Flights of Fancy Teaching Guide
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
March 2021 Program Ponderings
Program Ponderings March Director of Programs - Brad Ray 2021 Well, top of the mornin’ to ya! It’s free to play, and like the posters For those of you, like myself, who say, “It Pays to Play!!” have a “wee bit of Irish” in them, you will be Dublin’ over with Did you know that Village laughter at this terrible St. Pat- Shores is the first senior living com- rick’s Day pun. But alas, perhaps munity that Summit Music began we should focus on the luck we playing on a regular basis? Well, are all experiencing, being that a now these intrepid troops bring their vast majority of the staff and resi- amazing music to parking lots all dents at Village Shores have had over the metro! We are blessed to BOTH vaccination shots! That have them scheduled for two con- puts us way ahead of the curve! certs in March, so make sure to mark However, as we enter March, we your calendar! are continuing with the safety pro- The Scenic Drives with Victor tocols already firmly in place: on Thursdays will continue, with us Now, more than ever, we must looking at adding more as the weath- remain diligent in our fight to pre- er warms up. We will still be limiting vent the spread of COVID-19, es- the number of riders, as social dis- pecially since it seems like the end tancing protocols remain in place. of the tunnel is in view! So let’s The medical runs on Tuesday will al- take a look at some of the things so stay the same. -
Instructions for Authors
Journal of Science and Arts Supplement at No.1- 2, pp. 29-32, 2011 BENCHMARKS IN VIENESE CLASSICAL CHAMBER MUSIC TRIOS WITH CLARINET – W. A. MOZART FELIX C-TIN GOLDBACH1, ILIA BILBIE GEORGESCU2 _________________________________________________ Manuscript received: 10.04.2011. Accepted paper: 11.05.2011. Published online: 10.06.2011. Abstract. Johann Chrysostom Wolfgang Amadeus Mozart (Salzburg, 27th of January 1756 – Vienna 5th of December 1791) through his music an his immensely contribution to bloom the artistic and aesthetic classical movement, remained in the humanity and musical history one of the most representative personality of the Viennese Classicism – a cornerstone for the subsequent musical movement birth and development. Keywords: music, pre-classicism, chamber music, clarinet. 1. INTRODUCTION W. A. Mozart, son of the composer, violinist and musical pedagogue Leopold, having become a prodigy child, stride across European musical capitals and aristocracy palaces. Soon, he will be recognised as a violin and harpsichord virtuoso; above, he receives order to compose music, art for which he proves a brilliant talent. The power of his memory accumulates with agility all the characteristics and new trends appeared in Europe and has the chance to accomplish them. The ideas and the most illustrative music schools affluences will be joint with the depth of his musical style, starting from the brilliance virtuosity to the absolute expressive eloquence from his gallant style, rococo works. 2. DISCUSSIONS The testimony of his compositional -
Sacred Space and Sublime Sacramental Piety the Devotion of the Forty Hours and W.A
Sacred Space and Sublime Sacramental Piety The Devotion of the Forty Hours and W.A. Mozart's Two Sacramental Litanies (Salzburg 1772 and 1776) Petersen, Nils Holger Published in: Heterotopos Publication date: 2012 Document version Early version, also known as pre-print Citation for published version (APA): Petersen, N. H. (2012). Sacred Space and Sublime Sacramental Piety: The Devotion of the Forty Hours and W.A. Mozart's Two Sacramental Litanies (Salzburg 1772 and 1776). In D. M. Colceriu (Ed.), Heterotopos: Espaces sacrés (Vol. I, pp. 171-211). Editura Universitatii din Bucuresti. Download date: 28. sep.. 