The University of North Carolina at Chapel Hill Music Department

Total Page:16

File Type:pdf, Size:1020Kb

The University of North Carolina at Chapel Hill Music Department The University of North Carolina at Chapel Hill Music Department UNC Music Workshop Presents: Faculty Recital July 22, 2019 8:00 pm Moeser Auditorium ~ Program ~ Chopin Robert Schumann from Carnaval, Op. 9 (1810 - 1856) Ballade No. 2 in F Major, Op. 38 Frédéric Chopin dedicated to Robert Schumann (1810 - 1849) Frank Pittman, piano Gruss Edvard Grieg (1843 - 1907) Ideale Paolo Tosti (1846 - 1916) Bleuet Francis Poulenc (1899 - 1963) Jordan Wilson, baritone Frank Pittman, piano Se tu m’ami Giovanni Battista Pergolesi (1710 - 1736) Per la gloria d’adorarvi Giovanni Bononcini (1670 - 1747) El tra la la y el punteado Enrique Granados (1867 - 1916) El majo tímido Enrique Granados Mary Gayle Greene, mezzo-soprano Frank Pittman, piano Alleluia Cécile Chaminade (1857 - 1944) Canción de la Infanta Pauline Viardot (1821 - 1910) An April Day Florence Price (1887 - 1953) Jeanne Fischer, soprano Frank Pittman, piano Et misericordia Johann Sebastian Bach from Magnificat in D dur (1685 – 1750) Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Liebeslieder Walzer, Op. 52 Johannes Brahms (1833 – 1897) 1. Rede Mädchen, allzu liebes 2. Am Gesteine rauscht die Flut Neue Liebeslieder Walzer, Op. 65 15. Zum Schluß Jeanne Fischer, soprano Mary Gayle Greene, mezzo-soprano Daniel M. Huff, tenor Jordan Wilson, baritone ******************************************** A native of North Carolina, Jeanne Fischer received her BA in Music and English from UNC-Chapel Hill. She continued her studies in the United Kingdom on a British Marshall Scholarship, completing an MM and Artist’s Diploma at London’s Royal Academy of Music. She received her DMA from the University of Maryland. Her solo performances include appearances with the Smithsonian Chamber Players, The Bach Sinfonia, the Washington Bach Consort, Princeton’s Dryden Ensemble, and the University of Maryland Symphony. In the UK, she appeared as part of the St. Martin-in-the-Fields Outstanding Young Artists’ Series, the Norfolk and Norwich Festival, and the Dartington International Festival. Prior to coming to UNC in 2006, Dr. Fischer taught voice at Shenandoah Conservatory in Winchester, VA. She has also served on the faculty of Oberlin’s summer Baroque Performance Institute. She is a member of the National Association of Teachers of Singing, Phi Beta Kappa, and Early Music America. Dr. Jordan Wilson, baritone, is pleased to have recently moved back to his home state of North Carolina, having joined the Music department at Wingate University. Originally from the Raleigh area, he received both a Bachelor of Music in Vocal Performance and Music Theory and a Master of Music in Vocal Performance from the Eastman School of Music. As an avid recitalist, while he attended Eastman he was the 2010 winner of the Jessie Kneisel German Lieder competition. Dr. Wilson also received his Doctor of Musical Arts degree in Vocal Performance from the University of Wisconsin-Madison. While there, he also studied linguistics and has research interests in the intersection of linguistics and singing in several languages. Dr. Wilson previously served on the faculty of Missouri Southern State University in Joplin, Missouri. He can be heard on recordings with Eastman Opera Theatre, Wolftrap Opera, and the Rochester Symphony Orchestra among others. Mezzo soprano Mary Gayle Greene has sung professionally in Europe and the British Isles. Groups she has performed with include the St Louis Symphony, The Opera Theater of Saint Louis and the Chicago Lyric Opera Studio. The North Carolina Visiting Artist program brought Mary Gayle to North Carolina. She is a frequent soloist with the North Carolina Symphony, The Raleigh Oratorio Society, the Durham Choral Society and the Long Leaf Opera Company. Mary Gayle has taught voice at Elon College, the University of North Carolina at Chapel Hill and is presently on the faculty at Appalachian State University. Dr. Frank Pittman is a nationally certified teacher of music and is the founder, artistic, and executive director of the Piano Academy of North Carolina in Durham. He has served on the faculties of the Governor's School of North Carolina, the University of North Carolina at Chapel Hill, Meredith College, Campbell University, the Actors Center in Philadelphia, the Durham School of the Arts, and has been guest Lecturer of Music Theatre at Temple University. Several of his students have participated in international piano festivals and won numerous competitions. Dr. Pittman performs regularly as recitalist, concerto soloist, and chamber musician throughout the United States