The Six Schuebler Chorales
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THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
{ to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke. -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson
The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson Sundays at 10 P.M. at FM 90.1 Over-the-air & LIVE STREAM at wabe.org Tuesdays at 3 p.m. & Saturdays at 10 a.m. at 90.1-2 on WABE’s Classics Stream on your HD Radio, Internet Radio or online at WABE.org and with the WABE Mobile App available for free download at WABE.org Underwriting of the Atlanta Music Scene is provided by ACA Digital Recording with additional support from Robert Hubert. July 4, 2021 – 8:00pm - 10:00pm On Air Broadcast Preempted by “A Capitol Fourth” A Capitol Fourth is an annual July 4th tradition with a live concert direct from the steps of the U.S. Capitol. NPR is pleased to offer this special for broadcast again this year. Emanuel Ax, piano [HD-2 and Online Broadcasts as scheduled Tuesday, July 6 @ 3:00pm & Saturday July 10 @ 10:00am Johannes Brahms: Two Rhapsodies, Op. 79 George Benjamin: Piano Figures Frédéric Chopin: Three Mazurkas, Op. 50 Chopin: Nocturnes, Op. 62 No. 1 in B Major and Op. 15, No. 2 in F-Sharp Major Chopin: Andante spianato et Grande Polonaise brillante in E-Flat Major, Op. 22 [Recorded at Clayton State University’s Spivey Hall 03/24/2019] Program Time 01:06:42 July 11, 2021 – 10:00pm Paul Halley, organ J.S. Bach: Chorale Prelude on “In Dulci Jubilo” Maurice Dupre: Choral “In Dulci Jubilo” Paul Halley: Improvisation on “Good Christian Folk Rejoice” J. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
74Th Baldwin-Wallace College Bach Festival
The 74th Annual BALDWIN-WALLACE Bach Festival Annotated Program April 21-22, 2006 Save the date! 2007 75th B-W BACH FESTIVAL Friday, Saturday, and Sunday April 20–22, 2007 Including a combined concert with the Bethlehem Bach Choir, celebrating its 100th Festival, in Severance Hall. The Mass in B Minor will be featured. Check our Web site for details www.bw.edu/bachfest Featured Soloists presented with support from the E. Nakamichi Foundation and The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil BALDWIN-WALLACE COLLEGE SEVENTY-FOURTH ANNUAL BACH FESTIVAL THE OLDEST COLLEGIATE BACH FESTIVAL IN THE NATION ANNOTATED PROGRAM APRIL 21–22, 2006 DEDICATION THE SEVENTY-FOURTH ANNUAL BACH FESTIVAL IS RESPECTFULLY DEDICATED TO RUTH PICKERING (1918–2005), WHO SO LOVED MUSIC, THE BALDWIN-WALLACE COLLEGE BACH FESTIVAL AND CONSERVATORY CONCERTS, THAT SHE AND HER LATE HUSBAND, DON, HAD THEIR NAMES ENGRAVED ON BRASS PLAQUES AND AFFIXED TO THEIR FAVORITE SEATS, DD 24 AND DD 25, IN THE BALCONY OF GAMBLE HALL, KULAS MUSICAL ARTS BUILDING. SHE WILL BE REMEMBERED WITH MUCH LOVE BY MANY FROM THIS COMMUNITY, IN WHICH SHE WAS SO ACTIVE. Third Sunday Chapel Series at Baldwin-Wallace College Lindsay-Crossman A concert series under the direction of Warren Scharf, Margaret Scharf, and Nicole Keller 2006-2007 Concert Schedule Third Sundays at 7:45 p.m. Our Sixth Season October 15, 2006 March 18, 2007 November 19, 2006 April 15, 2007 December 17, 2006 The public is warmly invited to attend these free concerts. The Chapel is handicapped accessible. -
A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-2-2014 A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Labadorf, Thomas A., "A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet" (2014). Doctoral Dissertations. 332. https://opencommons.uconn.edu/dissertations/332 A New Transcription and Performance Interpretation of J.S. Bach’s Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf, D. M. A. University of Connecticut, 2014 A new transcription of Bach’s Chromatic Fantasy is presented to offset limitations of previous transcriptions by other editors. Certain shortcomings of the clarinet are addressed which add to the difficulty of creating an effective transcription for performance: the inability to sustain more than one note at a time, phrase length limited by breath capacity, and a limited pitch range. The clarinet, however, offers qualities not available to the keyboard that can serve to mitigate these shortcomings: voice-like legato to perform sweeping scalar and arpeggiated gestures, the increased ability to sustain melodic lines, use of dynamics to emphasize phrase shapes and highlight background melodies, and the ability to perform large leaps easily. A unique realization of the arpeggiated section takes advantage of the clarinet’s distinctive registers and references early treatises for an authentic wind instrument approach. A linear analysis, prepared by the author, serves as a basis for making decisions on phrase and dynamic placement. -
Considerations for Choosing and Combining Instruments
CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH Item Type text; Electronic Dissertation Authors Park, Chungwon Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 04:28:57 Link to Item http://hdl.handle.net/10150/194278 CONSIDERATIONS FOR CHOOSING AND COMBINING INSTRUMENTS IN BASSO CONTINUO GROUP AND OBBLIGATO INSTRUMENTAL FORCES FOR PERFORMANCE OF SELECTED SACRED CANTATAS OF JOHANN SEBASTIAN BACH by Chungwon Park ___________________________ Copyright © Chungwon Park 2010 A Document Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College The UNIVERSITY OF ARIZONA 2010 2 UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Chungwon Park entitled Considerations for Choosing and Combining Instruments in Basso Continuo Group and Obbligato Instrumental Forces for Performance of Selected Sacred Cantatas of Johann Sebastian Bach and recommended that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _______________________________________________________Date: 5/15/2010 Bruce Chamberlain _______________________________________________________Date: 5/15/2010 Elizabeth Schauer _______________________________________________________Date: 5/15/2010 Thomas Cockrell Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Conceiving Musical Transdialection
Conceiving Musical Transdialection By Richard Beaudoin, Harvard University and Joseph Moore, Amherst College Abstract: We illuminate the wandering notion of a musical transcription by reflecting on the various ways “transcription” and its cognates have been used in musical discourse, and by examining some notable 20th century transcriptions of J. S. Bach, which became increasingly loose through the decades. At root, musical transcription aims at preservation, but, as we bring out, exactly which musical ingredients are preserved across which transformations varies from transcriptional project to transcriptional project. We defend as intelligible one very interesting such project—we call it “transdialection”—by exploring an analogy with poetic translation, and by directly taking on some natural objections to it. We conclude that certain controversial transcriptions are justifiably and usefully so-called. 1 0. Transcription Traduced While it may not surprise you to learn that the first bit of music above is the opening of a chorale prelude by Baroque master, J. S. Bach, who would guess that the second bit is a so-called transcription of it? But it is—it’s a transcription by the contemporary British composer, Michael Finnissy. The two passages look very different from one another, even to those of us who don’t read music. And hearing the pieces will do little to dispel the shock, for here we have bits of music that seem worlds apart in their melodic makeup, harmonic content and rhythmic complexity. It’s a far cry from Bach’s steady tonality to Finnissy’s floating, tangled lines—a sonic texture in which, as one critic put it, real music is “mostly thrown into a seething undigested, unimagined heap of dyslexic clusters of multiple key- and time-proportions, as intricately enmeshed in the fetishism of the written notation as those 2 with notes derived from number-magic.”1 We’re more sympathetic to Finnissy’s music. -
The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University -
Rethinking J.S. Bach's Musical Offering
Rethinking J.S. Bach’s Musical Offering Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev Rethinking J.S. Bach’s Musical Offering By Anatoly Milka Translated from Russian by Marina Ritzarev This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Anatoly Milka All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3706-4 ISBN (13): 978-1-5275-3706-4 TABLE OF CONTENTS List of Figures........................................................................................... vii List of Schemes ....................................................................................... viii List of Music Examples .............................................................................. x List of Tables ............................................................................................ xii List of Abbreviations ............................................................................... xiii Preface ...................................................................................................... xv Introduction ............................................................................................... -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
J. S. Bach's Keyboard Fingering
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of April 1980 J. S. Bach’s Keyboard Fingering: New Evidence Quentin Faulkner University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Faulkner, Quentin, "J. S. Bach’s Keyboard Fingering: New Evidence" (1980). Faculty Publications: School of Music. 22. https://digitalcommons.unl.edu/musicfacpub/22 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Essay originally published in The Diapason 7:4 , # 845 (April 980), pp. 4–5. Copyright © 980 Quentin Faulkner. J. S. Bach’s Keyboard Fingering: New Evidence by Quentin Faulkner There is presently considerable interest among scholars and performers of early music in early keyboard fingering practices and their effect on the music’s articulation and phrasing. This is no- where more evident than in the current reconsideration of J. S. Bach’s keyboard music in the light of primary source material on his keyboard fingering. The primary sources available to us up to now are three in number: . Applicatio (BWV 994) 2. Praeambulum (BWV 928) Both of these works are found in the Clavier-Büchlein vor Wilhelm Friedemann Bach. They both offer some insight info Bach’s fingering practices, but neither tells us all we might wish. The “Applicatio” is a simple piece (aside from the trills specified for the fourth and fifth fingers), obviously composed to show normal fingering practice without presenting difficulties which would necessitate creative or unusual solutions.