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Reinhard Keiser (1674-1739) Markuspassion Passion Selon Saint Marc - St Mark Passion
ENSEMBLE JACQUES MODERNE Gli Incogniti - Amandine Beyer Jan Kobow ténor - Thomas e. Bauer basse - Joël Suhubiette direction Jan Kobow ténor (Evangelist) Thomas E. Bauer basse (Jesus) Ensemble Jacques Moderne Anne Magouët soprano (arias et Magd) David Erler alto (arias et Hohepriester) Stephan Van Dyck ténor (arias et Petrus) Guilhem Terrail alto (Judas, Kriegsknecht) Gunther Vandeven alto (Hauptmann) Olivier Coiffet ténor (Pilatus) Cécile Dibon soprano Cyprile Meier soprano Marc Manodritta ténor Didier Chevalier basse Christophe Sam basse Pierre Virly basse Gli Incogniti Amandine Beyer violon 1 Alba Roca violon 2 Marta Páramo alto 1 Ottavia Rausa alto 2 Francesco Romano théorbe Marco Ceccato violoncelle Baldomero Barciela violone Anna Fontana orgue et clavecin Mélodie Michel basson Antoine Torunczyk hautbois Joël Suhubiette direction TRACKS 2 PLAGES CD REINHARD KEISER (1674-1739) Markuspassion Passion selon Saint Marc - St Mark Passion De récentes recherches musicologiques permettent de penser que la « Markuspassion » n’est pas l’œuvre de Reinhard Keiser, essentiellement pour des raisons stylistiques. En revanche, l’attribution à un autre compositeur du XVIIème siècle tel que Nicolaus Bruhns ou Gottfried Keiser, le père de Reinhard Keiser, n’est pas encore avérée et cette question reste donc à ce jour non élucidée. Recent musicological research tends to suggest that the Markuspassion is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain. Die Ergebnisse jüngster musikwissenschaftlicher Forschungen lassen, vor allem aus stilistischen Gründen, durchaus vermuten, dass Reinhard Keiser nicht der wirkliche Urheber der „Markuspassion“ ist. -
16385 Wykaz Punktow Pobran
Wykaz punktów pobrań Diagnostyki Sp. z o.o. w Regionie Zachodniopomorskim ulica nr domu godziny otwarcia telefon miejscowość 7:00 - 11:30 PP - BIAŁOGARD Lindego 21 pobierane do codziennie 784 465 262 Białogard 11:00 pn.8:00 - 10:30 PP - BIAŁOGARD Mickiewicza 6 pozostałe dni codziennie 735 974 687 Białogard 8:00 - 11:00 PP - CZAPLINEK Drahimska 65A 8:00 - 10:00 codziennie 733 343 654 Czaplinek Vita. Laboratorium Marii Skłodowskiej - pn - pt 32 codziennie 94 314 18 48 Darłowo analityczne Curie 7.00 - 10.30 7:30 - 11:30 PP - GRYFICE Niepodległości 82 pobieranie do codziennie 881 960 214 Gryfice 11:00 663 680 844 PP GRYFINO 7:30 - 11:00 Niepodległości 39 (+ na codziennie 91 416 26 95 Gryfino Szpital wezwanie) w. 150 695 133 102 PP GRYFINO 7:00 - 11:00 11-go Listopada 12A 8:00 - 11:00 codziennie 91 416 26 95 Gryfino 11-go Listopada 12A (sobota) w. 150 7:00 - 11:00 (+ na PP - KAMIEŃ codziennie Szpitalna 10 wezwanie) 663 680 617 Kamień Pomorski + sob., niedz. POMORSKI sobota 8:00 - 10:00 PP - KAMIEŃ Kopernika 26 7:00 - 11:00 codziennie 660 747 853 Kamień Pomorski POMORSKI PP KARLINO Szczecińska 3 8:00 - 10:00 pn., śr., pt. 94 347 72 82 Karlino 7:30 - 17:00 PP - KOŁOBRZEG Łopuskiego 52 sobota codziennie 663 685 563 Kołobrzeg 9:00 - 11:00 7:00 - 13:30 663 685 666 PP - KOŁOBRZEG Kolejowa 1 sobota codziennie Kołobrzeg 9:00 - 11:00 663 685 563 PP - KOŁOBRZEG Zapleczna 3F 7:30 - 11:00 codziennie 506 226 443 Kołobrzeg PP - KOŁOBRZEG Szpitalna 2 7:30 - 11:30 codziennie 663 685 563 Kołobrzeg pn - pt 7:00 15:00 przerwa 94 34 88 318 codziennie PP KOSZALIN -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document. -
