DOCSLIB.ORG

General Catalogue 2016/2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
General Catalogue 2016/2017 General Catalogue 2016/2017 Urtext Editions Study scores Urtext Facsimiles Complete Editions Books Gifts FINEST URTEXTFINEST EDITIONS Hal Leonard Corporation P.O. Box 13819 Milwaukee, WI 53213 414-774-3630 FAX: 414-774-3259 Online: www.halleonard.com The catalog is also available on the Internet: www.henleusa.com This catalog is also available for download at www.halleonard.com/classical. By publication of this catalog, previous catalogs are no longer valid. All information in this catalog is subject to change without notice. Some products may not be available in North America. TABLE OF CONTENTS Keyboard Instruments 3 Vocal Music 59 Piano (Harpsichord), 2-hands 3 Voice and Piano 59 Piano, 4-hands 29 Voice and Various Instruments 61 2 Pianos, 4-hands 30 Organ 32 Orchestral and Choral Works 62 Orchestra 62 String Instruments 33 Chorus and Orchestra 62 Violin Solo 33 Violin(s) and Piano 33 Study Scores 63 Violin and Guitar 39 Viola Solo 39 Viola and Piano 39 Facsimiles 70 Violoncello Solo 40 Violoncello and Piano 40 Double Bass Solo 42 Complete Editions 71 Double Bass and Piano 42 Bartok Complete Critical Edition 71 Gamba 43 Beethoven Works 71 Johannes Brahms Works 75 Plucked Instruments 43 Joseph Haydn Works 76 Flute, Harp and Piano 43 Flute, Viola and Harp 43 Monuments of Music 85 Mandolin and Piano 43 The Legacy of German Music 85 Violin and Guitar 43 The Opera 85 Wind Instruments 44 Periodicals 86 Flute Solo 44 Haydn Studies 86 Flute and Piano 44 Oboe and Piano 45 Books 87 Clarinet and Piano 46 Saxophone and Piano 47 Miscellaneous 87 Bassoon and Piano 47 Thematic Indices 89 Horn and Piano 47 Catalogues of Music Collections in Bavaria 89 Trumpet and Piano 48 Staatsbibliothek zu Berlin – Preußischer Trombone (and Piano) 48 Kulturbesitz – Catalogues of The Music Department 92 International Inventory of Musical Sources (RISM) 92 Chamber Music 49 Gifts 95 String Duos · String Trios 49 Trio Sonatas 49 Miscellaneous 95 Piano Trios 50 Facsimile-Poster, DIN A1 95 String Quartets 52 Facsimile Greeting Cards 95 Piano Quartets 54 Composers 96 String Quintets 54 Piano Quintets 55 Hal Leonard Item Numbers 98 Chamber Music with Wind Instruments and Mixed Scorings 56 More information at: www.henleusa.com f /henleverlag 2 Explanations Abbreviations NEW = New issue Bc Basso continuo AM/BA = Performing material of this edition published by bn Bassoon Bärenreiter BWV Catalogue of Bach‘s works AM/EB = Performing material of this edition published by clar Clarinet Breitkopf & Härtel‘s D Deutsch Catalogue (Schubert) AM/HN = Performing material see Works for Orchestra db Double Bass KA/BA = Piano reduction of this edition published by Bärenreiter Ed. Editor KA/EB = Piano reduction of this edition published by Breitkopf Fing. Fingering Piano & Härtel‘s fl Flute KA/HN = Piano reduction see Henle Urtext Editions FXWM Catalogue of Franz Xaver Wolfgang Mozart‘s works, TP/BA = Pocket score of this edition published by Bärenreiter in: K. Nottelmann, W. A. Mozart Sohn. Der Musiker und TP/EB = Pocket score of this edition published by Breitkopf & das Erbe des Vaters Härtel‘s HN Order Number SE = Study score see Henle Urtext Editions Hob. Hoboken Catalogue (Haydn) UE = Cooperation with Universal Edition, Vienna Hop. C. Hopkinson: A Bibliographical Thematic Catalogue of the Works of John Field ‡ = No distribution rights for the USA HW Wohlfarth Catalogue (J. C. F. Bach) HWV Catalogue of Handel‘s works Editions are paperbound unless otherwise stated. i. p. in preparation ISBN International Standard Book Number K Kirkpatrick Catalogue (Scarlatti) G. Henle Verlag publications are distributed in North K. Köchel Catalogue (Mozart) America by KK Kobylan´ska Catalogue (Chopin) Hal Leonard Corporation KA Piano reduction liv. livre PO Box 13819 Ln Clothbound Milwaukee, WI 53213 op. Opus 414-774-3630 pno Piano Fax: 414-774-3259 RV Ryom Catalogue (Vivaldi) Online: www.halleonard.com vn Violin va Viola vc Violoncello Prices and