and Europe. While touring in Great Britain he received the honor to perform in live broadcast over British Radio. Dr. Pittman regularly adjudicates for local, regional, national, and international piano competitions. He is a recurring examiner for the Hong Kong Schools Music Competition and is the current piano performance festival state director of the North Carolina Music Teachers Association where he has also served as past president. He holds degrees from the University of North Carolina at Greensboro, Temple University, and the University of North Carolina at Chapel Hill. Dr. Pittman attended the UNC High School Music Workshop (formerly the UNC Piano Clinic) as a student in 1975-1981. During his college studies he served on the staff of the clinic. This year marks Dr. Pittman’s 30th year as a faculty member of the workshop. Michael Meyer is entering his seventeenth year as Director of Upper School Music at Durham Academy in Durham, NC. He received his Bachelor’s in Music Education from UNC and his Master of Music from the University of Cincinnati College-Conservatory of Music. He previously served as Assistant to the Conductor for the Choral Society of Durham. Michael has worked as an arranger and engraver for Music Theatre International, and arranges and orchestrates music for both amateur and professional groups locally and nationally. .
Recommended publications
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck
    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
    [Show full text]
  • Giovanni Paolo Colonna "Psalmi Ad Vesperas" Op. 12: Introduction
    GIOVANNI PAOLO COLONNA Psalmi ad Vesperas OPUS DUODECIMUM, 1694 Edited by Pyrros Bamichas May 2010 WEB LIBRARY OF SEVENTEENTH-CENTURY MUSIC (www.sscm-wlscm.org), WLSCM No. 18 Contents INTRODUCTION ......................................................................................................................... iii The Composer ........................................................................................................................ iii The Music .............................................................................................................................. vi Liturgical Practice .................................................................................................................. xi Acknowledgments................................................................................................................. xii CRITICAL COMMENTARY ..................................................................................................... xiv The Sources .......................................................................................................................... xiv Other Sources for the Pieces of Op. 12 .............................................................................. xviii Editorial Method ................................................................................................................... xx Critical Notes ....................................................................................................................... xxi [1] Domine ad adjuvandum
    [Show full text]
  • Breathtaking-Program-Notes
    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
    [Show full text]
  • The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 The Chalumeau in Eighteenth-Century Vienna: Works for Soprano and Soprano Chalumeau Elizabeth Crawford Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE CHALUMEAU IN EIGHTEENTH - CENTURY VIENNA: WORKS FOR SOPRANO AND SOPRANO CHALUMEAU By ELIZABETH CRAWFORD A Treatise submitted to the College of Music In partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2008 The members of the Committee approve the treatise of Elizabeth Crawford defended on March 17, 2008. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ James Mathes Outside Committee Member ________________________________ Jeff Keesecker Committee Member ________________________________ John Parks Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my mother and to the memory of my father. iii ACKNOWLEDGEMENTS I would like to thank the members of my committee – Dr. Frank Kowalsky, Professor Jeff Keesecker, Dr. Jim Mathes, and Dr. John Parks – for their time and guidance. Thanks also to the staff of the Österreichische Nationalbibliothek for their assistance and to Eric Hoeprich for his insight and patience. iv TABLE OF CONTENTS List of Musical Examples . vi Preface . vii Chapter 1 – The Chalumeau . 1 Chapter 2 – Italian Influence in Vienna . 8 Chapter 3 – Musical Life at Court . 13 Chapter 4 – Giovanni Bononcini (1670-1747) . 17 Chapter 5 – Joseph I, Habsburg (1678-1711) . 23 Chapter 6 – Johann Joseph Fux (1660-1741) .
