets in this volume have been inexpertly trimmed. The volumes bear Elgar's numbering T to 'V on the covers, his signature, and a date, perhaps that ofthe first entry in the volumes. The respective dates are: 21 May 1878(1), 13 August 1878 (II), I October 1878 (III), 7 April 1879 (IV), and i September 1881 (V). Elgar was not quite twenty-one when the first of these books was dated. Earlier music manuscripts from his hand have survived but the particular interest of these early sketch- books is in their intimate connection with the round of Elgar's musical activities, amateur and professional, at a formative stage in his career. -
April 2021 Vol.22, No. 4 the Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected]
Journal April 2021 Vol.22, No. 4 The Elgar Society Journal 37 Mapledene, Kemnal Road, Chislehurst, Kent, BR7 6LX Email: [email protected] April 2021 Vol. 22, No. 4 Editorial 3 President Sir Mark Elder, CH, CBE Ballads and Demons: a context for The Black Knight 5 Julian Rushton Vice-President & Past President Julian Lloyd Webber Elgar and Longfellow 13 Arthur Reynolds Vice-Presidents Diana McVeagh Four Days in April 1920 23 Dame Janet Baker, CH, DBE Some notes regarding the death and burial of Alice Elgar Leonard Slatkin Relf Clark Sir Andrew Davis, CBE Christopher Robinson, CVO, CBE Book reviews 36 Andrew Neill Arthur Reynolds, Relf Clark Martyn Brabbins Tasmin Little, OBE CD Reviews 44 Christopher Morley, Neil Mantle, John Knowles, Adrian Brown, Chairman Tully Potter, Andrew Neill, Steven Halls, Kevin Mitchell, David Morris Neil Mantle, MBE DVD Review 58 Vice-Chairman Andrew Keener Stuart Freed 100 Years Ago... 60 Treasurer Kevin Mitchell Peter Smith Secretary George Smart The Editors do not necessarily agree with the views expressed by contributors, nor does the Elgar Society accept responsibility for such views. Front Cover: Portrait photograph of Longfellow taken at ‘Freshfields’, Isle of Wight in 1868 by Julia Margaret Cameron. Courtesy National Park Service, Longfellow Historical Site. Notes for Contributors. Please adhere to these as far as possible if you deliver writing (as is much Editorial preferred) in Microsoft Word or Rich Text Format. Copyright: it is the contributor’s responsibility to be reasonably sure that copyright permissions, if required, are obtained. Professor Russell Stinson, the musicologist, in his chapter on Elgar in his recently issued Bach’s Legacy (reviewed in this issue) states that Elgar had ‘one of the greatest minds in English music’.1 Illustrations (pictures, short music examples) are welcome, but please ensure they are pertinent, This is a bold claim when considering the array of intellectual ability in English music ranging cued into the text, and have captions. -
FOMRHI Quarterly
_. " Elena Dal Cortiv& No. 45 October 1986 FOMRHI Quarterly BULLETIN 45 2 Bulletin Supplement 8 Plans: Bate Collection 9 Plans? The Royal College of Music 12 Membership List Supplement 45 COMMUNICATIONS 745- REVIEWS: Dirtionnaire des facteurs d'instruments ..., by M. Haine £ 748 N. Meeus', Musical Instruments in the 1851 Exhibition, by P. £ A. Mactaggart; Samuel Hughes Ophideidist, by S. J, Weston} Chanter! The Journal of the Bagpipe Sodiety, vol.1, part 1 J. Montagu 14 749 New Grove DoMi: JM 65 Further Detailed Comments: The Gs. J. Montagu 18 750 New Grove DoMi: ES no. 6J D Entries E. Segerman 23 751 More on Longman, Lukey £ Broderip J. Montagu 25 752 Made for music—the Galpin Sodety's 40th anniversary J. Montagu 26 753 Mersenne, Mace and speed of playing E. Segerman 29 754' A bibliography of 18th century sources relating to crafts, manufacturing and technology T. N. McGeary 31 755 What has gone wrong with the Early Music movement? B. Samson 36 / B. Samson 37 756 What is a 'simple' lute? P. Forrester 39 757 A reply to Comm 742 D. Gill 42 758 A follow-on to Comm 739 H. Hope 44 759 (Comments on the chitarra battente) B. Barday 47 760 (Craftsmanship of Nurnberg horns) K. Williams 48 761 Bore gauging - some ideas and suggestions C. Karp 50 7632 Woodwin(On measurind borge toolmeasurins and gmodems tools ) C. Stroom 55 764 A preliminary checklist of iconography for oboe-type instruments, reeds, and players, cl630-cl830 B. Haynes 58 765 Happy, happy transposition R. Shann 73 766 The way from Thoiry to Nuremberg R. -
