Johannes Brahms Horn Trio
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Read Ebook {PDF EPUB} Johann Sebastian Bach: Heritage and Obligation by Paul Hindemith Johann Sebastian Bach: Heritage and Obligation [Hindemith, Paul] on Amazon.Com
Read Ebook {PDF EPUB} Johann Sebastian Bach: Heritage and Obligation by Paul Hindemith Johann Sebastian Bach: Heritage and Obligation [Hindemith, Paul] on Amazon.com. *FREE* shipping on qualifying offers. Johann Sebastian Bach: Heritage and Obligation Heroic Single-Mindedness; JOHANN SEBASTIAN BACH: Heritage and Obligation. By Paul Hindemith. 44 pp. New Haven: Yale University Press. $2. Johann Sebastian Bach: Heritage and Obligation by Paul Hindemith Johann Sebastian Bach: Heritage and Obligation by Paul Hindemith (p. 409) Review by: Peter Evans Fifty years ago, on the 200th anniversary of Bach’s death, composer Paul Hindemith gave a speech titled “Heritage and Obligation.” Like Hindemith, many composers since the time of Mozart have felt some kind of obligation to Bach’s heritage—composers as diverse as Mendelssohn, Chopin, Brahms, Stravinsky, and the jazz pianist John Lewis. Paul Hindemith’s most popular book is Elementary Training for Musicians. ... Johann Sebastian Bach: Heritage and Obligation by. Paul Hindemith. 4.10 avg rating — 10 ratings — published 1978 Want to ... Johann Sebastian Bach - ett förpliktande arv by. Johann Sebastian Bach: Heritage and Obligation by Hindemith, Paul. Used - Good. Former Library book. Shows some signs of wear, and may have some markings on the inside.... Johann Sebastian Bach: Heritage and Obligation: ISBN 9780313203732 (978-0-313-20373-2) Hardcover, Praeger, 1978 Music Minus One Clarinet: Advanced Contest Solos, Vol. 37 editions published between 1973 and 1993 in 4 languages and held by 767 WorldCat member libraries worldwide. Johann Sebastian Bach : heritage and obligation by Paul Hindemith ( Book ) 26 editions published between 1952 and 1978 in 3 languages and … “Recognition of human excellencies its highest form, knowledge of the path that leads to it, the necessary done with dutifulness and driven to that point of perfection where it outgrows all necessity—this knowledge is the most precious inheritance given us with Bach’s music.” – Paul Hindemith (Johann Sebastian Bach: Heritage and Obligation, pp. -
Brahms Horn Trio
Cedarville University DigitalCommons@Cedarville Student Recitals Concert and Recital Programs 11-23-2019 Brahms Horn Trio Chloë Sodonis Caroline Beckman Stephen Estep Follow this and additional works at: https://digitalcommons.cedarville.edu/student_recitals Part of the Music Performance Commons This Program is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Student Recitals by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Chloë Sodonis is a junior French horn performance major at Cedarville University. She is principal horn in the University Wind Symphony and Orchestra as well as an active member in the broader south Ohio music community, performing as a substitute musician for the Kettering Praise Orchestra, Dayton Philharmonic Concert Band, and Springfield Symphony Orchestra. She loves chamber music and has experience playing in brass quintets, woodwind quintets, a horn choir, a horn quartet, a horn and harp duet, and an oboe trio. Chloë has thoroughly enjoyed preparing this trio for horn, violin and piano, and she loves the range of emotions evoked through this piece. She hopes to continue her studies in graduate school and earn a position as a member of an esteemed symphony orchestra. Caroline Beckman, a Kansas native, is currently pursuing a Bachelor of Arts in Music with concentrations in violin performance and piano pedagogy at Cedarville University, where she serves as a concertmaster of the Cedarville University Orchestra. Beginning formal music instruction at age six, Caroline went on to win numerous awards in piano and violin at State KMTA and KMFA competitions, the Bethany Oratorio Society Festival Apprenticeship Chair, and 2015 Salina Youth Symphony Concerto Competition. -