availability subject to change without notice. WO Work without an opus number – A. Tyson: Thematic Some products are not available for sale in North America. Catalogue of the Works of Muzio Clementi WoO Work without an opus number Wq Wotquenne Catalogue (C. P. E. Bach) The editions for piano 2-hands, violin and flute are categorized by level of difficulty. You will find this information on the website at www.henleusa.com Piano, 2-hands 3 Am Klavier – Debussy KEYBOARD INSTRUMENTS 9 bekannte Originalstücke Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher PIANO (HARPSICHORD), 2-HANDS Children’s Corner L.119 (113), The little Shepherd, Golliwogg’s Cake- walk, Doctor Gradus ad Parnassum | Deux Arabesques L.74 (66), Nr. 1 | Préludes, Premier livre L.125 (117), La Fille aux cheveux de lin, La Ca - Am Klavier thédrale engloutie | Suite bergamasque L.82 (75), Clair de lune | Pour The series “Am Klavier” is intended for piano players who are le piano L.95 (95), Sarabande | La plus que lente, Valse L.128 (121) already familiar with the instrument and would now like to play HN 1803 Edition in German easier original works by renowned composers. Pupils, teachers and Am Klavier – Grieg NEW those returning to the instrument after a break will find an abun- 14 bekannte Originalstücke dance of well-known works in ascending order of difficulty with Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher practical tips in German regarding technique and interpretation. Lyrische Stücke op. 54,6: Glockengeläute | op. 12,3: Wächterlied | Am Klavier – J. S. Bach op. 12,2: Walzer | op. 38,1: Berceuse | op. 12,1: Arietta | op. 71,7: 16 bekannte Originalstücke Nachklänge | op. 43,4: Vöglein | op. 71,3: Kobold | op. 54,4: Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher Notturno | op. 65,6: Hochzeitstag auf Troldhaugen | Aus Holbergs Präludien C BWV 924 | F BWV 927 | D BWV 936 | Choral „Wer nur Zeit op. 40,2: Sarabande | op. 40,3: Gavotte | Peer-Gynt-Suite den lieben Gott lässt walten“ BWV 691 | Inventionen E BWV 777 | op. 46,1: Morgenstimmung | op. 46,3: Anitras Tanz D BWV 774 | Capriccio B BWV 992: Arioso und Aria del Postiglione | HN 1811 Edition in German Aria G aus den Goldberg-Variationen BWV 988 | Sinfonien E Am Klavier – Haydn BWV 792 | F BWV 794 | Französische Suiten h BWV 814: Menuet | 8 bekannte Originalstücke Es BWV 815: Allemande, Sarabande, Gigue | Präludien und Fugen Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher Fis BWV 858 (WTK I) | D BWV 850 (WTK I) | c BWV 871 (WTK II)| Allegretto G nach der Arie „Io son poverina” aus der Oper La h BWV 893 (WTK II) vera costanza | Allegretto und Presto G nach dem 4. Satz des HN 1804 Edition in German Streichquartetts Hob. III:41 | Largo assai E nach dem 2. Satz des Am Klavier – Beethoven NEW Streichquartetts Hob. III:74 | Poco adagio G nach dem 2. Satz des 9 bekannte Originalstücke Streichquartetts Hob. III:77 (Variationen über „Gott erhalte“) | Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher Sonaten g Hob. XVI:44, Moderato, Allegretto | D Hob. XVI:37, Klavierstück Lustig und traurig WoO 54 | 6 Ecossaisen WoO 83 | Allegro con brio, Largo e sostenuto, Finale. Presto ma non troppo | Klavierstück Für Elise WoO 59 | Sonaten G-dur op. 49,2: Allegro e Hob. XVI:34, Presto | Es Hob. XVI:49, Finale. Tempo di Minuet ma non troppo – Tempo di Menuetto | cis-moll op. 27,2: Adagio HN 1805 Edition in German sostenuto | As-dur op. 26: Marcia funebre | E-dur op. 14,1: Allegro Am Klavier – Liszt NEW – Allegretto – Rondo. Allegro comodo | 9 Variationen WoO 69 über 11 bekannte Originalstücke „Quant’è più bello“ aus La Molinara von G. Paisiello | Bagatellen Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher op. 126 Nr. 1 Andante con moto und Nr. 5 Quasi allegretto Vier Klavierstücke, Nr. 3 Fis, Nr. 4 Fis | Consolations, Nr. 1 E, HN 1808 Edition in German Nr. 2 E, Nr. 3 Des | Années de Pèlerinage, Deuxième Année – Italie: Am Klavier – Brahms Il Penseroso | Canzonetta del Salvator Rosa | Harmonies poétiques 15 bekannte Originalstücke et religieuses: Hymne de l’enfant à son