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A Register of Music Performed in Concert, Nazareth, Pennsylvania from 1796 to 1845: an Annotated Edition of an American Moravian Document
A register of music performed in concert, Nazareth, Pennsylvania from 1796 to 1845: an annotated edition of an American Moravian document Item Type text; Thesis-Reproduction (electronic) Authors Strauss, Barbara Jo, 1947- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 23:14:00 Link to Item http://hdl.handle.net/10150/347995 A REGISTER OF MUSIC PERFORMED IN CONCERT, NAZARETH., PENNSYLVANIA FROM 1796 TO 181+52 AN ANNOTATED EDITION OF AN AMERICAN.MORAVIAN DOCUMENT by Barbara Jo Strauss A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC WITH A MAJOR IN MUSIC HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 6 Copyright 1976 Barbara Jo Strauss STATEMENT BY AUTHOR This thesis has been submitted in partial fulfill ment of requirements for an advanced degree at The Univer sity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate ac knowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may -
103 the Music Library of the Warsaw Theatre in The
A. ŻÓRAWSKA-WITKOWSKA, MUSIC LIBRARY OF THE WARSAW..., ARMUD6 47/1-2 (2016) 103-116 103 THE MUSIC LIBRARY OF THE WARSAW THEATRE IN THE YEARS 1788 AND 1797: AN EXPRESSION OF THE MIGRATION OF EUROPEAN REPERTOIRE ALINA ŻÓRAWSKA-WITKOWSKA UDK / UDC: 78.089.62”17”WARSAW University of Warsaw, Institute of Musicology, Izvorni znanstveni rad / Research Paper ul. Krakowskie Przedmieście 32, Primljeno / Received: 31. 8. 2016. 00-325 WARSAW, Poland Prihvaćeno / Accepted: 29. 9. 2016. Abstract In the Polish–Lithuanian Common- number of works is impressive: it included 245 wealth’s fi rst public theatre, operating in War- staged Italian, French, German, and Polish saw during the reign of Stanislaus Augustus operas and a further 61 operas listed in the cata- Poniatowski, numerous stage works were logues, as well as 106 documented ballets and perform ed in the years 1765-1767 and 1774-1794: another 47 catalogued ones. Amongst operas, Italian, French, German, and Polish operas as Italian ones were most popular with 102 docu- well ballets, while public concerts, organised at mented and 20 archived titles (totalling 122 the Warsaw theatre from the mid-1770s, featured works), followed by Polish (including transla- dozens of instrumental works including sym- tions of foreign works) with 58 and 1 titles phonies, overtures, concertos, variations as well respectively; French with 44 and 34 (totalling 78 as vocal-instrumental works - oratorios, opera compositions), and German operas with 41 and arias and ensembles, cantatas, and so forth. The 6 works, respectively. author analyses the manuscript catalogues of those scores (sheet music did not survive) held Keywords: music library, Warsaw, 18th at the Archiwum Główne Akt Dawnych in War- century, Stanislaus Augustus Poniatowski, saw (Pl-Wagad), in the Archive of Prince Joseph musical repertoire, musical theatre, music mi- Poniatowski and Maria Teresa Tyszkiewicz- gration Poniatowska. -
Erwin Und Elmire 1776 (70’)
Sound Reseach of Women Composers: Music of the Classical Period (CP 1) Anna Amalia Herzogin von Sachsen-Weimar-Eisenach 1739–1807 Erwin und Elmire 1776 (70’) Schauspiel mit Gesang nach einem Text von Johann Wolfgang von Goethe Erstveröffentlichung/First Publication erste vollständige szenische Aufführung am 25. Juni 2009 im Ekhof-Theater Gotha first complete scenic performance on June 25th 2009 at Ekhof-Theatre Gotha hrsg. von /edited by Peter Tregear Aufführungsmaterial leihweise / Performance material available for hire Personen Olympia: Sopran/Soprano Elmire: Sopran/Soprano Bernardo: Tenor oder/or Sopran/Soprano Erwin: Tenor oder/or Sopran/Soprano Orchesterbesetzung/Instrumentation 2 Flöten/2 Flutes 2 Oboen/2 Oboes Fagott/Bassoon 2 Hörner/2 Horns Violine 1/2 Viola Kontrabass Quelle: Anna Amalia Bibliothek, Weimar, Mus II a:98 (Partitur), Mus II c:1 (Vokalstimmen) © 2011 Furore