Programme Notes by Chris Darwin. Use Freely for Non-Commercial Purposes Johannes Brahms (1833-1897) Horn Trio in E Op 40 (1865)
Programme notes by Chris Darwin. Use freely for non-commercial purposes Johannes Brahms (1833-1897) Horn Trio in E♭ Op 40 (1865) Andante Scherzo (Allegro) Adagio mesto Allegro con brio For Brahms the early 1860s were a productive time for chamber music: 2 string sextets, 2 piano quartets, a piano quintet and a cello sonata as well as this horn trio. As a child Brahms learned piano, cello and natural horn, so perhaps this work, written shortly after the death of his mother, involved the instruments of his youth (he specified that the horn part could be played by the cello). The quality of the notes produced by hand-stopping a natural horn are significantly different from those of a valve horn, and Brahms exploits these particular qualities in the piece. The overall structure of the work is unusual for Brahms since it echoes the old Church Sonata (Sonata di Chiesa) – a form much used by Corelli, with four movements alternating slow-fast-slow-fast. The first movement in turn alternates a broad, nostalgically tender Andante with a more animated section. The opening theme, though introduced by the violin (illustrated) is well-suited to the natural horn, which repeats it and later re-introduces it when the Andante section returns twice more. The rhythmically complex Scherzo leads to the emotional heart of the work, the Adagio mesto. Dark colours from the piano in the 6 flats of Eb minor, make even more sad a theme of mournful semitones to make a movement of great intensity. But, with the end of the movement, mourning passes and we can move on to the Finale. -
Spring Concert Calendar
SPRING CONCERT CALENDAR March 2019 Tuesday, April 16 | 12:30 p.m. Kim Cook, Cello; Carl Blake, Piano Tuesday, March 5 | 12:30 p.m. L. V. Beethoven: Sonatas for Cello and Piano Hope Briggs, Soprano • No. 2 in G Minor, Op. 5 Shawnette Sulker, Soprano • No. 5 in D Major, Op. 102 Carl Blake, Piano Music written by Amy Beach; Jacqueline Hairston; Tuesday, April 23 | 12:30 p.m. Margaret Bonds; Lena McLin; William Grant Still; Hall Mana Trio Johnson; Robert L. Morris • Johannes Brahms: Horn Trio in E-flat Major, Op. 40 • Johann Joachim Quantz: Sonata in C Minor Tuesday, March 12 | 12:30 p.m. • Jean Baptiste Singelée: Duo Concertante, Op. 55 Paul Galbraith, 8-string Guitar • J. S. Bach: French Suite No.2 in C Minor, BWV 813 Tuesday, April 30 | 12:30 p.m. • Alexander Scriabin: Six Preludes Trio Continentale • W. A. Mozart: Allemande, from • Amy Beach: Op. 150, Trio., 3 Baroque Suite, K. 399 • Clara Schumann: Trio in G Minor, Op. 17, 3 • W. A. Mozart: Piano Sonata in B-flat Major, K. 570 • Rebecca Clarke: Viola Sonata,1 • Fanny Mendelssohn: Op. 11, 1 Tuesday, March 19 | 12:30 p.m. • Emilie Mayer, Noturno Cristiana Pegoraro, Piano • Lili Boulanger: D’un Matin de Printemps • Rossini/Pegoraro: Overture to Il • Jennifer Higdon: Piano Trio “Pale Yellow” Barbiere di Siviglia • Cecil Chaminade: Trio No. 2 in A Minor, 3 • Pegoraro: Colors of Love • Bizet/Pegoraro: Carmen Fantasy May 2019 • Pegoraro: The Wind and the Sea • Pegoraro/Porzio: Fantasia Italiana Tuesday, May 7 | 12:30 p.m. -
The Artistic Merits of Incorporating Natural Horn Techniques Into Valve Horn Performance
