DOCSLIB.ORG

The Programme New Publications Sheet Music 1/2011 Bärenreiter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Programme New Publications Sheet Music 1/2011 Bärenreiter The Programme New Publications Sheet Music 1/2011 Bärenreiter The programme at a glance Choral Music Study Score Gabriel Fauré, Requiem Wolfgang Amadeus Mozart, The Horn Concertos BA 946, BA 946-90 ...................................................3 K. 47, 447, 495, 412 + 54 (386b) Antonio Vivaldi, Gloria RV 589 TP 34 ........................................................................6 BA 7674, BA 7674-90 ...................................................4 Antonio Vivaldi, Kyrie RV 587 BA 8950, BA 8950-90 ...................................................4 Complete Editions Marc-Antoine Charpentier, In nativitatem Domini New Publications up to November 00 .......................... 7 canticum H. 46. BA 7673, BA 7673-90 .........................5 Georg Friedrich Händel, Occasional Oratorio HWV 6 BA 4089-90 .................................................................6 Graham Buckland, 64 Spirituals a cappella Contemporary Music BA 7574 .......................................................................7 New Publications up to November 00 .......................... 7 Solo Voice Organ Robert Schumann, Dichterliebe op. 48 BA 785 .......................................................................8 Jehan Alain, Complete Organ Works, Volumes I–III BA 848–BA 8430 ...................................................... 8 Wilhelm Middelschulte, Complete Organ Works, Volume IV Stage Work BA 904 ..................................................................... 9 Emmanuel Chabrier, L‘Étoile Johann Jacob Froberger, New Edition of the Complete Works BA 8708-90 ..................................................................9 Volume VI.: BA 9213 / Volume VI.: BA 969 ............0 Gerard Bunk, Complete Organ Works, Volume II BA 98 .................................................................... 21 Orchestral Music Organ PLUS One. Passion and Easter Johann Sebastian Bach, Overtures BWV 066-069 BA 8503 .....................................................................22 BA 55–BA 555 ......................................................0 Ludwig van Beethoven, The Nine Symphonies Boxed set of conducting scores Piano BA 9000 ..................................................................... 11 Leopold Koželuch, Compete Sonatas for Keyboard, Volume II BA 9512 .....................................................................3 Facsimile Maurice Ravel, Easy Piano Pieces and Dances Antonín Dvoøák, Cello Concerto BA 6580 .....................................................................4 ISBN 978-3-768-849-7 ........................................12–3 Klavier-Festival Ruhr: Bärenreiter Piano Album BA 9659 .....................................................................5 Chamber Music Gabriel Fauré, Quatuor pour piano, violon, alto et violoncelle, op. 5 Bärenreiter Notes BA 7903 ..................................................................... 4 BA 800 ..................................................................... 6 Gabriel Fauré, Quatuor pour piano, violon, alto et violoncelle, op. 45 BA 7904 ..................................................................... 4 MGG – Die Musik in Geschichte und Gegenwart ISBN 978-3-768-1100-9 ............................................. 7 Winds Claude Debussy, Syrinx pour Flûte seule BA 8733 ..................................................................... 5 Your Contacts ........................................................... 8 Choral Music FAURÉ B Ä R E N R E I T E R U R T E X T Messe de Requiem Bärenreiter Gabriel Fauré Requiem n The Messe de Requiem is probably the internationally best- known and most frequently performed work by Gabriel Fauré. The composer’s first version was limited to just five movements and small-scale forces with low strings, harp and organ. The work was then expanded several times culminating in the version for large orchestra of 900. This orchestral version forms the basis of this edition. Despite its comparatively long period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the l High-quality Urtext edition based on the Complete composer foregoes any theatrical gestures in this work. works of Gabriel Fauré A restrained dynamic range together with graceful melodic l First systematic evaluation of all sources writing for both soloists and choir give the work a gentle and optimistic character. l Based on the large orchestral version of 1900 l Informative Foreword (Ger/Eng) The vocal score is based on the volume of the Complete Works of Gabriel Fauré (BA 946) published in 00. l Vocal score suitable for all versions of the Requiem It is important to note that this vocal score is also compatible with the first small-scale version as well as the second chamber orchestra version. Gabriel Fauré Piano reduction by Martin Focke Requiem *New Issue E Title BA 946-90* Vocal score (Lat) approx. 