DOCSLIB.ORG

Vorläufiges Gesamtverzeichnis Zum Katalog Der Filmsammlung

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vorläufiges Gesamtverzeichnis Zum Katalog Der Filmsammlung 1. Für die Navigation im Gesamtverzeichnis können Sie die „Lesezeichen“ des Acrobat Reader (Acrobat Reader 4.0) verwenden. 2. Für die Benutzung der WWW-Links muß evtl. Ihr Browser bereits gestartet sein. - Zum Gesamtverzeichnis - http://www.dmga.de E-mail: [email protected] DEUTSCHES MUSIKGESCHICHTLICHES ARCHIV KASSEL VORLÄUFIGES GESAMTVERZEICHNIS ZUM KATALOG DER FILMSAMMLUNG (zu Katalog-Band 1-4 sowie Heft 25 und 26) Zusammengestellt und bearbeitet von Hendrik Dochhorn KASSEL: DEUTSCHES MUSIKGESCHICHTLICHES ARCHIV KASSEL März 2000 http://www.dmga.de E-mail: [email protected] Satz: Deutsches Musikgeschichtliches Archiv, Kassel © 2000 Deutsches Musikgeschichtliches Archiv, Kassel Alle Rechte vorbehalten / All rights reserved http://www.dmga.de E-mail: [email protected] INHALT Vorwort ......................................................................................................................4 I. Namenverzeichnis .............................................................................................5 II. Chronologisches Verzeichnis der Drucke .......................................................78 III. Verzeichnis der Druckorte ...............................................................................89 IV. Verzeichnis der Bibliotheken mit Sammelhandschriften ................................99 V. Korrekturen zu Bd. 1-4 und zu den Heften 25 und 26 ...................................104 3 http://www.dmga.de E-mail: [email protected] Vorwort Der Katalog des Deutschen Musikgeschichtlichen Archivs ist bisher in vier vollstän- digen Bänden (= Heft 1-24) und den ersten zwei Heften des 5. Bandes erschienen (Heft 25 u. 26). Jeder der fertigen Bände verfügt über ein eigenes Register. Eine erste große Zäsur bei der Erstellung des Kataloges wird der 6. Band sein, der nach Erschei- nen des Heftes Nr. 30 als Gesamtregister zu allen fünf Katalogbänden folgen soll. Die Handhabung der vier Einzelregister und der zwei bislang nicht durch ein Ver- zeichnis erschlossenen neuen Hefte 25 und 26 ist mittlerweile recht unbequem ge- worden. Da bis zum Erscheinen des 6. Bandes noch einige Zeit vergehen kann, wird das Gesamtverzeichnis hiermit in einer ersten Version zur Verfügung gestellt, die einen Zugang zum Inhalt der vorliegenden 26 Hefte bietet. Zu beachten ist, daß es sich hierbei um eine „Arbeitsversion“ handelt: Insbesondere bei der Ergänzung bisher abgekürzt wiedergegebener Vornamen und bei der Zusam- menführung von Nachweisen, die in früheren Registern unter verschiedenen Schrei- bungen ein und desselben Namens eingeordnet waren (z. B. unter der deutschen und der latinisierten Form bzw. dem Pseudonym), sind Unstimmigkeiten zu erwarten. Daher empfiehlt es sich, verschiedene Namensschreibweisen sowie Pseudonyme bei der Suche einzubeziehen. Dem Gesamtregister ist eine Liste neu