Program for Meet the Plumbers (April 20
The PLUMBING FACTORY BRASS BAND Henry Meredith, Director – Meet the PLUMBERS – Music for various types of brass instruments in small and large ensembles APRIL 20, 2016 Byron United Church – 420 Boler Road (@ Baseline), LONDON, Ontario __________________________________________ TUTTI – Introducing our members according to the types of instruments they play, from the bottom up Joy, Peace & Happiness Richard Phillips (born 1962) CORNETS – The sweeter, mellower cousins of the trumpets can still sound like trumpets for fanfares! Tuba Mirum from the Manzoni Requiem (1874) Giuseppe Verdi (1813-1901), arr. H. Meredith Fanfare for Prince Henry (1984) Jeff Smallman (born 1965) BRASS BAND Instrument Predecessors –Parforce Horns for the hunt Polka Mazur & Österreichesche Jägerlied Anton Wunderer (1850-1906) Le Rendez-vous de Chasse (1828) Gioachino Rossini (1792-1868) TROMBONES – The “perfect” instrument remains basically unchanged after five centuries! Two Newfoundland Folk Songs arr. Kenneth Knowles Let Me Fish Off Cape St. Mary’s & Lots of Fish in Bonavist’ Harbor Jazz Invention No. 1 Lennie Niehaus (born 1929) More Predecessors of BRASS BAND Instruments – Valveless Trumpets - The instruments of kings Fanfares pour 4 Trompettes naturelles (1833) Sigismund Neukomm (1778-1858) Allegro & Polonaise Quartuor No. 1 – Marche François-Georges-Auguste Dauverné (1799-1874) TUBAS/ EUPHONIUMS – Bass and Baritone Horns of the Saxhorn type – Going places! Indiana Polka (from Peters’ Saxhorn Journal, Cincinnati, 1859) Edmund Jaeger, J. Schatzman Pennsylvania Polka Lester Lee (1903-1956) and Zeke Manners (1911-2000) Washington Post March (1889) John Philip Sousa (1854-1932) TUTTI – Another important place name – how the West was won Dodge City (2001) Jeff Smallman Muted CORNETS and Flugelhorns – The Pink Panther (1964) Henry Mancini (1924-1994), arr. -
A New Species of Instrument: the Vented Trumpet in Context
1 A NEW SPECIES OF INSTRUMENT: THE VENTED TRUMPET IN CONTEXT Robert Barclay Introduction The natural trumpet is the one instrument not yet fully revived for use in the performance of Baroque music. A handful of recordings are available and very rarely a concert featuring solo performances on the instrument is given, but to a great extent the idiosyncrasies of the natural harmonic series are still considered to be beyond reliability in the recording studio or in live performance. Most current players have taken to using machine-made instruments with as many as four fi nger-holes placed in their tubing near to pressure nodes, so that the so-called “out-of-tune harmonics” of the natural series (principally f’/f#’, and a” ) will not be unpleasant to modern sensitivity. The vented instruments that have resulted from this recent “invention of tradition” are often equipped with so many anachronistic features that the result is a trumpet which resembles its Baroque counterpart only superfi cially, whose playing technique is quite different, and whose timbre is far removed from that expected for Baroque music. Among publications that deal with the compromises made to natural instruments in modern practice, those of Tim Collins, Richard Seraphinoff, and Crispian Steele-Perkins deserve especial mention. Collins provides an excellent summary of the characteristics of the natural trumpet, and an analysis of the current state of playing of the instrument.1 Seraphinoff concentrates on the early horn, and discusses the pros and cons of the use of vent holes in so-called historical performances.2 Steele-Perkins summarizes the develop- ment of the modern Baroque trumpet and provides practical advice on the selection of instruments3 All three authors highlight the tension that has arisen within the fi eld of early brass performance.