9.95 BÄRENREITER URTEXT To appear in April 011 Edited by Christina M. Stahl and Michael Stegemann BA 946 Full score* approx. E 58.00 Wind set approx. E 38.95 Organ approx. E 12.95 Strings, each approx. E 5.00 Full score Vocal score 3 Choral Music VIVALDI B Ä R E N R E I T E R U R T E X T Gloria RV 589 VIVALDI B Ä R E N R E I T E R U R T E X T Kyrie Klavierauszug RV 587 Vocal Score Bärenreiter Klavierauszug Vocal Score Bärenreiter Antonio Vivaldi Gloria RV 589 / Kyrie RV 587 © 2011 by Bärenreiter-Verlag, Kassel n Today the Gloria RV 589 is one of Vivaldi’s best-known compositions and one of the most frequently performed sacred vocal works from the Baroque period. Vivaldi wrote the Gloria Although the authenticity of the autograph manuscript score is as a self-contained work in the style of a concertante mass. beyond doubt, these new editions contain some re-evaluations However, it was probably also performed within church services. in phrasing and performance practice which go beyond what The scoring of the solo voices (SSA) suggests that the work was other editions have to offer. The piano reductions are straight- written during his period at the Ospedale della Pietà, around forward, clearly presented and preserve the character of the 76. In the twelve movements of the Gloria, Vivaldi displays works. the whole range of his mastery from festive, sublime outer movements to tender, transparently scored solo passages. l Attractive choral pieces which can be combined to The same mastery has also been applied to the Kyrie RV 587, form a short mass scored for two choirs and two groups of stringed instruments. l Vocal score as well as choral score available for the The date of its composition remains unclear. It is a purely a Gloria choral work without solo passages. l Informative foreword (Ger/Eng) Both works can be performed independently but can also be combined as a kind of short mass. Antonio Vivaldi Antonio Vivaldi Gloria RV 589 (for solo voices SSA) *New Issue Kyrie RV 587 *New Issue Title Title BÄRENREITER URTEXT BÄRENREITER URTEXT Edited / piano reduction by Malcolm Bruno Edited / piano reduction by Malcolm Bruno BA 7674 Full score* approx. E 12.95 BA 8950 Full score* approx. E 10.00 Wind set approx. E 9.50 Strings, each approx. E 1.95 Organ approx. E 16.95 BA 8950-90 Vocal score (Lat)* approx. E 7.00 Strings, each approx. E 4.00 BA 7674-90 Vocal score (Lat)* approx. E 8.00 Gloria Kyrie, BA 7674-91 Choral score approx. E 4.00 Both editions, and to appear in May 2011 4 Choral Music CHARPENTIER B Ä R E N R E I T E R U R T E X T In nativitatem Domini canticum H 416 Klavierauszug Vocal Score Bärenreiter Marc-Antoine Charpentier In nativitatem Domini canticum (H. 416) n Charpentier composed In nativitatem Domini canticum during his period as maître de musique at the church of St Louis in Paris (around 690). It is in the tradition of the oratorios of Carissimi and his contemporaries, but is more easily described as a “Grand Motet” or “Histoire sacrée”, a genre in which Charpentier excelled. The work was probably intended for BA 7673 performance during mass on Christmas Day and thus had a liturgical function as was customary during the period of Louis XIV in Paris. l First Urtext edition of this work The text presents the Christmas story in three sections: the l An important addition to the repertoire for Christmas chorus of the faithful, the actual story of the birth of Jesus and the adoration of the shepherds in the fields. The music reveals l Straightforward, clear piano reduction a subtle mixture of French and Italian styles with dramatic l Foreword (Ger/Eng) and critical commentary (Eng) elements. For the first time this work, prepared by the acknowledged Charpentier expert Joel Schwindt, is presented in a scholarly- critical edition where all sources have been consulted. A detailed foreword and critical commentary provide detailed information which fulfil all the criteria of an Urtext edition. Marc-Antoine Charpentier Piano reduction by Joel Schwindt *New Issue E In nativitatem Domini canticum (H. 416) Title BA 7673-90* Vocal score (Lat) approx. 