bekanntgewordener „Corrigenda“ zu allen Bänden und Einzelregistern beigegeben. Das Register kann über das Internet (http://www.dmga.de) online benutzt werden; unter gleicher Adresse wird auch eine ausdruckbare *.pdf-Datei zum Download be- reitgestellt. Die nächste Version wird voraussichtlich erst der Band 6 selbst sein, da- her lohnt sich ein Ausdruck dieser Datei. Hinweise auf fehlerhafte Vornamens-Ergänzungen, unentdeckte Pseudonyme und sonstige Unstimmigkeiten werden gerne entgegengenommen. Deutsches Musikgeschichtliches Archiv – Gesamtregister – Gießbergstraße 41-47 34127 Kassel Telephon: +49 561 899940 Telefax: +49 561 8900097 URL: http://www.dmga.de e-mail: [email protected] Kassel/Göttingen 23. 3. 2000 Hendrik Dochhorn 4 http://www.dmga.de E-mail: [email protected] I. Namenverzeichnis A. A. 5/334** Agricola, D. 1/676 A. E. S. W. M. 3/469 Agricola, Georg Ludwig 1/1942 A. H. M. 3/652, 3/653 Agricola, J. 1/1787 A. K. 3/437 Agricola, J. F. 1/1196 A. N. V. (Andreas Nicolaus Vetter?) Agricola, Johann (Drucker) 1/1 5/343 Agricola, Johann David 3/523 A. R. 2/1441 Agricola, Johann Friedrich 3/1345, Abbate, Carlo 3/1834 3/1863, 4/898 Abel, Clamor Heinrich 2/969, 2/1022, Agricola, Martin 1/427-1/429, 1/495*, 2/1948, 2/1949 1/537, 1/538, 1/1748, 1/1749, 1/2205, Abel, D. 1/416 2/587, 2/1023, 2/1255, 2/1462, 2/1934, Abeltshauser, J. G. 5/428, 5/429 2/2376, 3/455, 3/456, 3/1379, 3/1380 Abicht, Johann Georg 3/942 Agricola, Nicolaus 1/1750 Abondante, Giulio 3/1429 Agricola, Wolfgang Christoph 2/1482, Accademico Bizzarro Capriccioso 5/430, 2/1950, 3/1, 3/2, 3/470 5/431 Agrippa von Nettesheim, Henricus Achilleo, Paul 2/969 Cornelius 1/1280 Adam von Fulda 3/454 Ahle, Johann Georg 1/902-1/905, Adam, Johann 3/1355, 4/462 1/1782-1/1786, 1/2206, 2/2-2/4, Adelbulner, Johann Ernst 2/1474, 5/652 2/1483, 2/1484, 2/1689, 2/2377, Adelon 2/2356 2/2390, 5/440 Adlung, Jakob 2/554, 3/1835 Ahle, Johann Rudolf 1/2*, 1/496, 1/955, Adriaensen, Emmanuel (s. unter 1/1943-1/1946, 2/5, 2/6, 2/588, HADRIANIUS, EMANUEL) 2/1006, 2/1024, 2/1025, 2/1485- Adriano, M. 1/1922 2/1487, 2/1901, 2/2377, 3/3-3/5*, Aebel, David 5/432** 3/471, 3/472, 3/654, 3/943, 3/955, Aeduardus, Ortonensis 3/452 3/956, 5/439**, 5/440, 5/441 Aertssens, Hendrik 3/196 Aich, Arnt von 2/339, 2/1885 Agazzari, Agostino 2/1, 2/1904, Aich, Gottfried 2/1488 5/319**, 5/433-5/435 Aichinger, Gregor 1/3, 1/497-1/499, Agnelli, Lorenzo 5/436, 5/437 1/1787-1/1789, 2/7-2/9, 2/589, 2/1026- Agostini, Lodovico 3/1430, 5/438 2/1033, 2/1418, 2/1489, 2/1490, Agostini, Pietro Simone 5/161 2/1909, 2/1951, 3/6-3/8, 3/957, Agrell, Johann 3/1369 3/1344, 3/1355, 3/1822, 4/462, 5/309, Agricola 2/1964 5/442 Agricola, Alexander 2/585, 2/974, Alardus, Lampartus 1/1281* 2/1002, 2/1413, 2/1414, 2/1916, Alay, Mauro 3/1081 2/1928, 2/2347, 2/2356, 3/1353, Albert de Rippe 3/443 3/1801, 3/2219, 3/2240, 3/2247, 4/474, Albert, Heinrich 1/956, 1/957, 1/1197, 5/313, 5/351, 5/364, 5/365, 5/377, 1/1199, 2/10-2/19, 2/395, 2/1491- 5/382 2/1495, 2/1690, 2/1952-2/1956, 