The Artistic Merits of Incorporating Natural Horn Techniques into Valve Horn Performance A Portfolio of Recorded Performances and Exegesis Adam Greaves Submitted in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music Faculty of Humanities and Social Sciences University of Adelaide March 2012 i Table of Contents Abstract i Declaration ii Acknowledgements iii List of Figures iv Recital Programmes 1 Exegesis Introduction 2 Recital One 4 Recital two 11 Conclusion 25 Appendix: Concert Programmes Recital One 26 Recital Two 30 Bibliography 34 Recordings Recital One Recital Two ii Abstract The dissertation addresses the significance of how a command of the natural horn can aid performance on its modern, valve counterpart. Building on research already conducted on the topic, the practice-led project assesses the artistic merits of utilising natural horn techniques in performances on the valve horn. The exegesis analyses aesthetic decisions made in the recitals – here disposed as two CD recordings – and assesses the necessity or otherwise of valve horn players developing a command of the natural horn. The first recital comprises a comparison of performances by the candidate of Brahms’ Horn Trio, Op.40 (1865) on the natural and valve horns. The exegesis evaluates the two performances from an aesthetic and technical standpoint. The second recital, while predominantly performed on the valve horn, contains compositions that have been written with elements of natural horn technique taken into consideration. It also contains two pieces commissioned for this project, one by a student composer and the other by a professional horn player. These two commissions are offered as case studies in the incorporation of natural horn techniques into compositional praxis. -
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours. -
Brahms, Johannes (B Hamburg, 7 May 1833; D Vienna, 3 April 1897)
Brahms, Johannes (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid and late 19thcentury art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime. 1. Formative years. 2. New paths. 3. First maturity. 4. At the summit. 5. Final years and legacy. 6. Influence and reception. 7. Piano and organ music. 8. Chamber music. 9. Orchestral works and concertos. 10. Choral works. 11. Lieder and solo vocal ensembles. WORKS BIBLIOGRAPHY GEORGE S. BOZARTH (1–5, 10–11, worklist, bibliography), WALTER FRISCH (6– 9, 10, worklist, bibliography) Brahms, Johannes 1. Formative years. Brahms was the second child and first son of Johanna Henrika Christiane Nissen (1789–1865) and Johann Jakob Brahms (1806–72). His mother, an intelligent and thrifty woman simply educated, was a skilled seamstress descended from a respectable bourgeois family. His father came from yeoman and artisan stock that originated in lower Saxony and resided in Holstein from the mid18th century. A resourceful musician of modest talent, Johann Jakob learnt to play several instruments, including the flute, horn, violin and double bass, and in 1826 moved to the free Hanseatic port of Hamburg, where he earned his living playing in dance halls and taverns. -
Alla Breve Magazin Der Hochschule Für Musik Saar • Gegründet 1995 • Gratis Wintersemester 2007/2008 • 12
alla breve Magazin der Hochschule für Musik Saar • Gegründet 1995 • Gratis Wintersemester 2007/2008 • 12. Jahrgang, Nr. 2 • Oktober 2007 Unser Zeichen für Verantwortung. Inhalt alla breve Sonderteil: 60 Jahre Hochschule für Musik Saar Grußworte 4 60 Jahre Hochschule für Musik Saar 14 Programm - Festwoche 24 alla breve - Wintersemester 2007 / 2008 HFM-Report 27 Veranstaltungen Wintersemester 2007/2008 34 Saarländisches Staatstheater 39 Deutsche Radio Philharmonie 41 Studium 44 Publikationen 47 HFM Campus 49 alla breveWintersemester 2007/2008 alla breve Grußworte Hochschule60 Jahre für Musik Saar Grußwort unter fachlicher Anleitung auszubau- im Saarland zu haben. Ich gratuliere en zu trainieren. Talente im Musikbe- ganz herzlich zum Jubiläum und wün- des Ministerpräsidenten reich werden entdeckt und gezielt ge- sche alles Gute und viel Erfolg für die des Saarlandes Peter Müller fördert. Eine sachkundige Ausbildung nächsten Jahrzehnte. sorgt dafür, dass eine neue Genera- Kultur ist einer der wesentlichen As- tion von Musiklehrern, Dirigenten pekte des menschlichen Lebens. Seine und Musikern hervorgebracht wird, Kultur macht den Menschen zu etwas die alle Menschen mit ihrem Können Besonderem, gibt dem menschlichen und ihrem Schaffen erfreuen und die Peter Müller Dasein Form und Kontur. Kunst im Begeisterung für ihr