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VIRTUOSO TIMPANI CONCERTOS Alexander Peter

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557610 bk Timpani US 12/05/2005 04:24pm Page 8 1st Violin: Cello: Oboe: Trumpet: Wolfgang Hentrich Ulf Prelle Johannes Keiffer Csaba Kelemen Alexander Teichmann Petra Willmann Michael Goldammer Tobias Willner Annegret Teichmann Roland Rudolph Roland Eitrich Double Bass: Clarinet: Hartmut Flath Peter Krauß Fabian Dirr 2nd Violin: Henry Philipp Trombone: Heiko Seifert Harpsichord: Peter Conrad VIRTUOSO Christoph Lindemann Sigrid Walser Bassoon: Steffen Gaitzsch Michael Lang Conductor and Soloist: Andrea Dittrich Flute: Mario Hendel Alexander Peter Karin Hofmann TIMPANI Viola: Claudia Teutsch Horn: Christina Biwank-Berner Jörg Brückner Andreas Kuhlmann Dietrich Schlät CONCERTOS Piotr Szumiel The cadenzas for Georg Druschetzky’s Concerto for Six Timpani and Orchestra were composed by Alexander Peter. Editions by Harrison Powley Druschetzky Philidor, André & Jacques. Graupner, Johann Christoph. „Marche de timballes“, MS Res.F „Sinfonia a 2 corni, timpani, Fischer 671. Bibliotèque National, Paris 2 violini, viola, e cembalo“, Copyright by Harrison Powley Mus. ms 470/8. Hessische Landes- 2003 und Hochschulbibliothek, Molter Darmstadt. [Fischer, Johann Carl Christian]. Copyright by Harrison Powley „Symphonie mit acht obligaten 1982, 2004 Graupner Pauken“, MS 2744. Landesbibliothek Mecklenberg- „Partita in C“, Ms. Mus. 1516 Vorpommern, Országos Széchényi Könyvtár, Musikaliensammlung, Schwerin. Budapest. Copyright by Harrison Powley Copyright by Harrison Powley Alexander Peter Professor Harrison Powley 1982, 2003 1983, 2003 Molter, Johann Melchior. „Sinfonia Dresden Druschetzky, Georg. „Concerto per No. 99“, MS 615. Badische sei timpani“, Ms. Mus. 1514; Landesbibliothek, Karlsruhe. Copyright by Harrison Powley Copyright by Harrison Powley Philharmonic 1982, 2003 2000 Chamber Orchestra 8.557610 8 557610 bk Timpani US 12/05/2005 04:24pm Page 2 VIRTUOSO TIMPANI CONCERTOS Alexander Peter Born on 2nd October, 1964, in Augsburg, Alexander Peter started his training in percussion Georg Druschetzky (1745-1819): at the age of ten. After finishing school, he began to study timpani and percussion at the Concerto per sei timpani 15:33 Augsburg Academy with H. Hungbaur, the principal timpanist of the Augsburg 1 Allegro 6:37 Philharmonic Orchestra. He continued his studies at the Munich Musikhochschule, where 2 Andante 3:17 his teachers were H. Hoelzl, former principal timpanist of the Bavarian Radio Symphony 3 Variazione: Allegro 5:39 Orchestra, and D. Punto of the Berlin Musikhochschule. In addition, he completed and deepened his experience playing in orchestras under renowned conductors, including André Philidor (c.1647-1730) and Leonard Bernstein and Sergiu Celibidache. He also was a member of various youth Jacques Philidor (1657-1708) orchestras, including the Bavarian State Youth Symphony Orchestra, the International 4 Marche de timballes (1685) 3:35 Orchestra of Jeunesse Musicales, and the Symphony Orchestra of the International Youth Festival Bayreuth. Starting his professional career with the Augsburg Johann Carl Christian Fischer (1752-1807): Philharmonic Orchestra, Alexander Peter was offered the position of principal Symphonie mit acht obligaten Pauken 14:48 timpanist of the Thüringen Philharmonic, Suhl, in 1990. In 1994 he left to become principal timpanist of the Dresden Philharmonic Orchestra. Concerts and performances 5 Moderato 8:14 with various brass ensembles and early music groups specialising in historical performance 6 Adagio 1:17 practices provide a welcome and enriching addition to his work with the orchestra. Alexander Peter 7 Allegretto 5:18 also frequently distinguishes himself as a soloist, presenting an extensive repertoire from classical to contemporary music. Since October 2000 he has served as professor of timpani and percussion, and also holds a teaching position Johann Melchior Molter (1697-1765): Sinfonia No. 99 15:22 at the Franz Liszt Musikhochschule in Weimar. 8 Allegro 2:49 9 Andante 3:25 0 Presto 2:01 ! Un poco allegro 5:01 Dresden Philharmonic Chamber Orchestra @ Menuetto 2:06 The Dresden Philharmonic Chamber Orchestra is a chamber ensemble composed of concertmasters and principals Johann Christoph Graupner (1683-1760): of the Dresden Philharmonic Orchestra. The Philharmonic Chamber Orchestra performs a regular cycle of chamber Sinfonia a 2 corni, timpani, 2 violini, viola, e cembalo 14:57 concerts, in addition to the subscription concerts given by the Dresden Philharmonic Orchestra, and also receives # Vivace 3:15 regular invitations to perform both nationally and internationally, continuing a tradition introduced by Horst Förster, $ Largo e piano 2:16 principle second violinist, after the the Second World War. In 1947 he founded and led the chamber orchestra, % Menuetto 2:37 consisting of members of the Dresden Philharmonic Orchestra, until his retirement. In 1969 the concertmaster ^ Bourée 2:19 Günter Siering devoted himself for nearly two decades to the orchestra and brought it to a new level of artistic & Air: Andante 2:01 excellence through an expansion of the repertoire. This enabled the orchestra not only to offer interesting * Gigue 2:29 programmes in chamber music concerts and events such as the Dresden Music Festival, but to also participate successfully in guest performances nationwide and abroad. In the 1990s this tradition was continued under the Georg Druschetzky: Partita in C 15:16 leadership of concertmaster Ralf-Carsten Brömsel, who was succeeded in 2002 by concertmaster Wolfgang Hentrich. Since the beginning the artistic and organisational management has been mainly carried out by the ( Allegro con brio 4:50 musicians of the orchestra themselves, a demonstration of their interest and enthusiasm. ) Menuetto 2:34 ¡ Adagio 3:31 ™ Rondo: Allegro con molto 4:22 8.557610 2 7 8.557610 557610 bk Timpani US 12/05/2005 04:24pm Page 6 major, dated 1799, each call for seven timpani tuned G and strings, begins with a short orchestral introduction VIRTUOSO TIMPANI CONCERTOS A B c d e and f. Also an oboist, Druschetzky’s Concerto based on the movement’s main melodic material, a per il oboa e timpano exhibits many difficult timpani triplet figure. Within the limitations of the six notes (G André Philidor (c.1647-1730) and Jacques persisted well into the late eighteenth century. Johann techniques (the work requires eight timpani tuned A B c d and e) Druschetzky holds the listener’s attention Philidor (1657-1708): Marche de Timbales Ernst Altenberg’s Versuch einer Anleitung zur heroisch- similarly to the Fischer), including rolls, beating on two in this Allegro con moto movement through timbral and musikalischen Trompeter- und Pauker- Kunst (Halle, drums simultaneously, and many cross stickings. dynamic contrasts and solo flourishes. Note how the Johann Carl Christian Fischer (1752-1807): 1795) details some practices. Instructive for the Characteristic of Druschetzky’s approach to writing timpani sounding two octaves below the flute and Symphony with Eight Obbligato Timpani timpanist is the last chapter in which he discusses some for multiple timpani is his consistent use of the timpani violins articulate the primary tune. To enhance the Schlagmanieren or types of beatings required of the primarily as a melodic instrument, often doubling the variety within the movement Druschetzky uses Alberti- Johann Melchior Molter (1696-1765): military timpanist. woodwinds or high strings. His Concerto for Six bass patterns, a brief shift to the A minor, the relative Sinfonia No. 99 in F major The pairing of the drums stems from their military Timpani and Orchestra 1-3 nicely illustrates his style. minor key to C major, and in the concluding few use as instruments played while mounted on horseback He wrote this C major work in the late1790s. It has the measures strong and simple harmonic emphasis, ending Johann Christoph Graupner (1683-1760): and normally a noble might have but one pair. Altenberg usual three movements, but in making a modern with a virtuoso flourish. Next follows an elegant Minuet Sinfonia tells us that on festival or special occasions more than scholarly/performing edition several problems and Trio. The regular phrasing, so typical of the normal pair of timpani could be used. He says that confronted me: first, a score version exists in which the Druschetzky’s style, allows for delicate contrasts Georg Druschetzky (1745-1819): Concerto for several timpani of varying sizes and pitches (he infers as first movement is contracted by eliminating echoing between the full ensemble and timpani and the solo Six Timpani and Orchestra • Partita in C major many as eight) could be placed in a semicircular passages for woodwinds and strings; second, a set of flute. In the Trio the flute and timpani double the arrangement for more comfortable performance. He parts for the first movement survives that was made in melody three octaves apart. The Adagio, a rounded- The earliest references in European literature to cites Johann Reichardt’s 1786 Cantus lugubris in 1932 for a performance of this movement (a trumpet binary structure influenced by the French overture style, kettledrums appear in accounts of the crusaders orbitum Friderici Magni borussorum regis (Cantata on part is dated November 1932); and third, a complete set features staccato and embellished doubled-dotted confronting Moslem armies. For example, in his Life of the death of Frederick the Great) in which four timpani of original orchestral parts is preserved. I made the figures. The concluding rollicking Rondo: Allegro con Saint Louis, Jean de Joinville
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  • Modulation: Pivot Chords