3/9- Agricola, Christian Johannes 2/586, 3/13, 3/473, 3/474, 3/958-3/960 2/1959 Alberti, Domenico 4/1, 3/2251, 5/443 Agricola, Conrad 1/1*, 2/1585 Alberti, Giuseppe Matteo 5/444 * = s. Addenda/Errata des entsprechenden Bandes 5 ** = s. die diesem Gesamtregister beigefügte neue Korrekturen-Liste zu Bd. 1-4/Heft 25 und 26 http://www.dmga.de E-mail: [email protected] Albertino, Ignazio 3/1864 5/433-5/435, 5/453, 5/460, 5/461, Albertus, Petrus 1/1947 5/474-5/478, 5/523, 5/643, 5/726, Albicastro, Henrico 5/162 5/814, 5/815 Albinoni, Tomaso Giovanni 3/655- Amalia Catharina, Gräfin zu Erpach 3/657, 3/1082-3/1084, 3/1431, 3/1567- 2/1958 3/1569, 3/1997, 3/1998, 4/204, 4/205, Amalia von Preußen, Prinzessin 5/463 4/271-4/274, 4/390, 5/163, 5/445- Ambrosch, Joseph Karl 4/100 5/450 Amerbach, Bonifatius 1/1684, 1/1685, Albinus, Bernhard 1/481*, 5/418 2/1886* Albrecht d. Ä., Markgraf v. Amling, Barbara 5/485 Brandenburg, Hzg. v. Preußen 2/142 Ammerbach, Elias Nicolaus 1/500, Albrecht, Georg 3/2276 1/906, 1/1384, 1/1385 Albrecht, Johann Lorenz 3/1835, 3/1836, Ammon, Blasius 1/10, 1/501, 2/591, 4/964 2/1035, 2/1256, 2/1498, 2/1710, Albrechtsberger, Johann Georg 3/944, 3/2228, 3/2231 3/1345, 3/1381, 4/466, 5/164 Ammon, Johann Wilhelm 3/46 Albrici, Vincenzo 2/1691-2/1709, 3/658- Ammon, Wolfgang 2/592 3/661, 3/1085-3/1105, 3/1570-3/1573, Amon, Johann Andreas 4/100 3/1999-3/2001 Anchieta, Juan de 5/310 Alder, Cosmos 1/1790, 3/2214, 3/2229 Anders, Hendrik 2/1499, 3/15 Aleotti, Raffaella 2/590, 5/437 André, Jean 3/2288, 5/536, 5/537, 5/595, Alfieri, Pietro 3/662 5/630-5/632, 5/677, 5/679, 5/794- Allegri, Giovanni Battista 3/475, 3/663, 5/796, 5/870, 5/876-5/879, 5/909, 3/664 5/922-5/924 Allegri, Gregorio 5/451 André, Yves-Marie 3/1838, 3/2277 Allwood, Richard 2/1922 Andrea, Johann Valentin 2/1500 Alopecius, Hero 5/416 Andrea, Lazarus 2/25 Aloys, Gebr. 1/609 Andreae, Johann Gottfried 4/964a-b (s. Alphonso (s. unter FERRABOSCO, Addenda, S. 300), 4/1023-4/1025 (s. ALFONSO) auch Addenda, S. 307) Alstedt, Johann Heinrich 1/2207*, Andreas, Carolus 1/1257 3/1837, 5/389 Andree, Jacob 2/2408 Alt, E. 4/100 Anerio, Felice 3/476, 5/319**, 5/341 Altenburg, Michael 1/4-1/9, 2/20, Anfossi, Pasquale 3/1106, 4/899 2/1034, 2/1496, 2/1900*, 2/1901, Angelerio, Giorgio 3/88 2/1957, 3/14 Angeli, Francesco Maria 3/2292 Altherr, Jacob 2/1497 Angelus Silesius (s. unter SILESIUS, Altnikol, Johann Christoph 5/165 JOHANNES ANGELUS) Amadino, Ricciardo 1/245, 1/519, Angran, Monsieur 5/547 1/1467, 1/1468, 2/133, 2/139, 2/171, Animuccia, Paulus 5/341 2/172, 2/177, 2/318, 2/380, 2/590, Annibale Padoano 1/1791, 2/1238, 2/683, 2/693, 2/1129, 2/1130, 2/1171, 2/1670, 2/1898, 2/1931, 3/638 2/1172, 2/1239, 2/2079, 3/476, 3/481, Anonyme 1/502-1/504, 1/1282, 1/1386, 3/482, 3/579, 3/580, 3/594, 3/596, 1/1751, 1/1792, 2/968*, 2/1416*, 3/962, 3/983, 3/1024, 3/1028, 3/1035, 2/1453*, 2/1900*, 3/391*, 4/2-4/5, 3/1476, 3/1527, 3/1962, 4/243, 5/8, 4/86-4/100, 4/164-4/203, 4/206, 4/387- 6 * = s. Addenda/Errata des entsprechenden Bandes ** = s.
