Von Maximilian Schönherr 9.05 SWR2 MUSIKSTUNDE
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Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
Season of Song 2010
Art Song Canberra Inc. www.artsongcanberra.org SEASON OF SONG 2010 In 2010 Art Song Canberra will present seven recitals of fine art song by an outstanding array of award-winning, highly-accomplished artists, many of them widely experienced on the world stage. Background Art Song Canberra is a dedicated group of volunteers and lovers of art song. It was founded as the A.C.T. Lieder Society in 1976 by a small group of devotees of art song led by Eleanor Houston OAM of Covent Garden fame. The society changed its name to Art Song Canberra in 2006. Its purpose is to foster and extend the love of art song. This is done mainly by: presenting high quality concerts to its members and the general public. The annual series is called the Season of Song; conducting an annual Festival of Song in which aspiring singers perform to an audience in a relatively relaxed and friendly environment and receive advice and encouragement from an acknowledged expert; providing opportunities for concert performance for dedicated and talented amateur singers. This format has met with considerable audience approval and Art Song Canberra has scheduled another such event in its Season of Song 2010; and conducting Members’ Soirées, social gatherings of members to sing and play together, taking us back to the origin of Lieder societies. The society presents a series of six or seven vocal recitals each year – the Season of Song. Most of the society‟s artists over the years have been have been highly accomplished both in Australia and internationally. Among the many artists who have performed for the society are such noted Australian singers as Eleanor Houston, Michael Martin, Sally-Anne Russell, Tobias Cole, Warwick Fyfe, Christopher Allan, Angela Giblin, Louise Page and Christina Wilson as well as Susan Burghardt from the USA and Thomas Weinhappel from Vienna. -
Navigating, Coping & Cashing In
The RECORDING Navigating, Coping & Cashing In Maze November 2013 Introduction Trying to get a handle on where the recording business is headed is a little like trying to nail Jell-O to the wall. No matter what side of the business you may be on— producing, selling, distributing, even buying recordings— there is no longer a “standard operating procedure.” Hence the title of this Special Report, designed as a guide to the abundance of recording and distribution options that seem to be cropping up almost daily thanks to technology’s relentless march forward. And as each new delivery CONTENTS option takes hold—CD, download, streaming, app, flash drive, you name it—it exponentionally accelerates the next. 2 Introduction At the other end of the spectrum sits the artist, overwhelmed with choices: 4 The Distribution Maze: anybody can (and does) make a recording these days, but if an artist is not signed Bring a Compass: Part I with a record label, or doesn’t have the resources to make a vanity recording, is there still a way? As Phil Sommerich points out in his excellent overview of “The 8 The Distribution Maze: Distribution Maze,” Part I and Part II, yes, there is a way, or rather, ways. But which Bring a Compass: Part II one is the right one? Sommerich lets us in on a few of the major players, explains 11 Five Minutes, Five Questions how they each work, and the advantages and disadvantages of each. with Three Top Label Execs In “The Musical America Recording Surveys,” we confirmed that our readers are both consumers and makers of recordings. -
Universi^ International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfîlming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the Him along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