    [Show full text]
  • Norcal Chapter Winter Meeting 2014
    WINTER MEETING Northern California Chapter of the American Musicological Society Saturday, February 1, 2014 Music Department University of California, Santa Cruz Northern California Chapter of the American Musicological Society University of California, Santa Cruz Music Center, Room 131 February 1, 2014 Registration, 9:45–10:00 Session I, Opera, 10:00–12:15 James Davies (University of California, Berkeley), Chair Eleanor Selfridge-Field (CCRMA/Stanford University), Art, Music, and the Stage: Venetian Scenography in the Era of Bernardo Canal and Antonio Vivaldi Heather Hadlock (Stanford University), Staging La damnation de Faust in Monte Carlo and Paris, 1893–1903 Riccardo la Spina (Independent Scholar, Oakland), “Ecco il loco destinato”: Original Opera as an Expression of National Pride in 1863–4 Mexico Lunch, 12:15–1:45 Business Meeting, 1:45–2:15 Session II, Sound and Process in 20th-Century Music, 2:15–3:45 Leta Miller (University of California, Santa Cruz), Chair Alex Stalarow (University of California, Davis), The Uncanny and the Acousmatic in Pierre Schaeffer’s Symphonie pour un homme seul Giacomo Fiore (S.F. Conservatory/UC Santa Cruz), “Morphing” as Process in the Music of Larry Polansky Coffee and Refreshments, 3:45–4:00 Session III, Recovering 18th-Century Culture, 4:00–5:30 Sarah Waltz (University of the Pacific), Chair, Beverly Wilcox (University of California, Davis), Fort applaudi par une très nombreuse assemblée: Posters and Concert Reviews in Enlightenment Paris Daniel Leeson (Neue Mozart Ausgabe), A Long-Lost Portrait of Composer and Cellist Giovanni Bononcini ABSTRACTS Eleanor Selfridge-Field (CCRMA/Stanford University) Art, Music, and the Stage: Venetian Scenography in the Era of Bernardo Canal and Antonio Vivaldi Intersections between scenery and music constitute a rich but little explored topic in Venetian opera of the early eighteenth century.
    [Show full text]
  • Zelenka and the Chalumeau
    53 /1 Introduction hen we think about the chalumeau in European Kunstmusik, it soon becomes clear that origins of the instrument are not yet fully known. The Wtheory exists that at the end of the seventeenth century, Johann Christoph Denner was making alterations to the recorder in his workshop in Nuremberg, in order to try to increase the volume of the instrument, and this may have resulted in the creation of the chalumeau.1 How- ever, it is also possible that other instrument makers in Europe, who were making similar experiments at the same time, had arrived at the same result. Kjartan Óskarsson Some of the great German composers of the first Reykjavik College of Music half of the eighteenth century used chalumeau in their music. When Georg Philipp Telemann began his stud- ies in Hildesheim in 1697, he learned to play numer- Zelenka and ous instruments, one of which was the chalumeau. Telemann, however, did not compose for the instrument the chalumeau until 1718.2 From then on, it appeared regularly in his works for the next 25 years. In 1710, Reinhard Keiser first used chalumeau in his opera Croesus in Hamburg, while in Darmstadt Christoph Graupner used the instru- ment in more than 100 cantatas and instrumental works Zelenka Prague Conference between 1734 and 1753.3 In the first decade of the eighteenth century, Vienna became the most important centre for compositions and performances involving the chalumeau. For the next thirty-years or so, the instrument appeared regularly in operas, oratorios, serenatas, and cantatas of Habsburg Abstract court composers.
    [Show full text]
  • Ludovico's Band
    Ludovico’s Band DESTINATION NAPLES Tuesday 2 August 6pm, Salon Presented by Melbourne Recital Centre and Ludovico’s Band ARTIST Rachael Beesley, violin Rosanne Hunt, cello Marshall McGuire, triple harp Tommie Andersson, theorbo Samantha Cohen, theorbo PROGRAM PROGRAM FRANCESCO DURANTE (1684-1755) NICOLA MATTEIS (1650-c.1715) Aria in D minor Aria amorosa PROGRAM A story in two parts based on the Sonnets of William Shakespeare (1564-1616) NICOLA PORPORA (1686 - 1768) ANDREA FALCONIERI (1586-1656) Sonata in F for solo cello La suave melodia e Su Corrente I Largo Brando dicho el Melo II Allegro III Adagio GIOVANNI BONONCINI (1670-1747) IV Allegro non presto Sonata No.1 in A minor I Andante FRANCESCO MANCINI (1672-1737) II Allegro Sonata No.12 in G III Grazioso–Minuet–Grazioso I Allegro–Largo II Allegro CARLO AMBROGIO LONATI (c.1645-c.1715) III Andante Violin Sonata No.12 in G IV Allegro I Ciaccona ABOUT THE MUSIC Durante was best known for his sacred music, while also playing an important role as an educator, with the Italian composer, violinist and organist Giovanni Pergolesi amongst his most famous students. Jean-JacquesRousseau claimed he was ‘the greatest master of harmony of Italy, that is to say, of the whole world’, though some felt this was a little overstated. Porpora had a successful career as an opera composer in his lifetime. He too was an influential teacher; famous students include the castrato Farinelli and Haydn. Mancini was Director of the Conservatorio di Santa Maria as well as being first organist and maestro of the Capella Reale in Scarlatti’s absence – who was a great influence on his compositions.