Load more

Recommended publications
  • 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.
    [Show full text]
  • A Repertoire Guide to Composers Whose Anniversaries Fell in 2016
    COMPOSER ANNIVERSARIES IN 2016 John Collins, Worthing Editor’s note: a shortened version of this article was published in British Clavichord Society Newsletter 64, February 2016. Copyright remains with the author, who is happy for excerpts to be used provided that the source is duly acknowledged. For permission to use the document in its entirety, please contact the author directly. There are several composers whose anniversaries can be commemorated in 2016, albeit some of the dates are not known for certain. Some of the composers listed here will need no introduction but there are also several less well-known names whose compositions are well worth exploring. I have omitted composers whose surviving pieces are clearly intended for organ only. No claim is made for completeness (some composers with only a very small number of surviving pieces have not been included), and there is no guarantee that every edition mentioned here is in print. There may well also be editions by other publishers, and it could be worth searching online booksellers for copies. Publishers’ catalogue numbers are given here where possible; websites are listed here. An increasing number of pieces, ranging from complete original publications or manuscripts (which present the usual problems of multiple clefs as well as original printers’ errors) to modern versions of complete or individual works, are to be found on various free- download sites, most notably IMSLP; however, the accuracy of some modern typesettings is highly questionable, and all should be treated with caution. Antonio de Cabezón (1510–66) was organist to the Holy Roman Emperor Charles V and one of the most important Spanish composers of the sixteenth century.
    [Show full text]
  • The Life of Bach
    The life of Bach Peter Williams published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge, cb22ru,UK 40 West 20th Street, New York, ny 10011–4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Peter Williams 2004 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2004 Printed in the United Kingdom at the University Press, Cambridge Typeface FF Quadraat 9.75/14 pt. System LATEX2ε [tb] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Williams, Peter F. The life of Bach / Peter Williams. p. cm. – (Musical lives) Includes bibliographical references and index. ISBN 0–521–82636–5 1. Bach, Johann Sebastian, 1685–1750. 2. Composers – Germany – Biography. I. Title. II. Series. ml410.b1w71 2003 780.92–dc21 2003055080 [b] isbn 0 521 82636 5 hardback isbn 0 521 53374 0 paperback contents List of illustrations vi Acknowledgments viii Introduction 1 1 Early years, 1685–1703 5 2 First appointments, 1703–1708 25 3 Weimar, 1708–1717 45 4Cothen,¨ 1717–1723 76 5 Leipzig, the first decade 99 6 Leipzig, the second decade 125 7 Leipzig, the final years, and the first personal descriptions 137 Appendix 1: a sample hypothesis 196 Appendix 2: some terms 203 List of references 206 BWV index 209 Index of names 212 v illustrations 1 Map of northern Germany in the time of J.