Buxtehude's Pedaliter Keyboard Works: Organ Or Pedal Clavichord?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals of Faculty of Arts, University of Ljubljana K. J. SNYDER • BUXTEHUDE’S PEDALITER ... UDK 780.8:780.649Buxtehude Kerala J. Snyder Eastman School of Music, University of Rochester Eastmanova akademija za glasbo, Univerza v Rochesterju Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord Prejeto: 13. julij 2011 Received: 13th July 2011 Sprejeto: 9. september 2011 Accepted: 9th September 2011 Ključne besede: Buxtehude, klavikord, orgle, Keywords: Buxtehude, clavichord, organ, peda- izvajanje pedaliter [s pedali] liter [or pedals] performance Iz v l e č e k Ab s t r a c t Članek razpravlja o tem, kako naj bi bil Buxtehude This article explores the questions of how Buxte- uporabljal pedalni klavikord pri pouku, reproduk- hude might have used a pedal clavichord for the ciji in komponiranju, zlasti kar zadeva njegove purposes of teaching, performing, and composing, pedalne (pedaliter) preludije. with special reference to his pedaliter praeludia. On May 23, 1675, Dieterich Buxtehude, organist and Werkmeister of St. Mary’s Church in Lübeck, wrote the following entry into the account book of the church: “Saturday. My highly honored directors, upon my—Dieterich Buxtehude’s— humble request (see Memorial, fol. 75), have graciously granted that a small writing and study room be built onto the Werkhaus, over the steps, facing the church courtyard. And this week [the work] began on it.”1 These two positions, one artistic, the other administrative, had been combined at St. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Skript D-Prüfung
Skript für die D-Prüfung Kirchenmusik Erstellt von Franziska Riccabona für den Beirat für Kirchenmusik der Evangelischen Kirche A.B. und H.B. in Österreich Stand: Jänner 2021 Kirchenmusikalische D-Prüfung der evangelischen Kirche A.B. und H.B. in Österreich ÜBERSICHT PRÜFUNGSFÄCHER: 1. Begleitendes Orgelspiel a) Spielen von Kirchenliedern mit und ohne Pedal nach Choralbuch b) Spielen von liturgischen Stücken c) Auswendigspiel eines Kirchenliedes nach eigener Wahl 2. Selbständiges Orgelspiel a) Spiel einfacher Intonations- und Vorspielliteratur zu Kirchenliedern b) Spiel einfacher freier Orgelliteratur: 2 verschiedenartige Stücke 3. Allgemeine Musikpraxis a) Gehörbildung b) Musiktheorie 4. Theoretische Kenntnisse 4.1 Kenntnis einfacher Orgelliteratur 4.2 Kenntnis des Gesangbuches 4.3 Kenntnis der Gottesdienstordnung 4.4 Elementare Registrierkunde HINWEISE ZU BEWERTUNGSKRITERIEN, FRISTEN & INHALTEN: 1. Begleitendes Orgelspiel Besondere Bewertungskriterien: Tempowahl, Atemführung, Zeilen- und Strophenübergänge. a) Spielen von Kirchenliedern mit und ohne Pedal nach Choralbuch (vorbereitet) Zur Prüfung werden 3 Kirchenlieder mit mindestens zwei Strophen zur Begleitung aufgegeben, darunter ein neues geistliches Lied. Nur in wirklichen Ausnahmefällen kann auf das Pedalspiel gänzlich verzichtet werden. b) Spielen von liturgischen Stücken (vorbereitet). Zur Prüfung werden 4 liturgische Stücke aufgegeben (z.B. Gloria Patri, Heilig, Christe du Lamm Gottes…) c) Auswendigspiel eines Kirchenliedes nach eigener Wahl, ggf. im eigenen Satz. Vorbereitungszeit für a) und b): 1 Woche 2. Selbständiges Orgelspiel a) Spiel einfacher Intonations- und Vorspielliteratur zu Kirchenliedern (vorbereitet). Zu einem der unter Punkt 1.a) aufgegebenen Liedern muss ein Choralvorspiel (= alle Choralzeilen des Chorales werden verarbeitet, länger) erarbeitet werden, zu den beiden anderen je eine Intonation (kürzere Einstimmung auf den Choral, nicht alle Choralzeilen müssen vorkommen). -
W.A. Mozart Quartets Kv370 Kv421 Sonata Kv377 Bart Schneemann Oboe Paolo Giacometti Piano Rombouts Quartet
CHANNEL CLASSICS CCS SA 23906 W.A. Mozart quartets kv370 kv421 sonata kv377 Bart Schneemann oboe Paolo Giacometti piano Rombouts Quartet on period instruments Bart Schneemann performed as soloist with conductors including Frans Brüggen, Roy Goodman, Ton Koopman, Edo de Waart, and Valery Gergiev. Oboist and artistic director of the Netherlands Wind Ensemble, and winner in 1991 of the prestigious 3m Music prize. In addition to his performances of standard repertoire, Bart Schneemann strives for expansion and renewal of the oboe repertoire. He attracted the attention of many composers: Gija Kantsjeli, Wolfgang Rihm, Tristan