4.95 To appear in May 011 BÄRENREITER URTEXT Edited by Joel Schwindt BA 7673 Full score* approx. E 22.50 Strings, each approx. E 6.50 Full score Vocal score 5 Choral Music HÄNDEL B Ä R E N R E I T E R U R T E X T Occasional Oratorio HWV 62 Vocal Score Klavierauszug Bärenreiter George Frideric Handel Occasional Oratorio Oratorio in three parts HWV 62 n The Occasional Oratorio was composed as a reaction to a political event which shook the whole of England: the Jacobite rebellion of 745-46 against the Hanoverian monarchy was crushed under the leadership of the Duke
Load more

Recommended publications
  • Composers for the Pipe Organ from the Renaissance to the 20Th Century
    Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
    [Show full text]
  • Quartier Du Petit-Puy (Saumur 49)
    A la découverte du Quartier du Petit-Puy (Saumur 49) Dossier compilé par le service Ville d'art et d'histoire de Saumur, avec l'aide de Monsieur Bernard Rousseau, membre du Conseil des Sages de la ville de Saumur, à l'occasion de la rencontre paysage du 8 juin 2011. Origine du nom et bref historique Le quartier du Petit-Puy, à l’est de la ville de Saumur, a longtemps été rattaché à la paroisse de Dampierre comme celui du Grand-Puy, son proche voisin, aujourd’hui entièrement disparu. C’est tout d’abord un hameau rural, situé sur le bord et l’à pic du coteau, dont le nom dérivant du latin podium signifie « petite colline ». Pauvre en terres labourables et coiffé de quelques moulins à vent à partir du XVI e siècle, il est surtout peuplé de petits propriétaires possédant caves, dépendances et jardins clos. Divisé en trois parties inégales, il se compose du « petit Puy (Pui) », des « Frogers » mesurant « 59 boissellées » soit 3,888 ha et les Varannes d’une surface de 7,380 ha. Soixante et un propriétaires paient leurs rentes en 1671, et soixante-dix-huit en 1768, les Frogers étant de loin la portion la moins partagée avec 2 à 3 possesseurs seulement pour une superficie représentant la moitié « des Varannes », dédiées à une trentaine de personnes. Prêtre, officier, meunier, marchands, boulanger, vignerons constituent la population « possédante » de cette banlieue verte à l’est du faubourg de Fenêt. Propice à l’habitat troglodytique, le site l’est aussi à la culture de la vigne, comme tout le terroir argilo-calcaire du Saumurois.
    [Show full text]
  • FEBRUARY, 2012 Faith Lutheran Church New Providence, New
    THE DIAPASON FEBRUARY, 2012 Faith Lutheran Church New Providence, New Jersey Cover feature on pages 26–28 Feb 2012 Cover.indd 1 1/13/12 10:18:30 AM Feb 2011 pp. 2-18.indd 2 1/13/12 10:20:43 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Third Year: No. 2, Whole No. 1227 FEBRUARY, 2012 St. Thomas Church Fifth Avenue cent years advocating for more “expres- Established in 1909 ISSN 0012-2378 It is my fervent hope that the Decem- siveness” in pipe organs, and exploring An International Monthly Devoted to the Organ, ber 2011 issue of The Diapason will see ways to enhance the expressive capabil- the Harpsichord, Carillon, and Church Music the last of the seemingly interminable ity of pipe organs. These schemes have discussions of one organ in one church. mostly focused on various arrangements Referring, of course, to the organ in of pipes enclosed behind swell shades. St. Thomas Church, New York City— This is the common approach, but it is CONTENTS Editor & Publisher JEROME BUTERA [email protected] the church known to be favored by the now time to think outside the swell box. 847/391-1045 wealthy and privileged. Conceptually, the usual method involves FEATURES In his (exceptionally lengthy) letter on controlling the volume of sound near its Jehan Alain masterclass by Helga Schauerte Associate Editor JOYCE ROBINSON this subject, Jonathan Ambrosino—refer- source. But also conceptually, it is pos- at Duquesne University [email protected] by Stephanie Sloan and Rebecca Marie Yoder 19 ring to the choir of this church—opines: sible to control the sound volume at 847/391-1044 “arguably the premier North American the listener.