    [Show full text]
  • 1933U6 Nannette Reese Hanslowe, B
    79 Maf ?SOO( rn A STUDY OF THE ORIGINS AND EARLY DEVELOPMENT OF THE MAJOR SEVENTH CHORD THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ivUSIC By 1933u6 Nannette Reese Hanslowe, B. M. Denton, Texas August, 1951 1933'J$ TABLE OF CONTENTS Page""k, LIST OF TABLES . * . * * . * * " a iv LIST OF ILLUSTRATIONS . I v Chapter I. INTRODUCTION . , . .a 1 II. THE USE OF TIE I4AJOR SEVENTh CHORD IN THE PHEYGIAN CADENCE . ., ,. 7 III. THE USE OF TEE MAJOR SEVENTH CHORD IN AUTHENTIC CADENCES . 40 IV. THE USE OF THE MAJOR SEVENTH CHORD IN SEQUENCES AND SUSPENSION CHAINS . .. 60 V. THE IRREGULAR USES OF THE MAJOR SEVENTH CHORD * * - - - * - .1 -*.*-0-#-& . & . 1 87 VI. CONCLUSIONS * -.- a a9 a a a9 0 a9 a0 a9 a9 . 107 a 9- 9 0. 9 APPENDIX * 0 - 9 9 9 - , - a a 9 9 0 0 112 BIBLIOGRAPEY *.- * - . .*- . - 9 9 9* . 0 - . 0 . 113 III LIST OF TABLES Table Page 1. Tabulation of the Examples of Irregular Uses of the Major Seventh Chord Mentioned in ChapterV . -a-0-0-0-0**...* - . .*112 iv LIST OF ILLUSTRATIONS Figure Page 1. Voice Leading of the hrygian Cadence . 8 2. Johann Sebastian Bach, "Erbarm' Dich Mein, 0 Herre Gott" . * @0 8 3. Georg Frederick Handel, "Sonata No. 4" . 4. Arcangelo Corelli, "Sonata X" . 10 5. Glausulse for "Hec Dies" . - - - . 12 6. Phrygian Cadence circa 1400 . 13 7. Conrad Paumann, Fundamentum organsandi 13 8. Johannes Martini, "La LMartinella" . 14 9. Jakob Hobrecht, "Pleni und Agnus Dei II".
    [Show full text]
  • Download Booklet
    The Harmonious Thuringian Toccata in E minor, BWV 914 Johann Sebastian Bach (1685–1750) 1. Toccata 4.18 2. Fugue 3.03 Suite VIII in G major Johann Caspar Ferdinand Fischer (1656–1746) 3. Prelude 2.21 4. Chaconne 3.47 5. Prelude in D minor Louis Marchand (1669–1732) 2.56 6. Passacaglia in D minor Johann Philipp Krieger (1649–1725) 11.01 7. Fantasia in G minor, BWV 917 Johann Sebastian Bach 2.22 8. Ich dich hab ich gehoffet Herr Johann Krieger (1651–1735) 3.30 9. Allemande in descessum Christian Ritter (1645 or 1650–1717) Caroli xi Regis Sveciae 4.50 Prelude and Fugue Johann Christoph Bach (1642–1703) in E flat major, BWV Anh.177 10. Prelude 1.49 11. Fugue 3.05 12. Fugue in C major Anon: attrib. Johann Pachelbel (1653–1706) 1.57 13. Capriccio Cromatico overo Tarquinio Merula (1594 or 1595–1665) Capriccio ... per le semi tuoni 4.02 14. Prelude in A major, BWV 896 Johann Sebastian Bach 0.50 15. Nun komm, der Heiden Heiland Friedrich Wilhelm Zachow (1663–1712) 2.55 16. Prelude Johann Kuhnau (1660–1722) 1.26 Suite No. 5 in E major, HWV 430 George Frideric Handel (1685–1759) 15.13 17. Prelude 2.09 18. Allemande 5.28 19. Courante 2.30 20. Air and Variations (‘Harmonious Blacksmith’) 4.59 Total playing time: 70.26 TERENCE CHARLSTON, harpsichord The Harmonious Thuringian A recording of late seventeenth- and early eighteenth-century keyboard music, associated with the early years of Bach and Handel, performed on a reconstruction of a surviving German harpsichord of that period.