Keuris, Otto Ketting, John Zorn, Kevin Volans and Louis Andriessen are among those who have written new pieces for him. He teaches at the Royal Conservatory at the Hague. Paolo Giacometti performs all over the world as a soloist and as a chamber musician, both on period and on modern instruments. He was born in Milan in 1970. He studied with Jan Wijn, won the Steinway Competition, the Parke-Davis Förder Preis, the Brahms Competition in Hamburg and the Postbank Sweelinck Competition. In addition to his solo concert career, he is also active in chamber music. With Bart Schneemann and with the cellist Pieter Wispelwey he toured all over the world. In april 1988 he started working on a project to record all of Rossini’s piano compositions. The cd’s where a great success and the press reports were, if possible, even more enthusiastic. In May 2001 he received an Edison Award for best Dutch performing artist. 2 Kees Hulsmann studied in Amsterdam with Jo Juda and in London with Manoug Parikian. -
Pieter Dirksen, Heinrich Scheidemann's Keyboard Music
Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music PIETER DIRKSEN, HEINRICH SCHEIDEMANN’S KEYBOARD MUSIC: TRANSMISSION, STYLE AND CHRONOLOGY (Aldershot: Ashgate, 2007), ISBN 978-0-7546-5441-4, xxiii + 254 pp, £55/ $99.95 During the early years of the seventeenth century, at least twelve German musicians that we know of, including Scheidt, Scheidemann, Jacob Praetorius, Melchior Schildt and Paul Siefert, travelled to Amsterdam to study with Sweelinck, their extant key- board works testifying to the Dutch composer’s influence. In his collection of bio- graphies—the Ehren-Pforte—of 1740, Mattheson famously compared the personalities of two of these Sweelinck pupils, Praetorius and Scheidemann, noting the particular attractiveness of the latter’s character and music, best captured in the phrase ‘Scheide- mannische Liebligkeit’.1 Despite his being a prominent student of the Dutch master and a founding father of the north-German organ school, however, Scheidemann has been largely neglected by scholars hitherto. Pieter Dirksen’s fine study, which appeared during ‘Buxtehudejahr’ and forty years after the publication of Werner Breig’s seminal monograph, Die Orgelwerke von Heinrich Scheidemann, is thus a wel- come addition to the literature on the Hamburg composer whom Dirksen believes to have been ‘Sweelinck’s most independent pupil’.2 A Sweelinck scholar and performer, Dirksen has written much on north-German keyboard music of the Baroque and on J. S. Bach. Having already produced an edition of Scheidemann’s complete harpsichord music in 2000 (Edition Breitkopf 8688), he offers a rich fare to musicologists, organologists and performers in this dense but rewarding volume. Tripartite in structure, the book’s first section (chapters 1–6) examines the transmission of Scheidemann’s keyboard music, presenting an in-depth analysis of each of the manuscript sources, which date from all phases of the composer’s career and even up to 20 years after his death. -
Biography Bart Schneemann Artistic Director - Netherlands Wind Ensemble
Biography Bart Schneemann artistic director - Netherlands Wind Ensemble Bart Schneemann (born 1954, in Melbourne) is a oboist, teacher and the artistic director for the Netherlands Wind Ensemble. In 1977 he graduated from the Conservatory in Amsterdam. From 1976 to 1996, he was the first chair oboist in the Radio Filharmonisch Orkest and the Rotterdam Philharmonic Orchestra. He retired from playing in the orchestra to put all his time towards his solo career and his activities in the Netherlands Wind Ensemble. In 1988, Schneemann was asked to breathe new life into the Netherlands Wind Ensemble (NBE), founded in 1961. His arrival transformed the ensemble into an enthusiastic group of musicians with an open-minded ear for various music genres. Together they established the NBE as a flexible company in the Dutch music world, a point of reference being the New Year’s concerts in the Royal Concertgebouw in Amsterdam, which are aired live on TV. As the NBE concert programmer, Schneemann