    [Show full text]
  • AMS San Francisco 2011 Final Abstracts
    American Musicological Society Program & Abstracts 2011 g Program and Abstracts of Papers Read at the American Musicological Society Seventy-Seventh Annual Meeting 10–13 November 011 Hyatt Regency San Francisco, California g AMS 2011 Annual Meeting Edited by Caryl Clark Chair, 11 AMS Program Committee Local Arrangements Committee Alexandra Amati-Camperi, Chair, Kara Gardner, Joseph Sargent Performance Committee Jeffery Kite-Powell, Chair, Alexandra Amati-Camperi, ex officio, David Schulenberg, Steve Swayne Program Committee Caryl Clark, Chair, Emma Dillon, 2012 Chair, David Brackett, Andrew Dell’Antonio, Judith Lochhead, Michael Marissen, Roberta Marvin The AMS would like to thank the following organizations for their generous support: Grace Cathedral San Francisco Conservatory of Music San Francisco Opera San Francisco Symphony Sherman Clay Pianos Sherman Clay has been the exclusive representative of the Steinway & Sons piano since 1891 and is proud to support the 11 Annual Meeting of the American Musicological Society. Program and Abstracts of Papers Read (ISSN 89-1) is published annually for the Annual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological So- ciety for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-841 (e-mail [email protected]).
    [Show full text]
  • Contextualizing the Music of Jehan Alain: Three Lenses on Variations Sur Un Thème De Clément Jannequin
    Fall 08 Contextualizing the Music of Jehan Alain: Three Lenses on Variations sur un thème de Clément Jannequin Ruth Draper A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2015 Reading Committee: Carole Terry, Chair Judy Tsou Robin McCabe Program Authorized to Offer Degree: School of Music ©Copyright 2015 Ruth Draper Fall 08 University of Washington Abstract Contextualizing the Music of Jehan Alain: Three Lenses on Variations sur un thème de Clément Jannequin Ruth Draper Chair of the Supervisory Committee: Professor Carole Terry School of Music French organist and composer Jehan Alain (1911-1940) was one of the first to bring modernism to organ composition. His music is known for its highly creative, even fantastical, approach to form, rhythm, timbre and mode. This dissertation explores the relationship between Alain’s innovative compositional voice and the trends of his time, using a multipronged analysis of one piece to situate Alain in the ideological and musical currents of interwar France. Variations sur un thème de Clément Jannequin (1937) is a set of variations on a sixteenth-century chanson. The theme is an almost verbatim transcription of a polyphonic Renaissance work arranged for piano and solo voice by Jean-Baptiste Weckerlin in the 1850s. Analysis shows that the changes Weckerlin made to the 1529 source better align his arrangement with ideal “French” qualities identified and promoted throughout nineteenth- century France in a widespread attempt to overturn the prevailing negative image of French music by identifying its distinctive and positive qualities. Written comments by Alain suggest that what attracted him about this chanson were both its authentic Renaissance characteristics and the notion of Frenchness portrayed in Weckerlin’s arrangement.