    [Show full text]
  • Alessandro Scarlatti - Soprano Cantatas
    Alessandro Scarlatti - Soprano cantatas Edition, commentary and recorded performances of the autograph cantatas in Yale University, Beinecke Rare Book and Manuscript Library, Osborn Music MS 2 Volume I of III Marina Theodoropoulou PhD The University of York Department of Music September 2012 Abstract The current doctoral study uncovered and revived 28 autograph cantatas for Soprano and Basso Continuo composed between 1704 and 1705 by Alessandro Scarlatti (1660-1725). The studied cantatas are held in a manuscript containing 36 cantatas (one of which misses the beginning) in Yale University, Beinecke Rare Book and Manuscript Library, James Marshall and Marie-Louise Osborn Collection, Call Number: Osborn Music MS 2. The historical context in which the cantatas were written and performed is introduced. A physical description of the manuscript follows, with the aim to assist the reader in achieving a better appreciation and understanding of these cantatas in terms of performance practice. The relation between the text and the music, and the adaptation of the rhetorical characteristics of the text into music, are two of the most salient features of this cantata collection. These features are described in great detail and their implications for the performance of the cantatas have been explored. A major contribution of this study in the field of performance practice is the production of a modern performing edition with an editorial commentary and of a recording of the 28 autograph cantatas with harpsichord accompaniment. ii List of contents
    [Show full text]
  • The Vocal Duets of G. F. Handel and His Italian Contemporaries (C. 1706–1724)
    The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) Ivan Ćurković The Vocal Duets of G. F. Handel and His Italian Contemporaries (c. 1706–1724) About the Author Ivan Ćurković teaches musicology at the University of Zagreb (Academy of Music). He studied musicology, comparative literature and Hungarian studies in Zagreb and received his Ph.D. at the Musicology Department of Heidelberg University. His research interests are dramatic vocal genres of the first half of the 18th century with particular emphasis on the works of G. F. Handel and his contemporaries. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. This work is published under the Creative Commons license 4.0 (CC BY-SA 4.0). The online version of this publication is freely available on the ebook-platform of the Heidelberg University Library heiBOOKS http://books.ub.uni-heidelberg.de/heibooks (open access). urn: urn:nbn:de:bsz:16-heibooks-book-290-2 doi: https://doi.org/10.11588/heibooks.290.386 Text © 2017, Ivan Ćurković Layout: Lana Grahek, Zagreb Music engraver: Dario Poljak, Zagreb Proofreader: Claire Holfelder, Speyer Cover image: © The British Library Board. (Bononcini, Giovanni. 1722. Griselda. An Opera as It Was Perform’d at the King’s Theatre for the Royal Academy. London: I. Walsh and Ino. and Ioseph Hare. Shelfmark H.321.b. p.
    [Show full text]
  • (14Th Century-19Th Century) (Add MS 31384-31823) Table of Contents
    British Library: Western Manuscripts The following collection of MS. Music, Nos. 31,384-31,823, was formed by Mr. Julian Marshall. (14th century-19th century) (Add MS 31384-31823) Table of Contents The following collection of MS. Music, Nos. 31,384–31,823, was formed by Mr. Julian Marshall. (14th century–19th century) Key Details........................................................................................................................................ 1 Provenance........................................................................................................................................ 1 Add MS 31396–31397 MOTETS and madrigals for five voices, in score; by Palestrina. Two volumes; the first an Italian transcript................................................................................................. 9 Add MS 31444–31445 SERVICES and anthems, principally in organ–score, by M. Wise, Pelham Humfrey, Dr. H. Aldrich, Dr. Blow, Dr.................................................................................................. 40 Add MS 31487–31489 CANTATAS, and a few duets and terzets, with occasional instrumental accompaniment, chiefly by Giovanni.................................................................................................... 65 Add MS 31493–31494 DUETS, by Agostino Steffani; a printed life of whom, attributed to Sir John Hawkins, is prefixed to the first................................................................................................... 69 Add MS 31507–31508 CANTATAS by A.