Metier an ande- Ministerpräsident des Saarlandes Allgemeinen und Musikkunst im Be- re Personen weitergeben. Fulminante sonderen sind ein unverzichtbarer Konzerte und bewegende Musikvor- Teil unserer Kultur. Kunst verbindet, führungen, die von den Mitarbeitern, überwindet Grenzen, kennt keine Dozenten und Studenten der Hoch- Sprachbarrieren, ist Sinnbild der Äs- schule ausgerichtet werden, bringen thetik des Lebens und eine besonders die Faszination der Kunst direkt zum starke Ausdrucksform. Publikum und beweisen, dass das menschliche Leben ohne Kunst um Glücklicherweise wird der Wert der vieles ärmer wäre. -
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL and INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors
The Ninth Season Through Brahms CHAMBER MUSIC FESTIVAL AND INSTITUTE July 22–August 13, 2011 David Finckel and Wu Han, Artistic Directors Music@Menlo Through Brahms the ninth season July 22–August 13, 2011 david finckel and wu han, artistic directors Contents 2 Season Dedication 3 A Message from the Artistic Directors 4 Welcome from the Executive Director 4 Board, Administration, and Mission Statement 5 Through Brahms Program Overview 6 Essay: “Johannes Brahms: The Great Romantic” by Calum MacDonald 8 Encounters I–IV 11 Concert Programs I–VI 30 String Quartet Programs 37 Carte Blanche Concerts I–IV 50 Chamber Music Institute 52 Prelude Performances 61 Koret Young Performers Concerts 64 Café Conversations 65 Master Classes 66 Open House 67 2011 Visual Artist: John Morra 68 Listening Room 69 Music@Menlo LIVE 70 2011–2012 Winter Series 72 Artist and Faculty Biographies 85 Internship Program 86 Glossary 88 Join Music@Menlo 92 Acknowledgments 95 Ticket and Performance Information 96 Calendar Cover artwork: Mertz No. 12, 2009, by John Morra. Inside (p. 67): Paintings by John Morra. Photograph of Johannes Brahms in his studio (p. 1): © The Art Archive/Museum der Stadt Wien/ Alfredo Dagli Orti. Photograph of the grave of Johannes Brahms in the Zentralfriedhof (central cemetery), Vienna, Austria (p. 5): © Chris Stock/Lebrecht Music and Arts. Photograph of Brahms (p. 7): Courtesy of Eugene Drucker in memory of Ernest Drucker. Da-Hong Seetoo (p. 69) and Ani Kavafian (p. 75): Christian Steiner. Paul Appleby (p. 72): Ken Howard. Carey Bell (p. 73): Steve Savage. Sasha Cooke (p. 74): Nick Granito. -
John Carter ˙ Œ Œ Œ Œ
UNIVERSITY OF CALIFORNIA Los Angeles An Orchestral Transcription of Johannes Brahms’s Sonata for Violin and Piano No. 3 in D Minor, op. 108 with an Analysis of Performance Considerations A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts by John Murray Carter 2012 © Copyright by John Murray Carter 2012 ABSTRACT OF THE DISSERTATION An Orchestral Transcription of Johannes Brahms’s Sonata for Violin and Piano No. 3 in D Minor, op. 108 with an Analysis of Performance Considerations by John Murray Carter Doctor of Musical Arts University of California, Los Angeles, 2012 Professor Neal Stulberg, Chair The objective of this dissertation is to examine the orchestration methods of Johannes Brahms, apply these methods to an orchestral transcription of his Sonata for Violin and Piano No. 3 in D Minor, op. 108, and provide a conductor’s analysis of the transcription. Chapter 1 gives a brief historical background, and discusses reasons for and methods of the project. Chapter 2 examines general aspects of Brahms’s orchestrational style. Chapter 3 addresses the transcription process and its application to the Third Violin Sonata. Chapter 4 explores areas in which a thorough understanding of a work’s compositional and orchestrational structure informs performance practice. Chapter 5 discusses differences in chamber and orchestral music observed during the project. The full score of the transcription is included at the end. ii The dissertation of John Murray Carter is approved. Mark Carlson Gary Gray Elizabeth Upton Neal Stulberg, Committee Chair University of California, Los Angeles 2012 iii Dedicated to my wife Bonnie, who never stopped believing in me. -