Verslag Orgelfestival Holland 2007
Verslag Orgelfestival Holland 2007 Stichting Internationaal Schnitger Orgelconcours www.alkmaarorgelstad.nl Inleiding Van 22 tot en met 30 juni 2007 stond de Alkmaarse Grote Sint Laurenskerk in het teken van het Orgelfestival Holland, dat sinds 1991 voor de negende keer werd georganiseerd door de Stichting Internationaal Schnitger Orgelconcours. Het festival bestond uit een concours, een academie met lezingen en masterclasses, een orgelwandeltocht en een serie concerten met daarin het bijzondere jeugdconcert Heavy Metal?!. De opzet van dit festival verschilde van de vorige doordat dit festival aan één componist een speciaal openingsweekend wijdde. Dit jaar was dat de componist Dieterich Buxtehude in verband met zijn 300ste sterfjaar. In dit zogenaamde “Dieterich Buxtehude Weekend” werd een groot aantal activiteiten op promotioneel en muzikaal gebied georganiseerd, waardoor we in het weekend alleen al 1500 bezoekers bij de verschillende evenementen mochten begroeten. 2 Het Dieterich Buxtehude Weekend Vrijdag 22 juni Het orgelfestival op de kaasmarkt Op vrijdag 22 juni startte het Buxtehude Weekend op de beroemde Alkmaarse kaasmarkt. Op uitnodiging en in aanwezigheid van loco-burgemeester Hans Meijer en wethouder Rian van Dam werd deze speciale kaasmarkt geopend door het luiden van de bel door de Italiaanse organist en jurylid Andrea Marcon. Even tevoren had Marcon het belang van de wereldberoemde orgels in de Grote St. Laurenskerk onder de aandacht gebracht van de honderden toeristen op de kaasmarkt. Tijdens de kaasmarkt werd een “Battle of the Carillon” gehouden, waarbij het carillon in de Waagtoren, bespeeld door stadsbeiaardier Bob van Wely, en het reizende carillon van klokkengieterij Eijsbouts, bespeeld door Rosemarie Seuntiëns, een vraag- en antwoordspel uitvoerden. -
MAY, 2010 New York Avenue Presbyterian Church Washington
THE DIAPASON MAY, 2010 New York Avenue Presbyterian Church Washington, D.C. Cover feature on pages 30–31 May 2010 Cover.indd 1 4/12/10 12:15:10 PM May 2010 pp. 2-19.indd 2 4/12/10 12:16:29 PM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred First Year: No. 5, Whole No. 1206 MAY, 2010 Kudos played for the inauguration program. He Established in 1909 ISSN 0012-2378 It is always a happy day when The also played the November 1942 dedica- An International Monthly Devoted to the Organ, Diapason arrives. Your magazine re- tion of the Aeolian-Skinner here in Aus- the Harpsichord, Carillon, and Church Music kindles my love for the pipe organ. tin, for he was Dean Doty’s teacher at Thanks for the tremendous contribu- the University of Michigan. tion you make with the publication of My father was an architect, therefore this marvelous journal. I was intrigued when they had a display CONTENTS Editor & Publisher JEROME BUTERA [email protected] Dan Stokes that showed how the planners for St. 847/391-1045 Louisville, Kentucky John’s determined what style of architec- FEATURES ture they wanted. They had two formats Two Organs by Bossi Vegezzi Associate Editor JOYCE ROBINSON Organ stoplists to choose from: they chose the one now in Altamura (Bari), Italy [email protected] I devour each issue with keen an- in Denver, and the other choice turned by Bill Halsey 20 847/391-1044 ticipation. My comment/suggestion re- out to be the building for the chapel that University of Michigan 49th Conference Contributing Editors LARRY PALMER lates to the cover story on pages 30–31. -