réveil | Années de Pèlerinage, Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher Première Année – Suisse: Le mal du pays | Années de Pèlerinage, Walzer op. 39 (vom Komp. erleichterte Fass.): Nr. 5 E, Nr. 8 B, Nr. 9 d, Troisième Année: Aux Cyprès de la Villa d’Este | Liebesträume – Nr. 10 G, Nr. 11 h, Nr. 15 A | Fantasien op. 116 Nr. 6 Intermezzo E | 3 Notturnos: Liebestraum Nr. 3 As Klavierstücke op. 76: Nr. 4 Intermezzo B, Nr. 7 Intermezzo a | 3 In ter- HN 1807 Edition in German mezzi op. 117,1 Es | Ballade d op. 10,1 | Rhapsodie g op. 79,2 | Am Klavier – Mendelssohn Klavierstücke op. 118: Nr. 5 Romanze F | Klavierstücke op. 119: Nr. 3 13 bekannte Originalstücke Intermezzo C | Klavierstücke op. 118: Nr. 3 Ballade g Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher HN 1802 Edition in German Sechs Kinderstücke op.72: Nr. 1 Allegro non troppo, Nr. 3 Allegretto, Am Klavier – Chopin NEW Nr. 5 Allegro assai | Venetianische Gondellieder g op. 19,6, fis op. 30,6, 17 bekannte Originalstücke a op. 62,5 | Frühlingslied op. 62,6 | Sieben Charakterstücke op.7,1 Ed.: Hewig-Tröscher · Fing.: Hewig-Tröscher Andante | Lied ohne Worte op. 19,1 | Duetto op. 38,6 | Trois Walzer KK IVb Nr. 11 a-moll | op. post. 69 Nr. 2 h-moll | op. 64 Fantaisies ou Caprices op. 16: Nr. 1 Andante con moto | 6 Präludien Nr. 2 cis-moll | Préludes op. 28 Nr. 20 c-moll | op. 28 Nr. 6 h-moll | und Fugen op. 35: Präludium Nr. 5 f | Spinnerlied op. 67,4 op. 28 Nr. 4 e-moll | op. 28 Nr. 9 E-dur | op. 28 Nr. 15 Des-dur HN 1801 Edition in German („Regentropfen“) | Mazurken op.
Load more

Recommended publications
  • Musik-Katalog Bassetthorn Bassettklarinette
    Musik-Katalog für Bassetthorn (3604 Werke) und Bassettklarinette (189 Werke) von Thomas Graß und Dietrich Demus Stand vom 31.Mai 2020 Ergänzungen und Berichtigungen des Katalogs aus dem Sachbuch: „Das Bassetthorn. Seine Entwicklung und seine Musik“, 2. Aufl. 2004, Hrsg. T. Grass und D. Demus, BOD, ISBN 3-8311-4411-7. [email protected] [email protected] Formatierung und Druckherstellung: Michael Baasner 1 Inhaltsverzeichnis 1. Konzerte mit Solo-Bassetthorn 5 1.1 Solo für ein oder mehrere Bassetthörner und Orchester oder Sinfonisches Blasorchester ........5 1.2 Werke mit Solo-Bassetthorn, weiteren Solo-Instrumenten oder Singstimme und Orchester oder Blasorchester, auch Sinfonie Concertanti .........................................................................13 1.3 Historische Bearbeitungen für Bassetthorn und fälschlich oder fraglich dem Bassetthorn zugeschriebene Solowerke mit Orchester .................................................................................18 2 Kammermusik 19 2.1 Bassetthorn Solo ........................................................................................................................19 Duos 24 2.2 Bassetthorn und Klavier / Cembalo / Orgel / Vibraphon / elektronische Musik / Tape ..............24 2.3 Zwei Bassetthörner ....................................................................................................................34 2.4 Bassetthorn und ein anderes Instrument / Singstimme .............................................................37 2.5 Bassetthorn und Gitarre
    [Show full text]
  • Table of Contents
    Sheet TM Version 2.0 Music 1 CD Haydn, Mozart, and Beethoven Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Haydn, Mozart, and Beethoven, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the book- marks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM HAYDN MOZART BEETHOVEN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ JOSEPH HAYDN WOLFGANG AMADEUS MOZART The Creation (Die Schöpfung) Veni Sancte Spiritus, K. 47 Part I Te Deum in C Major, K. 141/66b Part II Mass in F, K. 192 Part III Litaniae Lauretanae in D Major, K. 195/186d Mass No. 3 in C Major (Missa Cellensis) (Mariazellermesse) Mass in C Major, K. 258 (Missa Brevis) Mass No. 6 in G Major Missa Brevis in C Major, K. 259 (Organ Solo) (Mass in Honor of Saint Nicholas) Sancta Maria, Mater Dei, K. 273 Mass No. 7 in B Major b Mass in Bb Major, K.