    [Show full text]
  • Duruflé Requiem Four Motets Messe Cum Jubilo
    DURUFLÉ REQUIEM FOUR MOTETS MESSE CUM JUBILO STEPHEN CLEOBURY CONDUCTOR PATRICIA BARDON ASHLEY RICHES ORCHESTRA OF THE AGE OF ENLIGHTENMENT TRACK LIST TRACK DURUFLÉ REQUIEM FOUR MOTETS MESSE CUM JUBILO Patricia Bardon mezzo-soprano Choir of King’s College, Cambridge Ashley Riches bass-baritone Orchestra of the Age of Enlightenment Tom Etheridge & Richard Gowers organ Stephen Cleobury conductor REQUIEM [Op. 9, 1961 version with small orchestra] – Maurice Duruflé Patricia Bardon mezzo-soprano, Orchestra for the Age of Enlightenment, Choir of King’s College, Cambridge, Tom Etheridge organ, Stephen Cleobury conductor 1 I. Introït 03:32 2 II. Kyrie 03:28 3 III. Domine Jesu Christe 07:58 4 IV. Sanctus 03:20 5 V. Pie Jesu (Patricia Bardon mezzo-soprano) 03:17 6 VI. Agnus Dei 03:46 7 VII. Lux æterna 03:52 8 VIII. Libera me 05:31 9 IX. In Paradisum 02:52 QUATRE MOTETS SUR DES THÈMES GRÉGORIENS [Op. 10] – Maurice Duruflé Choir of King’s College, Cambridge, Stephen Cleobury conductor 10 I. Ubi caritas et amor 01:57 11 II. Tota pulchra es 01:59 12 III. Tu es Petrus 00:54 13 IV. Tantum ergo 02:42 2 MESSE ‘CUM JUBILO’ [Op. 11, 1967 version with organ] – Maurice Duruflé Ashley Riches bass-baritone, Choir of King’s College, Cambridge, Richard Gowers organ, Stephen Cleobury conductor 14 I. Kyrie 03:17 15 II. Gloria 05:35 16 III. Sanctus 03:26 17 IV. Benedictus 01:58 18 V. Agnus Dei 04:25 Total Time 63:49 Recorded at 96kHz 24-bit PCM in the Chapel of King’s College, Cambridge, by kind permission of the Provost and Fellows, 7-8 & 11-12 January 2016.
    [Show full text]
  • Music at Grace 2019 - 2020
    Music at Grace 2019 - 2020 WELCOME September 2019 Dear Friends, We are delighted to welcome you to this season of Music at Grace! The coming year continues our tradition of offering glorious sacred choral music in worship and in concert. In addition, we are thrilled to share the fourth season of Collegium Ancora, Ensemble-in-Residence at Grace Church. Two special concerts will be accompanied by the Providence Baroque Chamber Orchestra – the Christmas portion of Händel’s Messiah on December 22, with the Grace Church Choir, Choristers and members of Collegium, and on April 5, The Passion According to St. John by J.S. Bach, sung by the Brown University Chorus. Our Thursdays at Noon concert series resumes in September and continues through May, with only a brief break for the Christmas holiday. The sublime services of Choral Evensong or Lessons and Carols will be held approximately once per month, and monthly Compline continues on the third Sunday of each month at 8 PM (doors open at 7:30). End or begin your week with half an hour of chant, candlelight, and incense. This booklet outlines the musical offerings for the coming season, particularly the 10 AM Sung Holy Eucharist on Sunday mornings. Also included is an envelope for your support of Music at Grace. Whether you are a parishioner or a friend of music, we hope you will consider making a donation to support our musical presence in Downcity Providence. A return envelope is enclosed for your convenience, and names listed will be included in the programs for special services and concerts.
    [Show full text]
  • Jean Langlais Remembered: Chapter-3
    The End of the Thirties ! ! ! ! ! !!!!!!!!!CHAPTER!3!! ! ! !!!!!!!!!!!The!End!of!the!Thirties!(1935–1939)!! ! ! Jean Langlais in 1935, upon leaving the Conservatory ! The period that had just come to a close was rich in professional successes for Jean Langlais: prizes in the organ class at the Conservatory and at the Amis de l’Orgue’s performance and improvisation competition, appointment as a teacher at the Institute for the Young Blind, appointment to the organ position at the Saint-Pierre de Montrouge church, and Hérelle’s publication of his first works. But the young composer had also seen darker moments: failure to get the first prize in the Conservatory’s composition class, and twice in the Amis de l’Orgue’s composition competition, and the sudden death of Paul Dukas. Before moving ahead with this story, it would be useful to reflect for a moment on the Thirties, a glorious decade for the French School of the organ, which saw the rise and flourishing of a generation of great organists, improvisers, and composers. All these figures were born near the beginning of the 20th century (Duruflé, the oldest, was born in 1902; Alain and Grunenwald, the youngest, in 1911). All these artists had won first prizes in Marcel Dupré’s organ class at the Conservatory, with the notable exception of Duruflé, who won it in Gigout’s class. And all made a lasting mark on the history of organ music in the 20th century. For them, having brillantly finished their Conservatory studies, the Thirties represented the beginning of musical careers. In this, they were aided and propelled to the top by the very new young society, the “Amis de l’Orgue” and its young secretary, the musicologist Norbert Dufourcq (born in 1904).