Verlag, Naumburger Str. 40, D-34127 Kassel, www.furore-verlag.de Alle Rechte vorbehalten / Das widerrechtliche Kopieren von Noten wird privat- und strafrechtlich geahndet Printed in Germany / All rights reserved / Any unauthorized reproduction is prohibited by law Dieses Werk ist als Erstveröffentlichung nach §71 UrhG urheberrechtlich geschützt. Alle Aufführungen sind genehmigungs- und gebührenpflichtig. Furore Edition 2568 • ISMN: 979-0-50182-383-5 Inhalt/Contents Seite / Page Dr. Peter Tregear Erwin und Elmire – Eine Einführung 3 Professor Nicolas Boyle Goethes Erwin und Elmire in seiner Zeit 4 Dr. Lorraine Byrne Bodley Die Tücken des Musiktheaters: Anna Amalias -
Schiller and Music COLLEGE of ARTS and SCIENCES Imunci Germanic and Slavic Languages and Literatures
Schiller and Music COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Schiller and Music r.m. longyear UNC Studies in the Germanic Languages and Literatures Number 54 Copyright © 1966 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Longyear, R. M. Schiller and Music. Chapel Hill: University of North Carolina Press, 1966. doi: https://doi.org/ 10.5149/9781469657820_Longyear Library of Congress Cataloging-in-Publication Data Names: Longyear, R. M. Title: Schiller and music / by R. M. Longyear. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 54. Description: Chapel Hill : University of North Carolina Press, [1966] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 66064498 | isbn 978-1-4696-5781-3 (pbk: alk. paper) | isbn 978-1-4696-5782-0 (ebook) Subjects: Schiller, Friedrich, 1759-1805 — Criticism and interpretation. -
Anna Amalia Herzogin Von Sachsen-Weimar-Eisenach
Anna Amalia Herzogin von Sachsen-Weimar-Eisenach Orte und Länder Aufgewachsen am Braunschweig-Wolfenbüttler Hof, seit ihrer Vermählung mit Herzog Ernst August II. Constan- tin von Sachsen-Weimar-Eisenach im Jahr 1756 in Wei- mar ansässig. Biografie Als fünftes von dreizehn Kindern des Herzogs Carl I. und Philippine Charlotte, geb. Prinzessin von Preußen am 24. 10. 1739 in Wolfenbüttel geboren. Umfassende Ausbil- dung in allen geistes- und naturwissenschaftlichen Fä- chern, daneben besonders ambitionierte Unterweisung im Tanzen, Klavier-, Traversflöten-, Harfenspiel und in der Komposition. Nach ihrer Eheschließung mit Herzog Ernst August II. Constantin von Sachsen-Weimar-Eise- nach (1756) Übersiedelung nach Weimar. Nach dem Tod des Gatten 1758 vormundschaftliche Regentin und bis zur Regentschaftsübernahme ihres Sohnes Carl August (1775) Durchsetzung eines eigengeprägten Hofkonzepts Herzogin Anna Amalia von Georg Melchior Kraus (Öl auf („Weimarer Musenhof“). Sie setzte sich mit einer geziel- Leinwand), 1774 ten Personalpolitik, mit der sie Dichter wie Johann Carl August Musäus (ab 1763), ab 1772 Christoph Martin Wie- Anna Amalia Herzogin von Sachsen-Weimar- land zu den Erziehern ihrer Söhne machte, ab 1775 Jo- Eisenach hann Wolfgang Goethe und wenig später Johann Gottf- Geburtsname: Anna Amalia Prinzessin von ried Herder an sich band und Musiker wie Ernst Wil- Braunschweig-Wolfenbüttel helm Wolf, Carl Friedrich Freiherr von Seckendorff oder die Sängerin Corona Schröter in ein umfassendes Pro- * 24. Oktober 1739 in Wolfenbüttel, gramm integrierte, für Wissenschaft, Literatur, bildende † 10. April 1807 in Weimar, Kunst und Musik ein und hatte an allen Bereichen selbst aktiven Anteil. Ihr kompositorisches Œuvre umfasst Fürstin, Begründerin des Weimarer Musenhofs, Kammermusik und musikdramatische Werke (s.u.). -
1 Montag, 05.07.2021 00:00 1LIVE Fiehe Freestylesendung Mit Klaus