    [Show full text]
  • Discovery Marche.Pdf
    the MARCHE region Discovering VADEMECUM FOR THE TOURIST OF THE THIRD MILLENNIUM Discovering THE MARCHE REGION MARCHE Italy’s Land of Infinite Discovery the MARCHE region “...For me the Marche is the East, the Orient, the sun that comes at dawn, the light in Urbino in Summer...” Discovering Mario Luzi (Poet, 1914-2005) Overlooking the Adriatic Sea in the centre of Italy, with slightly more than a million and a half inhabitants spread among its five provinces of Ancona, the regional seat, Pesaro and Urbino, Macerata, Fermo and Ascoli Piceno, with just one in four of its municipalities containing more than five thousand residents, the Marche, which has always been Italyʼs “Gateway to the East”, is the countryʼs only region with a plural name. Featuring the mountains of the Apennine chain, which gently slope towards the sea along parallel val- leys, the region is set apart by its rare beauty and noteworthy figures such as Giacomo Leopardi, Raphael, Giovan Battista Pergolesi, Gioachino Rossini, Gaspare Spontini, Father Matteo Ricci and Frederick II, all of whom were born here. This guidebook is meant to acquaint tourists of the third millennium with the most important features of our terri- tory, convincing them to come and visit Marche. Discovering the Marche means taking a path in search of beauty; discovering the Marche means getting to know a land of excellence, close at hand and just waiting to be enjoyed. Discovering the Marche means discovering a region where both culture and the environment are very much a part of the Made in Marche brand. 3 GEOGRAPHY On one side the Apen nines, THE CLIMATE od for beach tourism is July on the other the Adriatic The regionʼs climate is as and August.
    [Show full text]
  • Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg
    Program Notes When Mozart wrote the three Divertimentos, KV 136-8 at the age of 16, he had already spent more than two years away from his hometown of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands, and Italy. Besides giving concerts at court, he met many famous musicians of the time and had opportunities to hear and study their music. Mozart’s early compositions are therefore often case studies in the styles and traditions of where his travels had most recently taken him. The Divertimentos were written in the winter 1771/2, after the second of three extended trips to Italy. A third journey was already in the planning and the Italian influence on Mozart’s writing is evident. It is uncer- tain whether the pieces are meant for a specific occasion; the title ‘Divertimento’ was in fact even added by another hand, possibly that of his father Leopold. The three-movement structure follows the pattern of the early Italian Sinfonia type, but J. Haydn and J.C. Bach have strongly influenced his compositions as well. Young Mozart met the two composers in London and looked up to them mentors and friends. The scholar Alfred Einstein hypothesizes that Mozart wrote the three pieces anticipating the need for some new symphonies during his next Italian journey. If required on short notice, Mozart would simply have added winds at the last moment. Before the birth of his gifted children, Leopold Mozart had made a business of writing musical novelties. He was a violinist, conductor, and teacher, his book ‘Versuch einer gründlichen Violinschule’ is alongside the textbooks by Quantz and C.