has developed his own special signature. Apart from the high quality in the ensemble’s playing and infectious amusement, he aims for a dramatic line bringing music genres (and people) from different backgrounds together in every programme. With various educational programmes, the NBE provides guidance for young wind players and composers on their way to concert stages and conservatory. The NBE has a special connection with the Dutch Royal Family. The ensemble accompanied Queen Beatrix on three state visits (to Thailand, India and Turkey). On 30 April 2013, the NBE played at Prince Willem-Alexander’s coronation. Schneemann has also put together the music programme for the celebrations for Queen Beatrix in Ahoy in Rotterdam on 14 September 2014. -
Europadisc February 2008 List
FEBRUARY 2008 LIST See inside for valid dates Dear Customer You will no doubt have read the speculation surrounding the EMI situation and the financial difficulties they face in today’s rapidly changing market. This is by no means unique to them. In this digital age, one wonders just how the record companies will meet the challenges brought about by ‘downloading’ and consequently the reduction in the numbers of music CDs being bought worldwide. In the classical music market, there remains amongst most buyers a requirement for not only the music - in high quality sound to be played in the comfort of the listening environment - but also the material that goes with it. This would suggest that the current CD complete with libretti/booklet format will be with us for some time yet. However, monetary pressures do mean that the funds available for new classical recordings, particularly large scale works, are declining, leading to a constant search for the ‘re-cycling’ of material previously recorded and issued. So here’s the good news. Whilst this development has its detractors, it does mean that we can enjoy, often at a bargain price, the work of truly great artists in a new light and with the benefit of enhanced sound quality and illuminating background material. The recent re-issues featuring Karajan, Pavarotti, Callas, and offerings on the Lyrita and Naxos Historical labels amply illustrate the point. So, enjoy the fruits of the ‘financial squeeze’ whilst you can - there may never be a better time! Mark, Richard & Mike NAXOS OFFER £4.00 per disc - see inside! DON’T FORGET - UK Carriage is FREE over £30 Please note: American Express From January 1st 2008, we will no longer be accepting payment by American Express. -
Radio Aktuell
RADIO AKTUELL NR. 26/2018 | IHR RUNDFUNK-PROGRAMM VOM 30. JUNI – 6. JULI | WWW.HOERZU.DE LIVE-KONZERT Engels- musik Eröffnungskonzert des MDR-Musiksommers „Es soll ein Konzert sein, dass sich die Engel im Himmel freuen“, sagte Mendelssohn über sein Violinkonzert e-Moll op. 64. Er brauchte sechs Jahre, bis er die Komposition fertiggestellt hatte. Das Werk war von Anfang an ein Erfolg und wurde bereits Ende des 19. Jh. zu den größten Violinkonzerten in der Literatur gezählt. Die Norwegerin Eldbjørg Hemsing (Foto) führt es mit dem MDR-Sinfonieorchester auf. Am Pult steht Kristjan Järvi SA 18.05 MDR Kultur NIKOLAJ LUND NIKOLAJ B FOTO: HÖHEPUNKTE DER WOCHE LESUNG PORTRÄT FEATURE „Fünf Wochen im Ballon“ (1/45) Ingmar Bergman The Sixteen Der Roman von Jules Verne erzählt Einblicke in das Leben und das Werk Das Vokalensemble wurde vor 41 Jahren über eine Abenteuerreise in Afrika des 2007 verstorbenen Regisseurs von Harry Christophers gegründet MO 15.10 MDR Kultur DO 19.04 RBB Kultur FR 18.04 RBB Kultur CYAN MAGENTA YELLOW BLACK CYAN MAGENTA YELLOW BLACK SA 30. JUNI RADIOPROGRAMM NACH SPARTEN SORTIERT 30. JUNI SA M M GESELLSCHAFT 9.04 RBB KULTUR HAUPTSENDER KLASSIK, JAZZ & KULTUR INFORMATION DEUTSCHLAND- RUNDFUNK BERLIN-BRANDENBURG MDR DLFDKULTUR KULTUR MDR KULTUR NDR KULTUR SWR 2 HR 2 BR-KLASSIK FUNK MDR AKTUELL 5.05 Aus den 6.00 Am Morgen 6.00 Klassisch 6.03 Musik am Morgen 6.04 Kultur- 6.05 Auftakt 5.35 Presseschau 5.00 Stunden- L RADIOBERLIN 88,8 L KULTURRADIO L RADIOEINS L SACHSEN-ANHALT R R R Archiven 6.45 Kalenderblatt in den Tag Werke von J.