Gemeinschaftsinitiative INTERREG IIIA
Gemeinschaftsinitiative INTERREG IIIA Ergebnisse der grenzübergreifenden Zusammenarbeit im Regionalen Programm Mecklenburg-Vorpommern/ Brandenburg – Polen (Wojewodschaft Zachodniopomor- skie) im Zeitraum 2000-2006 EFRE Das Regionalprogramm Mecklenburg- Programmgebiet: 34.218 km2 Vorpommern/Brandenburg – Polen Einwohner: 2.486.000 (Zachodniopomorskie) der Gemeinschafts- Bruttowertschöpfung: 47.705 Millionen EUR initiative INTERREG III A genehmigte Gesamtkosten: 157.541.222 EUR e Außenstelle des Gemeinsamen davon EFRE: 118.155.626 EUR Technischen Sekretariats bei der Mittelbindung Ende 2007: 157.913.043 EUR Kommunalgemeinschaft POMERANIA e.V. davon EFRE: 114.268.501 EUR Ernst-Thälmann-Straße 4 Gesamtzahl der geförderten Projekte D-17321 Löcknitz (ohne Fonds kleiner Projekte): 450 r Regionaler Kontaktpunkt im Marschallamt der Wojewodschaft Zachodniopomorskie Abt. Europäische Integration Pl. Holdu Pruskiego 08 70-550 Szczecin Inhaltsverzeichnis Seite 3 Vorwort 4 Interreg III A in Mecklenburg-Vorpommern/Brandenburg – Polen (Zachodniopomorskie) 2000-2006 A 8 Priorität A – Wirtschaftliche Entwicklung und Kooperation B 18 Priorität B – Verbesserung der technischen und touristischen Infrastruktur C 30 Priorität C – Umwelt D 36 Priorität D – Ländliche Entwicklung E 40 Priorität E – Qualifizierung und beschäftigungswirksame Maßnahmen F 44 Priorität F – Innerregionale Zusammenarbeit, Investitionen für Kultur und Begegnung, Fonds für kleine Projekte G 60 Priorität G – Besondere Unterstützung der an die Beitrittsländer angrenzenden Gebiete H 62 Priorität -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
A Study of Musical Rhetoric in JS Bach's Organ Fugues
A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people. -
There Isn't a Piece That Doesn't Impress. This Is As
Also by Trio Settecento on Cedille Records An Italian Soujourn CDR 90000 099 “There isn’t a piece that doesn’t impress. This is as good a collection for a newcomer to the Baroque as it is for those who want to hear these works performed at a high level.” — Gramophone Producer: James Ginsburg Schmelzer) / Louis Begin, replica of 18th Century model (rest of program) Trio Settecento A German Bouquet Engineer: Bill Maylone Bass Viola da Gamba: William Turner, Art Direction: Adam Fleishman / 1 Johann Schop (d. 1667): Nobleman (1:56) bm Johann Sebastian Bach (1685–1750) London, 1650 Fugue in G minor, BWV 1026 (3:54) www.adamfleishman.com 2 Johann Heinrich Schmelzer (c. 1620–1680) ’Cello: Unknown Tyrolean maker, 18th Cover Painting: Still Life with a Wan’li Sonata in D minor (5:49) Philipp Heinrich Erlebach (1657–1714) century (Piesendel) Sonata No. 3 in A Major (14:06) Vase of Flowers (oil on copper), Georg Muffat (1653–1704) Bosschaert, Ambrosius the Elder (1573- Viola da Gamba and ’Cello Bow: Julian Sonata in D major (11:33) bn I. Adagio—Allegro—Lento (2:35) 1621) / Private Collection / Johnny Van Clarke bo II. Allemande (2:19) 3 I. Adagio (2:34) Haeften Ltd., London / The Bridgeman bp III. Courante (1:33) Harpsichord: Willard Martin, Bethlehem, 4 II. Allegro—Adagio—Allegro—Adagio (8:59) Art Library bq IV. Sarabande (1:53) Pennsylvania, 1997. Single-manual Johann Philipp Krieger (1649–1725) br V. Ciaconne (3:42) Recorded June 16, 17, 19, 23, and 24, instrument after a concept by Marin Sonata in D Minor Op. -