    [Show full text]
  • 0190295634537 BACH Complete Works for Organ - Marie-Claire Alain.Indd 1 08/06/2018 16:51 JOHANN SEBASTIAN BACH 1685-1750 the COMPLETE ORGAN WORKS
    15 CD BACH COMPLETE WORKS FOR ORGAN MARIE-CLAIRE ALAIN 0190295634537 BACH Complete Works for Organ - Marie-Claire Alain.indd 1 08/06/2018 16:51 JOHANN SEBASTIAN BACH 1685-1750 THE COMPLETE ORGAN WORKS (unknown) This means that the work in question, previously attributed to Bach, was not in fact written by him, but by another, unidentified composer. (Composer name?) This means that a work previously attributed to Bach is now attributed to the composer mentioned in brackets, though not with certainty. (Composer name) This means that a work previously attributed to Bach was in fact written by the composer mentioned in brackets. CD 1 75.04 Sonata No. 1 in E-flat, BWV 525 1 I. (Allegro) 3.05 2 II. Adagio 5.53 3 III. Allegro 3.45 Sonata No. 2 in C minor, BWV 526 4 I. Vivace 3.46 5 II. Largo 3.41 6 III. Allegro 4.31 Sonata No. 3 in D minor, BWV 527 7 I. Andante 6.17 8 II. Adagio e dolce 3.51 9 III. Vivace 4.04 Sonata No. 4 in E minor, BWV 528 10 I. Adagio – Vivace 2.46 11 II. Andante 3.38 12 III. Un poco allegro 2.20 2 0190295634537 BACH Complete Works for Organ - Marie-Claire Alain.indd 2 08/06/2018 16:51 Sonata No. 5 in C, BWV 529 13 I. Allegro 4.36 14 II. Largo 4.56 15 III. Allegro 3.57 Sonata No. 6 in G, BWV 530 16 I. Vivace 4.02 17 II. Lento 5.48 18 III.
    [Show full text]
  • Mit Freuden Zart… Dafür Sind Das Große Verdienstkreuz Der Bundesrepublik Deutschland Und Geistliche Abendmusik Der Landesorden Von Nordrhein-Westfalen
    Samstag, 7. Juni 1997, 18 Uhr Der Name Vetter ist in Münster geläufig: Apostelkirche Münster 1958-1976 leitete Hans-Joachim Vetter die Westf. Schule für Musik. Er gilt als Reformer der Musikschulen und hat der Förderung des musikalischen Nachwuchses in Münster entscheidende Impulse gegeben: sichtbare Zeichen Mit Freuden zart… dafür sind das Große Verdienstkreuz der Bundesrepublik Deutschland und Geistliche Abendmusik der Landesorden von Nordrhein-Westfalen. In Münster konzertiert regel- mäßig der Obertonsänger Michael Vetter, sein Sohn. Das Adressbuch Münster verzeichnet gegenwärtig 25 Vetter, die auch zum 1. Georg Vetter (1536-1599): Mit Freuden zart (Text 1566) Konzert eingeladen wurden. Im Telefonverzeichnis Deutschland wird 2. Andreas-Nicolaus Vetter (1666-1734): Fuga C-Dur Klaus Vetter 136 mal aufgeführt. Das führt natürlich immer wieder zu 3. Daniel Vetter (1709): Nun lob mein Seel (Satz), Übertrg.: J. Vetter Verwechslungen und zu der Frage nach verwandtschaftlichen Beziehungen. 4. Andreas-Nicolaus Vetter: Komm, heiliger Geist, Herre Gott So entstand zum 10-jährigen Ortsjubiläum die Idee zum Vetter-Konzert, in 5. Daniel Vetter (1709): Liebster Gott, wann werd ich sterben dem nachgewiesen werden soll, daß die Vetters sehr musikalisch sind obwohl 6. Schemelli-Gesangbuch 1736: Melodie: Daniel Vetter - das sei ausdrücklich vermerkt - sie n i c h t miteinander verwandt sind. Das unterscheidet sie (u.a.) von der großen musikalischen Familie Bach. 7. Johannes Vetter: Klangspuren für Orgel, Trommel und Die Herkunft des Namens Vetter, der uns eint, kann sich aus unterschied- (geb 1952) Klingende Gläser (1996) lichen Schreibweisen in den letzten Jahrhunderten entwickelt haben: Vedder, Vedders, Vettere, Fetter u.a.. Oder es wurde - wie bei Berufsbezeichnungen 8.