    [Show full text]
  • La Vestale Gaspare Spontini
    La Vestale Gaspare Spontini NOUVELLE PRODUCTION Jérémie Rhorer direction Eric Lacascade mise en scène DU 15 AU 28 OCTOBRE 2013 6 REPRESENTATIONS Théâtre des Champs-Elysées SERVICE DE PRESSE +33 1 49 52 50 70 theatrechampselysees.fr La Caisse des Dépôts soutient l’ensemble de la RESERVATIONS programmation du Théâtre des Champs-Elysées T. +33 1 49 52 50 50 theatrechampselysees.fr Spontini 5 La Vestale La Vestale Gaspare Spontini NOUVELLE PRODUCTION Jérémie Rhorer direction Eric Lacascade mise en scène Emmanuel Clolus décors Marguerite Bordat costumes Philippe Berthomé lumières Daria Lippi dramaturgie Ermonela Jaho Julia Andrew Richards Licinius Béatrice Uria-Monzon La Grande Vestale Jean-François Borras Cinna Konstantin Gorny Le Souverain Pontife Le Cercle de l’Harmonie Chœur Aedes 160 ans après sa dernière représentation à Paris, le Théâtre des Champs-Elysées présente une nouvelle production de La Vestale de Gaspare Spontini. Spectacle en français Durée de l’ouvrage 2h10 environ Coproduction Théâtre des Champs-Elysées / Théâtre de la Monnaie, Bruxelles MARDI 15, VENDREDI 18, MERCREDI 23, VENDREDI 25, LUNDI 28 OCTOBRE 2013 19 HEURES 30 DIMANCHE 20 OCTOBRE 2013 17 HEURES SERVICE DE PRESSE Aude Haller-Bismuth +33 1 49 52 50 70 / +33 6 48 37 00 93 [email protected] www.theatrechampselysees.fr/presse Spontini 6 Dossier de presse - La Vestale 7 La Vestale La nouvelle production du Théâtre des Champs-Elysées La Vestale n’a pas été représentée à Paris en version scénique depuis 1854. On doit donner encore La Vestale... que je l’entende une seconde fois !... Quelle Le Théâtre des Champs-Elysées a choisi, pour cette nouvelle production, de œuvre ! comme l’amour y est peint !..
    [Show full text]
  • Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob
    Joseph Haydn (1732–1809) Missa in Angustiis – Nelsonmesse (Hob. XXII:11) Kirchenmusikalische Kompositionen für liturgische Zwecke, insbesondere zur Ausgestaltung der römisch-katholischen Messe, erscheinen in allen Schaffensphasen von Joseph Haydn: Die Missa brevis in F (Hob. XXII:1) schrieb der junge Haydn um 1749 – das Jahr, in dem er infolge des Stimmbruchs Abschied als Chorknabe am Wiener Stephansdom nehmen musste und in dem für ihn eine beschwerliche Phase als freischaffender Musiker begann. Am Ende dieser Reihe steht die Harmoniemesse (Hob. XXII:14), die erstmals 1802 in der Eisenstädter Bergkirche erklang. Danach war es dem mittlerweile 70-jährigen Haydn körperlich nicht mehr möglich, zu komponieren oder öffentlich aufzutreten. Auffällig sind zwei Lücken (zwischen 1750 und 1766 sowie zwischen 1782 und 1796), in denen kein größeres geistliches Werk entstand. Die zweite Lücke war eine Folge der kirchlichen Reformen von Kaiser Joseph II., die nicht nur zur Auflösung der meisten Klöster in den Ländern der Habsburgermonarchie führten, sondern die Liturgie auch von als überflüssig empfundenen Prunk befreiten. Es wurden zahlreiche Verordnungen erlassen, die unter anderem den Einsatz von orchestraler Musik im Gottesdienst regelten und im Ergebnis einschränkten. Aufträge für solche Kompositionen gingen daher erheblich zurück. Erst als Franz II. 1792 die österreichische Regentschaft übernommen hatte, lockerten sich die Vorschriften wieder. In diese Phase fällt die Entstehung von Haydns sechs späten Messen (die sogenannten Hochämter), darunter die der Nelsonmesse. Sie gehören zu den letzten Werken des Komponisten. Die erwähnte kirchenmusikalische Pause, in die auch die beiden Londoner Aufenthalte fielen, hatte Haydn indes zur Erprobung neuer kompositorischer Techniken in Sinfonien und Kammermusik genutzt. Dies zeigte sich nun beispielsweise in „souveräner Beherrschung der Formgestaltung‟, der Hinwendung zur liedhaften Thematik, der „Verfeinerung des Orchestersatzes‟ sowie im „Trend zu einer deutlichen Individualisierung des Einzelwerks‟.