West Pomerania Is a Very Convenient Layout of Roads for Transit Transport
Location • proximity Tahoma to Western Europe • proximity to Scandinavia • access to the Baltic Sea and proximity to the Atlantic Ocean • situated along the shortest route linking Scandinavia with Central and Southern Europe • situated along the shortest route linking Western Europe with Baltic States and Russia Key data & facts population 1,7 million area 23 thousand km² (the fifth biggest region in Poland) territorial division 21 counties and 114 communes accessed with EU since 2004 main distances Copenhagen 281 km Berlin 140 km Prague 371 km Warsaw 450 km Brussels 850 km London 1016 km distances are line of sight Priority sectors renewable energy logistics tourism BPO chemical electronics timber and wooden products automotive (car parts) 213 124 companies incl. 4 253 with foreign capital Be close! Convenient location The strength of West Pomerania is a very convenient layout of roads for transit transport Crossing international roads E-65 - connecting Scandinavia with Prague and Southern Europe E-28 - connecting Berlin with Gdańsk Railway main lines E-59 - re-loading terminals Świnoujscie sea port to Berlin, Vienna and Sophia E-28 - connecting Berlin/Hamburg – through West Pomerania to Gdańsk – Kaliningrad – Sankt Petersburg Convenient location The strength of West Pomerania is a very convenient layout of roads for transit transport Szczecin is the only one city in Poland directly linked by highway with Western Europe (A6) In a few years the S3 expressway will link Świnoujście with Czech border (CETC) In 2013 West Pomerania will have -
Friday, July 22, 2016 @ 15:30, Dom Zu Meißen
Friday, July 22, 2016 @ 15:30, Dom zu Meißen Rodney Gehrke, Organist PROGRAM Nicolaus Bruhns (1665 – 1697) Praeludium in E-minor Johann Sebastian Bach (1685 – 1750) Contrapunctus I from “Die Kunst der Fuge,” BWV 1080 Prelude, Largo and Fugue in C major, BWV 545 Von Gott will ich nicht lassen, BWV 658 Trio super: Allein Gott in der Höh’ sei Ehr, BWV 664 Georg Böhm (1661–1733) Vater Unser In Himmelreich Martin Luther (1483 – 1546) Hymn: Ein’ feste Burg ist unser Gott Johann Sebastian Bach Chorale Prelude: Ein’ feste Burg ist unser Gott, BWV 720 Felix Mendelssohn-Bartholdy (1809 – 1847) Prelude and Fugue in G Major, Opus 37, No. 2 Johann Sebastian Bach Toccata and Fugue in D minor, BWV 565 Please silence all electronic devices. Wir bitten Sie, während der Konzert elektrische Geräte mit akustischen Signalen ausgeschaltet zu lassen. Program Notes The short-lived Nicolaus Bruhns was a favored student of Dieterich Buxtehude. His E minor Praeludium is a late example of a genre perfected by Buxtehude, who left us many more such pieces: a multi-sectioned work alternating brilliant and often surprising passages in the stylus phantasticus (fantasy style) with sections of fugal counterpoint. The rhetorical devices in such works have been compared to those of extended sermons of the period. Two special sections stand out in this piece: one is marked “harpeggio” and reflects Bruhns abilities as a violinist: he could have played the manual part on his violin and accompanied himself on the organ pedals! The second fugue section features a dramatic silence in the fugue subject itself, taking advantage of reverberation times in resonant churches. -
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.