    [Show full text]
  • Thoroughbass, Chorale, and Fugue: Teaching the Craft of Composition in J
    THOROUGHBASS, CHORALE, AND FUGUE: TEACHING THE CRAFT OF COMPOSITION IN J. S. BACH’S CIRCLE VOLUME I: TEXT Dissertation zur Erlangung des Grades eines Doktors der Philosophie (Dr. phil.) an der Hochschule für Musik Freiburg im Breisgau vorgelegt von Derek Remeš Eingereicht am 19. Februar 2020 Disputation am 1. Juli, 2020 Revidierte Fassung vom 12. Juli 2020 betreut von Prof. Dr. Felix Diergarten (c) 2020 Derek Remeš (Vol. 1: Text) THOROUGHBASS, CHORALE, AND FUGUE: TEACHING THE CRAFT OF COMPOSITION IN J. S. BACH’S CIRCLE VOLUME I: TEXT Submitted in Fulfllment of the Requirement for the Degree of Doctor of Philosophy (Ph.D) Hochschule für Musik Freiburg im Breisgau by Derek Remeš Presented February 19, 2020 Defended July 1, 2020 Revised July 12, 2020 Advised by Prof. Dr. Felix Diergarten (c) 2020 Derek Remeš (Vol. 1: Text) (c) 2020 Derek Remeš (Vol. 1: Text) © 2020 Derek Remeš i (c) 2020 Derek Remeš (Vol. 1: Text) To all my teachers. ii (c) 2020 Derek Remeš (Vol. 1: Text) Curriculum Vitae Derek Remeš was born in Northfeld, Minnesota (USA) on June 14, 1986. He studied music for one year at St. Olaf College (Northfeld, Minnesota) from 2005 to 2006 before transferring to the Berklee College of Music (Boston, Massachusetts), where he obtained a BA in Music Composition and a BA in Film Scoring in 2010 (summa cum laude). After two years away from academic study, during which time he learned the organ, Mr. Remeš entered the Eastman School of Music (Rochester, New York), where he obtained a MA in Organ in 2014 and a MM in Music Teory Pedagogy in 2017.
    [Show full text]
  • Historic Organs of Belgium May 15-26, 2018 12 Days with J
    historic organs of BELGIUM May 15-26, 2018 12 Days with J. Michael Barone historic organs of GERMANY May 22-June 4, 2019 14 Days with J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from Mr. & Mrs. Wesley C. Dudley, grants from Walter McCarthy, Clara Ueland, and the Greystone Foundation, the Art and Martha Kaemmer Fund of the HRK Foundation, and Jan Kirchner on behalf of her family foun- dation, by the contributions of listeners to American Public Media stations nationwide, and by the thirty member organizations of the Associated Pipe Organ Builders of America, APOBA, represent- ing the designers and creators of pipe organs heard throughout the country and around the world, with information at www.apoba.com. See and hear Pipedreams on the Internet 24-7 at www.pipedreams.org. A complete booklet pdf with the tour itinerary can be accessed online at www.pipedreams.org/tour Table of Contents Welcome Letter Page 2 Bios of Hosts and Organists Page 3-7 The Thuringian Organ Scene Page 8-9 Alphabetical List of Organ Builders Page 10-15 Organ Observations Page 16-18 Tour Itinerary Page 19-22 Tour Members Playing the Organs Page 23 Organ Sites Page 24-116 Rooming List Page 117 Traveler Profiles Page 118-122 Hotel List Page 123-124 Map Inside Back Cover Thanks to the following people for their valuable assistance in creating this tour: Tim Schmutzler Valerie Bartl, Cynthia Jorgenson, Kristin Sullivan, Janet Tollund, and Tom Witt of Accolades International Tours for the Arts in Minneapolis.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand com er and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann ArtXJr, Ml 48106-1346 USA 800-521-0600 UMI* THE LATE TWENTIETH-CENTURY AMERICAN ORGAN CHORALE: A STUDY OF SIX COMPOSERS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lisa Ann Browne, M.M. ***** The Ohio State University 2001 Dissertation Committee: Approved by Professor Charles Atkinson, Adviser Professor Lois Rosow idvfser Professor Arved Ashby Music Graduate Program UMi Number: 9999374 Copyright 2001 by Browne, Lisa Ann All rights reserved.