Montag, 05.07.2021 zur vollen Stunde WDR II:F7; Consortium Classicum aktuell Paul Hindemith: zur halben Stunde WDR Sinfonische Metamorphosen aktuell und Lokalzeit auf nach Themen von Carl WDR 2 Maria von Weber; Sao 15:00 WDR 2 Sommerradio Paulo Symphony Orchestra, Darin: Leitung: John Neschling 00:00 1LIVE Fiehe zur vollen Stunde WDR Claudio Monteverdi: Freestylesendung mit Klaus aktuell Missa "In illo tempore"; Federico Bagnasco, Fiehe zur halben Stunde bis 17:30 seit 22:00 Uhr WDR aktuell und Lokalzeit Violone; Massimo Sartori, Viola da gamba; Michele 01:00 Die junge Nacht der ARD auf WDR 2 18:40 WDR 2 Stichtag Pasotti, Theorbe; Marta Darin: Graziolino, Harfe; Liuwe zur vollen Stunde WDR (Wiederholung von 09:40) Tamminga, Orgelpositiv; aktuell 20:00 WDR 2 POP! Darin: Odhecaton, Leitung: Paolo 05:00 1LIVE Da Col Die tägliche, aktuelle zur vollen Stunde WDR aktuell Wolfgang Amadeus Mozart: Morgen-Show in 1LIVE 23:30 WDR 2 Podcast Sinfonie g-Moll, KV 183; 10:00 1LIVE Academy of St. Martin in the Der Vormittag in 1LIVE Sommerfestival Fields, Leitung: Neville 14:00 1LIVE Marriner Der Nachmittag in 1LIVE ab 04:03: 18:00 1LIVE Ottorino Respighi: Die Themen des Tages im Feste Romane; Oslo Sektor Philharmonic Orchestra, 20:00 1LIVE Plan B Leitung: Mariss Jansons Der Abend in 1LIVE - im 00:00 ARD Radiofestival. Franz Liszt: Zeichen der Popkultur Nachrichten Tarantella; Yundi Li, Klavier 23:00 1LIVE Reportage 00:03 Das ARD Nachtkonzert Luigi Boccherini: Max Bruch: Violoncellokonzert Nr. 7 G- Sinfonie Nr. 1 Es-Dur, op. Dur; Truls Mørk; Trondheim 28; Gewandhausorchester, Soloists, Leitung: Øyvind Leitung: Kurt Masur Gimse Johannes Brahms: ab 05:03: Fest- und Gedenksprüche, Wolfgang Amadeus Mozart: op. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
C. P. E. BACH the Solo Keyboard Music
C. P. E. BACH The Solo Keyboard Music 32 ‘für Kenner und Liebhaber’ Sonatas and Rondos from Collections 1 & 2 MIKLÓS SPÁNYI TANGENT PIANO BACH, Carl Philipp Emanuel (1714–88) ‘für Kenner und Liebhaber’ Sonatas from Collection 1, Wq 55 Rondos from Collection 2, Wq 56 Sonata No.1 in C major, Wq 55/1 (H 244) 8'56 1 Prestissimo 3'11 2 Andante 2'31 3 Allegretto 3'10 4 Rondo No.1 in C major, Wq 56/1 (H 260) 8'42 Allegretto Sonata No.4 in A major, Wq 55/4 (H 186) 22'27 5 Allegro assai 9'08 6 Poco adagio 4'46 7 Allegro 8'31 8 Rondo No.2 in D major, Wq 56/3 (H 261) 7'04 Allegretto 2 Sonata No.6 in G major, Wq 55/6 (H 187) 21'07 9 Allegretto moderato 9'57 10 Andante 3'26 11 Allegro di molto 7'41 12 Rondo No.3 in A minor, Wq 56/5 (H 262) 9'14 Poco andante TT: 78'54 Miklós Spányi tangent piano 3 s Carl Philipp Emanuel Bach discussed the publication of his first Hamburg collection of solo keyboard sonatas with Johann Gottlob Immanuel Breitkopf Ain Leipzig (Sechs Clavier-Sonaten für Kenner und Liebhaber), he was al - ready composing works for a projected second collection. To the title of this collec - tion Bach added nebst einigen Rondos fürs Forte-Piano (‘together with some rondos for the fortepiano’). The fortepiano offered new possibilities to composers and key - board players, and Bach’s title emphasized its suitability for the three rondos of the collection. -
A Aurora Do (Forte)Piano
PERSONE, P. A aurora do (forte)piano. Per Musi, Belo Horizonte, n.20, 2009, p.22-33. A aurora do (forte)piano Pedro Persone (UNESP/ FAPESP, São Paulo) [email protected]; http://fortepiano.org Resumo. Este artigo revisita a aurora do fortepiano, instrumento que se tornaria ponto de convergência no fazer musical de fins do século XVIII até meados do XX, e apresenta referências documentais sobre o início da invenção da mecânica de Bartolomeo Cristofori, bem como documentações de outros projetos não Cristoforianos. Palavras-chave: Piano, Fortepiano, Cristofori, Tangentflügel, Piano tangente. The dawn of the (forte)piano Abstract. This article reviews the dawn of the fortepiano, an instrument central to music making from the second half of Eighteenth century to the middle of the Twentieth century. It presents documents that describe the beginning of Cristofori’s invention as well as non-Cristofori documents on the same subject. Keywords: Piano, Fortepiano, Cristofori, Tangentflügel, Tangent piano. 