Jahresbericht Der Hochschule Für Musik Und Theater München Zum Studienjahr 2010/2011 Hochschule Für Musik Und Theater München Präsident Prof
Jahresbericht der Hochschule für Musik und Theater München zum Studienjahr 2010/2011 Hochschule für Musik und Theater München Präsident Prof. Dr. Siegfried Mauser Arcisstraße 12 80333 München Tel. 089 / 289-03 Fax 089 / 289-27419 E-Mail: [email protected] www.musikhochschule-muenchen.de Jahresbericht zum Studienjahr 2010 / 2011 Redaktionsstand: 12.8.2011 Zusammenstellung, Redaktion und nicht namentlich gezeichnete Texte: Dorothee Göbel M.A. Fotos (sofern nicht anders angegeben): Pressestelle der Hochschule für Musik und Theater München Chronologischer Rückblick: Kathrin Zeitler M.A. Berichte aus den Klassen und Abteilungen: Constanze Richter M.A. Verantwortlich für die Absolventendateien: Prüfungsamt der Hochschule für Musik und Theater München Verantwortlich für das Lehrerverzeichnis: Regina Eham Verantwortlich für das Studentenverzeichnis: Merike Steinert Grafi k und Gestaltung: Kay Fretwurst, Spreeau Druck: panta rhei c.m., 82152 Martinsried Inhalt Chronologischer Rückblick auf das Studienjahr . 9 Immatrikulationsfeier Siegfried Mauser Zur Eröffnung des Studienjahrs 2010/2011 Rede anlässlich der Immatrikulationsfeier am 18.10.2010 . 59 Maurice Lausberg »Kultur braucht Unternehmertum!« – Immatrikulationsrede zur Eröffnung des Studienjahrs 2010/2011 am 18.10.2010 . 65 Stefan Eisner und Hedwig Raschke … das wohl bedeutendste Semester seit langem! Rede der Studentenvertretung bei der Immatrikulationsfeier 2010/2011 . 69 Texte aus dem Studienjahr Frizz Lauterbach Musikjournalismus auf den Medientagen 2010 . 75 Christine Schornsheim, Flóra Fábri Zweimal Tokyo – Erfahrungen als Gastprofessorin und als Gaststudentin 78 Sepp Hornsteiner Volksmusik in großer Vielfalt Rückblick auf die Volksmusiknacht 2011 . 87 Oliver Stahl Schulmusiker-Orchester meets Klasse 9c des Gymnasiums Kolleg der Schulbrüder Illertissen . 89 Diemut Köhler Franz Massinger zum Gedenken . 92 Tatiana Flickinger »Innige Betroffenheit beim ersten Mal mit der Matthäus-Passion« Zur Realisierung eines studiengangsübergreifenden Großprojekts . -
1 Konzertkritiken, Programme, Flyer U.Ä. 1.1 (Vorwiegend)
- 2 - 1 Konzertkritiken, Programme, Flyer u.ä. 1.1 (vorwiegend) Programme, Flyer u.ä. AM-1-A/84 Konzertprogramme, Flyer, diverse Drucksachen zum Jazz Enthält u.a.: Dizzy Gillespie, King of Bepop, o. J. der drummer. Herausgeg. von Sonor-Werke. Frankfurt, 1953, Nr. 1 der drummer. VI. deutsches jazz-festival. Herausgeg. von Sonor-Werke. Frankfurt, [1958] hans kollers new jazz group, Köln, 22.3.1954 Jazz 1956 (Programm der Deutschen Jazz-Föderation) REPORT. Mitteilungen des New Jazz-Circle Berlin e.V., Dez. 1958 hans kollers new Jazz stars, 1958 Teatro Sociale, Mantua, 23.2.1959 jazzforum (5 jahre jazzstudio nürnberg ev). Nürnberg, 1959 Mai Festival du Jazz, 2.8.1959 1953 - 1959 AM-1-A/82 Programmhefte, Flyer, Einladungen, diverse Drucksachen zu Frankfurter Jazzveranstaltung Enthält u.a.: - "Jazz 1956" und "Jazz 1958"; - Deutsches Jazz Festival, 4./1956, 7./1960, 12./1970, 15./1976, 22./1990; - 16 Jahre Hot Club Ffm, 6 Jahre Domicile du Jazz. (Programm der Jubiläumswoche, Faltblatt), 9.-15.9.1957 - Konzert in Jazz. Albert-Mangelsdorff-Quintett. (Programmzettel für ein Konzert im Haus Ronneburg), 8.9.1962 - Lieder im Park (Günthersburgpark), 1975 f.; - 1952-1977. 25 Jahre "der jazzkeller" Frankfurt. Festschrift, herausgeg. von Willi Geipel, 1977 1956 - 2003 AM-1-A/16 Jazz-Konzerte und Tourneen Enthält v.a.: Programme, Flyer, vereinzelte Kritiken ca. 1960-1969 unsortiert AM-1-A/18 Jazz-Konzerte und Tourneen Enthält v.a.: Presseartikel, Kritiken, Programme, Flyer ca. 1960-1969 ungeordnet AM-1-A/80 Programmhefte, Flyer, Einladungen, diverse Drucksachen zu Jazzveranstaltung Enthält u.a.: Jazz "Solo now!", Asien-Tournee (Jakarta) "Solo now!", 5 Jahre Jazzclub Hannover; 2.