    [Show full text]
  • 9783849816360.Pdf
    AV Kuratorium: Olaf Briese (Berlin), Erika Brokmann (Detmold), Birgit Bublies-Godau (Bochum), Claude Conter (Luxemburg), Norbert Otto Eke (Paderborn), Jürgen Fohrmann (Bonn), Gustav Frank (München) Martin Friedrich (Ber- lin), Bernd Füllner (Düsseldorf ), Detlev Kopp (Bielefeld), Rainer Kolk (Bonn), Hans-Martin Kruckis (Bielefeld), Christian Liedtke (Düsseldorf ), Harro Müller (New York), Maria Porrmann (Köln), Rainer Rosenberg (Ber- lin), Peter Stein (Lüneburg), Florian Vaßen (Hannover), Michael Vogt (Bie- lefeld), Fritz Wahrenburg (Paderborn), Renate Werner (Münster) FVF Forum Vormärz Forschung Jahrbuch 2009 15. Jahrgang Literatur und Recht im Vormärz herausgegeben von Claude D. Conter AISTHESIS VERLAG Das FVF im Internet: www.vormaerz.de Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Das FVF ist vom Finanzamt Bielefeld nach § 5 Abs. 1 mit Steuer-Nr. 305/0071/1500 als gemeinnützig anerkannt. Spenden sind steuerlich absetzbar. Namentlich gekennzeichnete Beiträge müssen nicht mit der Meinung der Redaktion übereinstimmen. Redaktion: Detlev Kopp Print-Ausgabe: 2010, ISBN 978-3-89528-772-5 © Aisthesis Verlag Bielefeld 2020 Postfach 10 04 27, D-33504 Bielefeld Satz: Germano Wallmann, www.geisterwort.de Alle Rechte vorbehalten ISBN 978-3-8498-1636-0 www.aisthesis.de Inhalt I. Schwerpunktthema: Literatur und Recht im Vormärz Claude D. Conter (Luxemburg)
    [Show full text]
  • SONGS DANCES Acknowledgments & Recorded at St
    SONGS DANCES Acknowledgments & Recorded at St. Mark’s Evangelical Lutheran Church, Jacksonville, Florida on June 13 and 14, 2018 Jeff Alford, Recording Engineer Gary Hedden, Mastering Engineer in THE SAN MARCO CHAMBER MUSIC SOCIETY collaboration THE LAWSON ENSEMBLE with WWW.ALBANYRECORDS.COM TROY1753 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. SanMarco_1753_book.indd 1-2 10/18/18 9:36 AM The Music a flute descant – commences. Five further variations ensue, each alternating characters and moods: a brisk second variation; a slow, sad, waltzing third; a short, enigmatic fourth; a sprawling fifth, this the Morning Elation for oboe and viola by Piotr Szewczyk (2010) emotional heart of the composition; and a contrapuntal sixth, which ends with a restatement of the theme Piotr Szewczyk was fairly new to Jacksonville when I asked him if he could compose an oboe/viola duo for now involving the flute. us in 2010, so I did not expect the enthusiasm and speed in which he composed “Morning Elation”! Two In all, it’s a complex, ambitious score, a glowing example of the American Romantic style of which days later he greeted me with the news that he had a burst of inspiration and composed our piece the day Beach, along with George Whitefield Chadwick, John Knowles Paine, and Arthur Foote, was such a wonder- before.
    [Show full text]
  • If Not, Feel Free to Trash It Or Edit I
    SACRED OR PROFANE The Influence of Vatican Legislation on Music in the Catholic Archdiocese of Melbourne. 1843 - 1938 Submitted by John Henry Byrne, B. Mus. (Hons.) ACU, B.A. (Soc. Sci.) Monash, Dip.T. MSC, T.T.L.C. MSC A thesis submitted in partial fulfillment of the requirements of the degree of Master of Music School of Music Faculty of Arts and Sciences Australian Catholic University Research Services Locked Bag 4115 Fitzroy, Victoria 3065 Australia 1 March 2005 189 Statement of Authorship and Sources This thesis contains no material published elsewhere or extracted in whole or in part from a thesis by which I have qualified for or been awarded another degree or diploma. No parts of this thesis have been submitted towards the award of any other degree or diploma at any other tertiary institution. No other person’s work has been used without due acknowledgment in the main text of the thesis. All research procedures reported in the thesis received the approval of the relevant Ethics/Safety Committees (where required). Acknowledgments I would like to express my thanks to my supervisor Dr Dianne Gome who has been of such great assistance and shown limitless patience in the formulation of this work from it’s initial concept to the finished product. I am most grateful to those people who gave so freely of their time in being interviewed especially the late Rev Fr Ernest ‘Chappy’ Rayson, the late Rev Fr John Riordan, Rev Fr Donald Cave, Rev Fr Paul Ryan, Rev Fr William Jordan and Anthony Way and those who responded to appeals for assistance in the press.