2021 Sacred Space and Sublime Sacramental Piety: The Devotion of the Forty Hours and W.A. Mozart’s two Sacramental Litanies (Salzburg 1772 and 1776) Nils Holger Petersen, University of Copenhagen * In this article, I shall discuss the musical response of the young W.A. Mozart (1756−91) to notions of sacredness in connection with Eucharistic piety of the late eighteenth century at the Cathedral of Salzburg, with which he was unofficially associated since early childhood through his father Leopold Mozart (1719−87) who was employed by the archbishop of Salzburg and where Wolfgang himself also became officially employed in the summer of 1772. Eucharistic piety, of course, was a general phenomenon in the Latin Roman Church as a consequence of the developments in Eucharistic thought especially since the eleventh century where the foundations for the later doctrine of the transubstantiation (formally confirmed at the fourth Lateran Council in 1215) were laid leading to new forms of pious practices connected to the Eucharistic elements, not least the establishing of the Feast of Corpus Christi (gradually from a slow start in the thirteenth century). -
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. -
IMAGO MUSICAE Edenda Curavit Björn R
International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale XXIX Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Founded by the International Repertory of Musical Iconography (RIdIM) IMAGO MUSICAE Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX INSTITUT FÜR KUNST- UND MUSIKHISTORISCHE FORSCHUNGEN Österreichische Akademie der Wissenschaften Wien CENTRE D’ÉTUDES SUPÉRIEURES DE LA RENAISSANCE ISSN • 0255-8831 Université François-Rabelais de Tours € 80.00 ISBN • 978-7096-897-2 LIM Libreria•Musicale•Italiana Centre National de la Recherche Scientifique, UMR 7323 IMAGO MUSICAE International•Yearbook•of•Musical•Iconography Internationales•Jahrbuch•für•Musikikonographie Annuaire•International•d’Iconographie•Musicale Annuario•Internazionale•di•Iconografia•Musicale Anuario•Internacional•de•Iconografía•Musical Edenda curavit Björn R. Tammen cum Antonio Baldassarre, Cristina Bordas, Gabriela Currie, Nicoletta Guidobaldi atque Philippe Vendrix Founding editor 1984–2013 Tilman Seebass IMAGO MUSICAE XXIX Libreria•Musicale•Italiana Founded by the International Repertory of Musical Iconography (RIdIM) Graphic design and Layout: Vincent Besson, CNRS-CESR ISSN: 0255-8831 ISBN: 978-88-7096-897-2 © 2017, LIM Editrice, Lucca Via di Arsina 296/f – 55100 Lucca All rights reserved – Printed in -
Mozart's Scatological Disorder
loss in this study, previous work has been descriptive Our study shows that there is a potential for hearing in nature, presenting the numbers of cases of hearing damage in classical musicians and that some form of loss, presumed to have been noise induced orcomparing protection from excessive sound may occasionally be hearing levels with reference populations.'7-8 Both needed. these descriptive methods have shortcomings: the former depends on the definition of noise induced 1 Health and safety at work act 1974. London: HMSO, 1974. 2 Noise at work regulations 1989. London: HMSO, 1989. hearing loss, and the latter depends on identifying a 3 Sataloff RT. Hearing loss in musicians. AmJ Otol 1991;12:122-7. well matched reference population. Neither method of 4 Axelsson A, Lindgren F. Hearing in classical musicians. Acta Otolaryngol 1981; 377(suppl):3-74. presentation is amenable to the necessary statistical 5Burns W, Robinson DW. Audiometry in industry. J7 Soc Occup Med 1973;23: testing. We believe that our method is suitable for 86-91. estimating the risk ofhearing loss in classical musicians 6 Santucci M. Musicians can protect their hearing. Medical Problems ofPerforming Artists 1990;5:136-8. as it does not depend on identifying cases but uses 7 Rabinowitz J, Hausler R, Bristow G, Rey P. Study of the effects of very loud internal comparisons. Unfortunately, the numbers music on musicians in the Orchestra de la Suisse Romande. Medecine et Hygiene 1982;40:1-9. available limited the statistical power, but other 8 Royster JD. Sound exposures and hearing thresholds of symphony orchestra orchestras might be recruited to an extended study. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Dissertation First Pages