    [Show full text]
  • Unkonwn Senesino
    1 Appendix I: Senesino’s Operatic Repertoire, 1700-1740 Date City; Theatre Title Composer Librettist Senesino’s Other Cast, Sources, Revivals, and Notes Role 1700, Siena; [Palazzo Cammilla, Regina de’ Giovanni Battista Silvio Stampiglia Plautillo Cast: Maria Domenica Pini (la Tilla); Maria dedication: Pubblico] Volsci2 Bononcini (1664-1725) Maddelena Vettori; Pietro Mozzi; Giacinto Guasti 28 August; (1670-1747) (il Coccaro); Stefano Frilli; Giuliano Albertini; premiere: Giovan Carlo Bernardi; Tommaso Bigelli 31 August [replaced by Pier Francesco Gabbrielli]. Received eight performances.3 1706, Venice; Teatro ----- ------ ----- ----- Records from the Siena cathedral choir indicate November- San Angelo that Senesino was on leave from November 1706- February 1707 February 1707, the carnevale season, implying he was likely performing in opera outside Siena.4 1707, Venice; Teatro Vindice la pazzia [Girolamo Polani [Bartolomeo Silvio A favola pastorale. The cast list offers: ‘Il Sig. premiere: di S. Fantino della vendetta (1689-1720)] Pedoni] Francesco’ in the role of Silvio. This may be c. 5 February Senesino, or, possibly it is Francesco de Grandis who is listed as singing Zeliano in Taican, re della Cina by Gasparini at the Teatro Fantino in 1707. 1 Details of performance and other information related to these operas, particularly for the years 1720-1733, found in: Burrows ed., George Frideric Handel: Volume 1, 1609–1725 and Volume 2, 1725-1734; Deutsch, Handel; Winton Dean, and John Merrill Knapp, Handel’s operas, 1704-1726 (Oxford: Clarendon Press, 1987), 311-317; Colin Timms, ‘Handelian and Other Librettos in the Birmingham Central Library’, Music and Letters, 65/2 (Oxford: Oxford University Press, 1984), 141-167; 156-157; Darryl Jacqueline Dumigan, ‘Nicola Porpora’s opera for the ‘opera of the nobility’: the poetry and the music’, PhD diss.
    [Show full text]
  • Introduction
    4 Unsere Ausgabe Unsere Ausgabe basiert auf der Kopie von Aires & Symphonys in der Durham Cathedral Library (GB-DRc Printed Music C93). Unsere Übertragung folgt dem Original so weit wie möglich. No- tenwerte und Balken sind erhalten. Im Gegensatz zur Vorlage, gelten unsere Vorzeichen jedoch für den ganzen Takt. Der Violinschlüssel, den die Vorlage für die meisten Stücke verwendet, wurde durch den heute eher gebräuchlichen Altschlüssel ersetzt. Unsere Zusätze und Änderungen sind wie üblich durch Fußnoten, Klammern oder gestrichelte Linien kenntlich gemacht. Die Verzierungen und anderen Vortragsbezeichnungen des Originals haben wir übernommen. Weil sie heutigen Spielern ungewohnt sein werden, erklären wir sie im Folgenden. (1) ist ein gewöhnli- cher „Triller, der mit der oberen Note beginnt, ein oder zwei Bünde entfernt und etwas vorbereitet, indem man den Finger auf der Saite festhält, bevor man trillert und ihn nach dem Triller oben lässt.“2 (2) und (3) bezeichnen ebenfalls Triller. Das Zeichen (4) ist wahrscheinlich „ein Beat, der immer von der Note darunter ausgeht. Man beginnt mit erhobenem Finger, trillert und lässt den Fin- ger dann auf der Saite. Bei einem Forefall (5) „geht man von einem Ganz- oder Halbton unter der Note aus und steigt zur Note auf“, während man bei einem Backfall (6) umgekehrt „von einem Ganz- oder Halbton über der Note ausgeht und zur Note hinabsteigt. Das Arepigo (7) ist wahr- scheinlich nicht nur ein gebrochener Akkord (Arpeggio), sondern vielmehr eine mehrfache Auf- und Abwärtsbewegung. Der Bogen mit den zwei Strichen (8) bedeutet, dass die Töne, die die Stri- che umrahmen, mit zwei „bestimmten Bogenstrichen rückwärts“ gespielt werden sollen, also mit zwei Abstrichen hintereinander.
    [Show full text]