    [Show full text]
  • What's New?…A Modest Miscellany of Recent Compact
    BACH: Chorale-prelude, Wir glauben all, S. 680 - JENNIFER BATE: Homage to 1685 -Jennifer Bate PROGRAM NO. 0727 7/02/2007 Marie-Claire Alain (Groningen) Erato CD-96724 (1919 Willis/Brangwyn Hall, Swansea, Wales) What’s New?…a modest miscellany of recent FRANCK: Cantabile -Marie-Claire Alain (1884 Guild CD-7209 compact discs, a representative sampler of the Cavaillé-Coll/Church of St. Etienne, Caen) Erato GERMAINNE TAILLEFERRE: Nocturne -Frances incredible flood of current offerings. 2CD-12706 Nobert (1998 Glatter-Götz-Rosales/United Church W. A. MOZART: Overture in C, K. 399 -Christian von BACH: Prelude & Fugue in A, S. 536 -Marie-Claire of Christ, Claremont, CA) Raven CD-550 Alain (1975 Kern/Church of St. Martin, Masevaux, Blohn (1755 Silbermann/Dresden Hofkirche) Organ MARIE-LOUISE GIROD: Fantasie on Sacris France) Erato CD-96744 CD-7221.2 (www.ifo-records.de) Solemnis -Maxime Patel (1965 Beuchet/St. Peter’s MOZART: Church Sonata in C, K. 263 -Olivier With more than 200 albums to her credit, Marie-Claire Cathedral, Angouleme) AOV CD-1 Charlier, Florin Szigeti, violin; Dorel Fodoreanu, Alain stands as one of the best known, and best loved cello; Unal Erte, double-bass; Jean-Pierre Lecaudey among today’s organists. ETHEL SMYTH: Prelude & Fugue on “O (1982 Grenzing/St. Cyprien, Perigord, France) Pavane Program originally issued as #0107 in February 2001. Traurigkeit, o Herzeleid” -Susan Ferré (1998 CD-7507/8 Fritts/Pacific Lutheran University, Tacoma, WA) ROGRAM O FRANZ SCHUBERT (arranged Gibbs): Allegro molto P N . 0729 7/16/2007 Gothic CD-49211 (3rd mvt), from Symphony No. 5 in B-flat, D.
    [Show full text]
  • Organ Recital by Stephen Tharp 2011 International Performer of the Year Award
    Organ Recital by Stephen Tharp 2011 International Performer of the Year Award SUNDAY — 19 February 2012 The Church of St. Mary the Virgin, 145 West 46th Street (between 6th and 7th Avenues), 8.00 pm Pierre Cochereau (1924-1984) Sortie Improvisée sur "Venez, Divin Messie" (1974) (Transcribed by Stephen Tharp. First performance.) Charles-Marie Jean Albert Widor (1844-1937) Symphonie No. 10 “Romane,” Op. 73 Moderato Choral (Adagio) Cantilène (Lento) Final George Baker (b. 1951) Variations on the hymn-tune Rouen (2010)* (*Dedicated to Stephen Tharp, and composed in memory of Jehan Alain.) INTERMISSION Gaston Litaize (1909-1991) Lied, from “Douze Pièces” (1932) Marcel Dupré (1886-1971) Évocation Poème Symphonique, Op. 37 Moderato Adagio con tenerezza Allegro deciso A reception follows this concert at which Mr. Tharp will be presented with the NYC AGO International Performer of the Year Award. This is the Chapter’s highest honour, and is to be presented every year to a performer of outstanding achievement on the international stage. The award makes the recipient an honorary member of the Chapter for life. The reception will take place in the Parish Hall, through the doors in the west side of the nave. Special thanks to James Kennerley, Organist and Director of Music at St. Mary’s, for again allowing the Chapter and guests to enjoy this famous organ and stunningly beautiful church. Saint Mary's wishes to acknowledge the extraordinary generosity of John Rust, who has been a great friend of the church for many years. His support, along with the efforts of Larry Trupiano, Organ Curator, has ensured that the organ remains in the best possible condition.