Dissertation in Music Performance by Joachim C. Angster A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2020 Dissertation Committee: Assistant Professor Caroline Coade, Co-Chair Professor David Halen, Co-Chair Professor Colleen Conway Associate Professor Max Dimoff Professor Daniel Herwitz Joachim C. Angster [email protected] ORCID iD: 0000-0002-2563-2819 © Joachim C. Angster 2020 ACKNOWLEDGEMENTS I would like to express my gratitude to members of my Doctoral Committee and to my teacher Professor Caroline Coade in particular, for making me a better musician. I also would like to give special thanks to my collaborators Arianna Dotto, Meridian Prall, Ji-Hyang Gwak, Taylor Flowers, and Nathaniel Pierce. Finally, I am grateful for the continuous support of my parents, and for the invaluable help of Anna Herklotz and Gabriele Dotto. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv FIRST DISSERTATION RECITAL: Program 1 Program Notes 2 SECOND DISSERTATION RECITAL: Program 18 Program Notes 19 THIRD DISSERTATION RECITAL: Program 27 Program Notes 28 BIBLIOGRAPHY 40 iii ABSTRACT This dissertation pertains to three viola recitals, which were respectively performed on 2 October 2019, 20 January 2020, and 9 March 2020. Each recital program embraced a specific theme involving little-performed works as well as staples from the viola repertoire, and covered a wide range of different musical styles. The first recital, performed with violinist Arianna Dotto, focused on violin and viola duo repertoire. Two pieces in the Classical and early Romantic styles by W. A. Mozart and L. -
Program KYRIE 1
Program KYRIE 1. Kyrie GLORIA 2. Gloria 3. Laudamus te 4. Gratias 5. Domine 6. Qui tollis 7. Quoniam 8. Jesu Christe / Cum sancto spiritu h h Intermission CREDO 9. Credo 10. Et incarnatus est 11. Crucifixus 12. Et resurrexit 13. Et in Spiritum Sanctum 14. Et unam sanctam 15. Et vitam venturi h h Pause Program Notes SANCTUS Requiem While many people are familiar with the story of Wolfgang Amadeus Mozart’s , K. 626, which was Mass left in C unfinished minor upon Mozart’s death, far fewer people are aware that Mozart left an even more Requiem BENEDICTUS16. Sanctus ambitious vocal work, the “Great” , K. 427 (K. 417a), incomplete as well. If the tale of the Mass in C is minor the basis of great drama—as demonstrated in the 1984 Academy Award-winning flm 17. Benedictus Amadeus—then the mystery of the is its musical AGNUS DEI equivalent. After two hundred years of sleuthing and speculation, it remains unclear why Mozart composed the mass, as well as why he never comple ted it. 18. Agnus Dei Although Mozart had written a number of masses while employed by 19. Dona nobis pacem the Prince Archbishop of Salzburg, Hieronymus von Colloredo, he was Mass in C minor hh gone from the prince’s court for over a year when he began to compose the in the summer of 1782. Mozart’s single piece of correspondence concerning the mass only adds to the mystery. In a letter dated January 14, 1783, to his father Leopold, Mozart wrote elliptically that “the score of half of a mass, which is still lying here waiting to be finished, is the best proof that I really made the promise.” While the promise Mozart alluded to in the letter has traditionally been interpreted as an olive branch to his father, who had not approved of Mozart’s recent marriage, or as an ode of thanksgiving to his wife Constanze, recent research hints that Mozart had promised his father that he would reconcile with Archbishop Colloredo. -