    [Show full text]
  • Complete Dissertation
    LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre.
    [Show full text]
  • Sacred Music, 136.4, Winter 2009
    SACRED MUSIC Winter 2009 Volume 136, Number 4 EDITORIAL Viennese Classical Masses? | William Mahrt 3 ARTICLES Between Tradition and Innovation: Sacred Intersections and the Symphonic Impulse in Haydn’s Late Masses | Eftychia Papanikolaou 6 “Requiem per me”: Antonio Salieri’s Plans for His Funeral | Jane Schatkin Hettrick 17 Haydn’s “Nelson” Mass in Recorded Performance: Text and Context | Nancy November 26 Sunday Vespers in the Parish Church | Fr. Eric M. Andersen 33 REPERTORY The Masses of William Byrd | William Mahrt 42 COMMENTARY Seeking the Living: Why Composers Have a Responsibility to be Accessible to the World | Mark Nowakowski 49 The Role of Beauty in the Liturgy | Fr. Franklyn M. McAfee, D.D. 51 Singing in Unison? Selling Chant to the Reluctant Choir | Mary Jane Ballou 54 ARCHIVE The Lost Collection of Chant Cylinders | Fr. Jerome F. Weber 57 The Ageless Story | Jennifer Gregory Miller 62 REVIEWS A Gift to Priests | Rosalind Mohnsen 66 A Collection of Wisdom and Delight | William Tortolano 68 The Fire Burned Hot | Jeffrey Tucker 70 NEWS The Chant Pilgrimage: A Report 74 THE LAST WORD Musical Instruments and the Mass | Kurt Poterack 76 POSTSCRIPT Gregorian Chant: Invention or Restoration? | William Mahrt SACRED MUSIC Formed as a continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gre- gory of America since 1915. Published quarterly by the Church Music Associ- ation of America. Office of Publication: 12421 New Point Drive, Harbour Cove, Richmond, VA 23233. E-mail: [email protected]; Website: www.musicasacra.com Editor: William Mahrt Managing Editor: Jeffrey Tucker Editor-at-Large: Kurt Poterack Editorial Assistance: Janet Gorbitz and David Sullivan.
    [Show full text]
  • Paul Collins (Ed.), Renewal and Resistance Journal of the Society
    Paul Collins (ed.), Renewal and Resistance PAUL COLLINS (ED.), RENEWAL AND RESISTANCE: CATHOLIC CHURCH MUSIC FROM THE 1850S TO VATICAN II (Bern: Peter Lang, 2010). ISBN 978-3-03911-381-1, vii+283pp, €52.50. In Renewal and Resistance: Catholic Church Music from the 1850s to Vatican II Paul Collins has assembled an impressive and informative collection of essays. Thomas Day, in the foreword, offers a summation of them in two ways. First, he suggests that they ‘could be read as a collection of facts’ that reveal a continuing cycle in the Church: ‘action followed by reaction’ (1). From this viewpoint, he contextualizes them, demonstrating how collectively they reveal an ongoing process in the Church in which ‘(1) a type of liturgical music becomes widely accepted; (2) there is a reaction to the perceived in- adequacies in this music, which is then altered or replaced by an improvement ... The improvement, after first encountering resistance, becomes widely accepted, and even- tually there is a reaction to its perceived inadequacies—and on the cycle goes’ (1). Second, he notes that they ‘pick up this recurring pattern at the point in history where Roman Catholicism reacted to the Enlightenment’ (3). He further contextualizes them, revealing how the pattern of action and reaction—or renewal and resistance—explored in this particular volume is strongly influenced by the Enlightenment, an attempt to look to the power of reason as a more beneficial guide for humanity than the authority of religion and perceived traditions (4). As the Enlightenment
    [Show full text]