1- Os princípios de um novo instrumento Antes do advento do registro de patentes, muitas vezes mais antigo instrumento conhecido, um “octave virginal” poderia ser difícil conectar a invenção ao seu criador - a ou espineta construído em 1587 por Franciscus Bonafinis, idéia da patente é mais comum ao século XIX. Com a criação teve sua mecânica original substituída por uma mecânica da lei de patentes, por volta de 1790 nos Estados Unidos, a martelos tangentes em 1632. toda nova invenção, mudança, ou aprimoramento podiam ser diretamente relacionados a seu inventor ou executor. Jean Marius (?-1720), um hábil matemático, com No caso particular do piano, podemos traçar suas origens graduação em leis, inventor do clavecin-brisé (cravo e desenvolvimentos, sendo possível determinar a provável dobrável), submeteu em 1716 à Académie Royale des data, o lugar e seu inventor. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
German Writers on German Opera, 1798–1830
! "# $ % & % ' % !"# $!%$! &#' !' "(&(&()(( *+*,(-!*,(."(/0 ' "# ' '% $$(' $(#1$2/ 3((&/ 14(/ Propagating a National Genre: German Writers on German Opera, 1798–1830 A Dissertation submitted to the Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY In the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2010 by Kevin Robert Burke BM Appalachian State University, 2002 MM University of Cincinnati, 2004 Committee Chair: Dr. Mary Sue Morrow ABSTRACT Standard histories of Western music have settled on the phrase “German Romantic opera” to characterize German operatic developments in the early part of the nineteenth century. A consideration of over 1500 opera reviews from close to thirty periodicals, however, paints a more complex picture. In addition to a fascination with the supernatural, composers were drawn to a variety of libretti, including Biblical and Classical topics, and considered the application of recitative and other conventions most historians have overlooked because of their un-German heritage. Despite the variety of approaches and conceptions of what a German opera might look like, writers from Vienna to Kassel shared a common aspiration to develop a true German opera. The new language of concert criticism found from specialized music journals like the Allgemeine musikalische Zeitung to the entertainment inserts of feuilletons like the Zeitung für die elegante Welt made the operatic endeavor of the early nineteenth century a national one rather than a regional one as it was in the eighteenth century. ii Copyright 2010, Kevin Robert Burke iii ACKNOWLEDGEMENTS First, I would like to offer gratitude to all my colleagues, friends, and family who supported me with encouraging words, a listening ear, and moments of celebration at the end of each stage. -
Introduction
INTRODUCTION Three keyboard concertos by Carl Philipp Emanuel Bach Bach’s original keyboard concertos. The sources transmit- are included in the present volume: the Concerto in B-flat ting the three works similarly reflect their differing histo- Major, Wq 28 (H 434); the Concerto in A Major, Wq 29 ries; whereas we have the composer’s autograph score and (H 437); and the Concerto in B Minor, Wq 30 (H 440). house parts for Wq 30, no such authoritative documenta- All three works are listed in the catalogue of Bach’s estate tion survives for either Wq 28 or 29. (NV 1790, pp. 31–32) in the section devoted to the con- certos: Concertos in B-flat Major and A Major, No. 29. B. dur. B[erlin]. 1751. Clavier, 2 Violinen, Bratsche und Wq 28 and 29 Baß; ist auch für das Violoncell und die Flöte gesezt. No. 30. A. dur. P[otsdam]. 1753. Clavier, 2 Violinen, Bratsche Wq 28 and 29 are the second and third of three concertos und Baß; ist auch für das Violoncell und die Flöte gesezt. that, in the words of NV 1790, were “also set for violon- 1 No. 31. H. moll. P. 1753. Clavier, 2 Violinen, Bratsche und Baß. cello and flute.” Along with Wq 26, these were the first documented instances in which Bach wrote multiple ver- While Wq 28–30 are numbered successively in NV 1790, sions of a concerto for different solo instruments (see table these works differ in their histories in ways that have left 1), a practice that remained exceptional for him.2 We do a mark on the nature of the pieces themselves.