    Modulation: Pivot Chords

    MODULATION: PIVOT CHORDS APPLICATIONS OF THE HARMONIC WHEEL CONTENTS 2 The Modulation consists in changing from one Key to another. To do that, it is common to use a Pivot Chord, which is a chord that belongs to both keys, and then the new key is affirmed by a Cadence, which may consist, simply, in the chords V7 I. In this presentation, an explanation is given on how to obtain the pivot chords between two keys, using the Harmonic Wheel. For the sake of simplicity, only consonant pivot chords are considered, that is, Major or minor. © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 3 Every Major or natural minor key contains 6 consonant chords: 3 Major and 3 minor. On the Harmonic Wheel, these 6 chords are inside a curved rectangle and they are placed taking into account their affinity. For example, in the C Major / A minor key these 6 chords appear in the following arrangement: Dm Am Em F C G © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 4 © 2009 www.harmonicwheel.com CHORDS OF A GIVEN KEY 5 Remember that the scale tonic is indicated with and the rest of the notes with . Traditionally, the modulation is studied with the aid of the cycle of fifths, where the keys are sorted according to their key signatures. On its own, the Harmonic Wheel is a much more complete representation than a cycle of fifths, since it gives a panoramic view of chords and keys, as well as the existing relationships among them. © 2009 www.harmonicwheel.com MODUL.