    [Show full text]
  • Organs and Brass, IJ
    THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN AND l'HE INTERESTS OF ORGANISTS Sixty-third Year, No.9 - lVilolt: No. 755 AUGUST, 1972 Subscriptions $4.00 a year - 40 cents G copy Convention 1972 ('onnntlon d,nllure ,I,neUe by Donald WIIUq. June 18-24 Over 900 members of the: A.C.O. mentalists_ They are well disciplined. ton wad," totally inappropriate for the good stylistic registrations in spite of journeyed (0 "The Dig n" in mid-June they know the music well, thc), sing music, and the air conditioning system :all of his attempts to treat it kindly. (0 auend the organiution's biennial with ven"e and eXcitement, and Mr_ provided loud background accompani. We hope that it was just an "0(£ day" marathon of conCcr1.5 and r~tals. COIl1 - Bergt's approach to the music is an ment that W;ls annoying. for Mr. Holloway (or that it was per­ manly Cliled a com'cntian. And Da1l3.!l energetic one. Stylistially. howe\'cr. one The Schola CantorlllU of Fort 'Vorth haps an "0(( day" for I1S as a listener). rewardet.l them wilb :l generally fine can qUC5tion the approach further. is a larger group. made up of amateur Anton HeWer was the first of the program of c,'clllS, (riendly hospitality. Modem professional singers arc usually singers. and was without the benefit of European fe:tturw redtalists on .he a plush .md first-rate (and therefore trained in late 191h amI 20th century instruments. Bev. R. Henson, the con­ progmm. Playing the large Caruth tfaU \'cry cxpensi\'c) hC3dquartcrs hotel.
    [Show full text]
  • Marketing Fragment 6 X 10.T65
    Cambridge University Press 978-0-521-87074-0 - J. S. Bach: A Life in Music Peter Williams Excerpt More information chapter 1 Early years, 1685–1703 The Obituary begins Johann Sebastian Bach belongs to a family in all of whose members equally a love for and skill in music seem, as a common gift, to have been imparted by nature. Emanuel Bach was familiar with the outlines of his family’s musical history, since quite apart from any anecdotes about it that circulated amongst its members, his father spent time around the age of fifty compiling a select- ive genealogy. This is the ‘Origin of the musical-Bach family’, Ursprung der musicalisch-Bachischen Familie (Dok I, 255–61), a document known to Emanuel in whose household it was later copied. Though contributing little to published biographies of the day, Bach carefully compiled this genealogical list (sometimes referred to as a ‘table’) either from scratch after many enquiries or, more likely, revising and enlarging an older document begun by a previous member of this large family. Still an indispensable source of information, it numbers fifty-three Bachs in the course of two hundred years or more, many of them professional musicians well-known in Central Germany, though only a few became so in a larger Europe – Sebastian himself and, as perhaps he anticipated in part by then, one or two of his sons. Emanuel added to the genealogy in which he and five brothers figured, and made use of it to begin the Obituary more tellingly, even proudly, than John Mainwaring was able to begin his biography of Handel (‘George Frederic Handel was born in Hall[e] .
    [Show full text]