    [Show full text]
  • Marie-Claire Alain August 10, 1926–February 26, 2013
    In Memoriam Marie-Claire Alain August 10, 1926–February 26, 2013 By James David Christie he world’s most distinguished con- donated the family house organ, built by cert organist, Marie-Claire Alain, her father between 1910 and 1971, to the Tdied at the age of 86 on Tuesday, Jehan Alain Association in Romainmôtier. February 26, 2013, in Le Pecq, a small Madame Alain’s last teaching in North French commune located next to her America took place at the McGill Sum- home city of Saint-Germain-en-Laye. mer Organ Academy, Montreal, Quebec, She had been in failing health for several Canada, in July 2007, and her very last months and the cause of her death was trip to North America was as a juror for reported as a cardiac arrest. Madame the First Canadian International Organ Alain performed around the entire Competition in Montreal in the fall of world, but always held her many Ameri- 2008. She served on that jury with five of can friends and audiences in her heart her former students: John Grew (Artistic as her favorite public. She performed Director of the CIOC), Dame Gillian over 2,500 concerts and made over 280 Weir, James David Christie, Ludger recordings during her lifetime. Lohmann, and James Higdon. Marie-Claire Alain was born in The list of awards and honors given Saint-Germain-en-Laye on August to Marie-Claire Alain is immense. She 10, 1926. Her father was the organist- received honorary doctorates from Colo- composer Albert Alain (1880–1971) and rado State University, Southern Meth- her mother was Magdeleine Alberty odist University, the Sibelius Academy (1890–1971).
    [Show full text]
  • Organ Recital Series: Erik Suter
    ORGAN RECITAL SERIES ERIK WM. SUTER, ORGANIST SUNDAY, NOVEMBER 13, 2016 · 5:00PM DUKE UNIVERSITY CHAPEL THE ORGAN WORKS OF MAURICE DURUFLÉ (1902-1986) Fugue sur le Thème du Carillon des Heures de la Cathédral de Soissons, Op. 12 Scherzo, Op. 2 Suite pour Orgue, Op. 5 I. Prélude ii. Sicilienne III. Toccata Méditation pour Orgue Prélude et Fugue sur le nom d’Alain, Op. 7 Prélude sur l’Introit de l’Épiphanie, Op. 13 Prélude, Adagio et Choral Varié sur le thème du “Veni Creator,” Op. 4 The Kathleen Upton Byrns McClendon Organ (Aeolian, 1932) Please reserve applause until the end of the program. • • • • • This concert is made possible through the support of Duke Health, the Office of the President of Duke University, and friends of Duke University Chapel. BIOGR APHY RIK WM. SUTER, A NATIVE OF CHICAGO, Mr. Suter won first prize in the Chicago Amer- is a musician of international acclaim. For ican Guild of Organists Young Organist’s Com- nearly ten years, he served as Organist at petition in 1993, first prize in the 1995 National EWashington National Cathedral in Washington, Undergraduate Organ Competition in Iowa, the DC. He holds degrees from Oberlin Conservato- gold medal of the mayor of Musashino/Tokyo in ry and Yale University, where his teachers were the 1996 International Organ Competition in Haskell Thomson, Thomas Murray, and Gerre Japan, and first prize in the 1997 Yale Bienni- Hancock. Previously, he held positions at Trin- al Organ Competition. He was twice a finalist ity Church (Copley Square) and at the Parish of in the prestigious AGO National Young Artists All Saints, both in Boston, as well as at Trinity Competition in Organ Playing.
    [Show full text]