The Place of Piano and Clarinet in Wolfgang Amadeus Mozart's Solo
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.56, 2017 The Place of Piano and Clarinet in Wolfgang Amadeus Mozart’s Solo and Chamber Music Pieces Ozge Guncan * Ilkay Ak State Conservatory, Department of Music, Anadolu University, PO box 26050, Eskisehir, Turkey Abstract This study aims to gather information about piano and clarinet in the Classical Period and to show the importance of Wolfgang Amadeus Mozart’s piano and clarinet music styles in solo and chamber music works. Classical Era takes place in the music history in the second half of the 18 th century as a period starting from 1750, which is accepted as J. S. Bach’s date of death to 1827, which was L. von Beethoven’s date of death. In this era, which lasted about 80 years, clarinet and piano played an important role in Mozart’s works. The study will explain clarinet and piano works of W. A. Mozart, who was a unique composer of the 18th century classical music and whose mastery has been unquestionable for ages, and discuss the style and characteristics of the era about the contributions he made both to that period and to the following periods. Mozart, who crammed more than 600 works into his short life, is a composer who has been an example for all generations and the music history. Starting from this point of view, the study will explain and exemplify the outlines related to solo and chamber musical repertoire of Mozart’s clarinet and piano music. Keywords: Mozart, Piano, Clarinet, Classical Period, Solo, Chamber Music. -
574163 Itunes Haydn
Michael HAYDN Missa Sancti Nicolai Tolentini Vesperae Pro Festo Sancti Innocentium Anima Nostra Harper • Owen • Charlston Marko Sever, Organ Lawes Baroque Players St Albans Cathedral Girls Choir Tom Winpenny 1 46 8 ! @ $ & ) ¡ Michael Jenni Ha2rpe46r –80–@ $ –& ) –¡ , Emily Owen – – – – $, S&o ) pr¡ano H(1A73Y7–1D806N ) Helen Charlston, Mezzo-soprano – Missa Sancti Nicolai Tolentini, MH 109 (1768) 36:40 Marko Sever, Organ (Text: Latin Mass) 1 Kyrie eleison 3:31 1 @L $ aw*e s) B¡aroque Players1 @ $ * ) ¡ 2 Kati Debretzeni – – , Miles Golding – – , Violin 3 Gloria in excelsis Deo 3:16 1 @ $ ¡ Henrik Persson, Cello – – 4 Qui tollis 2:27 1 @ $ * ) ¡ – – 5 Quoniam 2:37 Peter McCarthy, Double bass 1 25 6 8 @ 6 Cum Sancto Spiritu 2:15 Thomas Hewitt, Ellie Lovegrove, Trumpet – – – 7 Credo in unum Deum 2:22 1 35 6 8 0 @ ¡ 8 Et incarnatus est 2:51 St Albans Cathedral Girls Choir – – – – Et resurrexit 4:49 9 Tom Winpenny 0 Sanctus 1:55 Benedictus 3:57 ! Recorded: 23–24 July 2019 at St Saviour’s Church, St Albans, Hertfordshire, UK, Agnus Dei 3:20 @ by kind permission of the Vicar and Churchwardens Dona nobis pacem 3:12 Producer, engineer and editor: Adrian Lucas (Acclaim Productions) Vesperae Pro Festo Sancti Innocentium (1774–87) 36:05 Production assistant: Aaron Prewer-Jenkinson (compiled by Nikolaus Lang, 1772–1837) # $ % ^ & * Booklet notes: Tom Winpenny 1 @ (Text: Psalms 69, v. 1 , 109 , 110 , 111( , 129 , 131 ), Publisher: Carus-Verlag, ed. Armin Kircher – , Aurelius Clemens Prudentius, c.348–c.413 , Luke I: 46–55 ) # ¡ # Edition: Manuscript, ed. Tom Winpenny – $ Deus in adjutorium meum, MH 454 1:02 % Dixit Dominus, MH 294 5:17 ^ Confitebor tibi, MH 304 4:52 Michael Haydn (1737–1806): Missa Sancti Nicolai Tolentini & Beatus vir, MH 304 4:06 Vesperae Pro Festo Sancti Innocentium • Anima Nostra * De profundis clamavi, MH 304 6:21 Michael Haydn was born in Rohrau, an Austrian village Haydn’s first professional appointment (by 1760) was ( Memento Domine David, MH 200 5:58 close to the Hungarian border.