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Gaspard Le Roux 1660-1707 Pièces De Clavessin (1705)
Gaspard Complete HarpsichordLe Roux Music Pieter-Jan Belder Siebe Henstra Gaspard le Roux 1660-1707 Pièces de Clavessin (1705) Suite in D minor/major Suite in F major 39. Sarabande (en douze couplets) 13’00 Pieter-Jan Belder harpsichord I 1. Prélude 0’46 21. Prélude 1’25 40. Menuet 1’01 (Solo on 16-26) 2. Allemande, “la Vauvert” 4’25 22. Allemande grave 3’05 41. Gigue (pour deux Clavecins) 1’52 Siebe Henstra harpsichord II 3. Courante 1’17 23. Courante 1’27 42. Courante (avec sa contre partie) 1’31 (Solo on harpsichord I, on 33-42 ) 4. Sarabande grave 2’05 24. Chaconne 4’03 5. Menuet 1’20 25. Menuet & 2 Doubles Suite in A minor/major Harpsichord I: Titus Crijnen after 6. Passepied 0’40 du Menuet 1’55 (solo version) Ruckers 1624, Sabiñan 2014 7. Courante luthée 1’55 26. Passepied 0’54 43. Prélude 0’50 Harpsichord II: Titus Crijnen after 8. Allemande grave, 27. Allemande 1’54 44. Allemande “l’Incomparable” 2’21 Blanchet 1731, Sabiñan 2013 “la Lorenzany” 3’28 45. Courante 1’29 9. Courante 1’28 Suite in F-sharp minor 46. Sarabande 2’02 10. Sarabande gaye 2’51 28. Allemande gaye 1’10 47. Sarabande en Rondeau 2’15 11. Gavotte 1’09 29. Courante 1’27 48. Gavotte 1’05 30. Double de la Courante 1’32 49. Menuet & double du Menuet 1’01 Suite in A minor/major 31. Sarabande grave en Rondeau 2’25 50. Second Menuet 0’32 12. Prélude 0’50 32. -
Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett: -
Johann Sebastian Bach Du Treuer Gott Leipzig Cantatas BWV 101 - 115 - 103
Johann Sebastian Bach Du treuer Gott Leipzig Cantatas BWV 101 - 115 - 103 Collegium Vocale Gent Philippe Herreweghe Johann Sebastian Bach (1685–1750) Nimm von uns, Herr, du treuer Gott, BWV 101 Mache dich, mein Geist, bereit, BWV 115 Ihr werdet weinen und heulen, BWV 103 Dorothee Mields Soprano Damien Guillon Alto Thomas Hobbs Tenor Peter Kooij Bass Collegium Vocale Gent Philippe Herreweghe Menu Tracklist ------------------------------ English Biographies Français Biographies Deutsch Biografien Nederlands Biografieën ------------------------------ Sung texts Johann Sebastian Bach (1685-1750) Nimm von uns, Herr, du treuer Gott, BWV 101 [1] 1. Coro: Nimm von uns, Herr, du treuer Gott ______________________________________________________________7’44 [2] 2. Aria (tenor): Handle nicht nach deinen Rechten ________________________________________________________3’30 [3] 3. Recitativo e choral (soprano): Ach! Herr Gott, durch die Treue dein__________________________________2’13 [4] 4. Aria (bass): Warum willst du so zornig sein? ___________________________________________________________ 4’14 [5] 5. Recitativo e choral (tenor): Die Sünd hat uns verderbet sehr _________________________________________ 2’11 [6] 6. Aria (soprano, alto): Gedenk an Jesu bittern Tod _______________________________________________________5’59 [7] 7. Choral: Leit uns mit deiner rechten Hand _______________________________________________________________0’55 Mache dich, mein Geist, bereit, BWV 115 [8] 1. Coro: Mache dich, mein Geist, bereit ____________________________________________________________________4’00 -
Service Music
Service Music 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 Indexes Copyright Permissions Copyright Page Under Construction 441 442 Chronological Index of Hymn Tunes Plainsong Hymnody 1543 The Law of God Is Good and Wise, p. 375 800 Come, Holy Ghost, Our Souls Inspire 1560 That Easter Day with Joy Was Bright, p. 271 plainsong, p. 276 1574 In God, My Faithful God, p. 355 1200?Jesus, Thou Joy of Loving Hearts 1577 Lord, Thee I Love with All My Heart, p. 362 Sarum plainsong, p. 211 1599 How Lovely Shines the Morning Star, p. 220 1250 O Come, O Come Emmanuel 1599 Wake, Awake, for Night Is Flying, p. 228 13th century plainsong, p. 227 1300?Of the Father's Love Begotten Calvin's Psalter 12th to 15th century tropes, p. 246 1542 O Food of Men Wayfaring, p. 213 1551 Comfort, Comfort Ye My People, p. 226 Late Middle Ages and Renaissance Melodies 1551 O Gladsome Light, p. 379 English 1551 Father, We Thank Thee Who Hast Planted, p. 206 1415 O Love, How Deep, How Broad, How High! English carol, p. 317 Bohemian Brethren 1415 O Wondrous Type! O Vision Fair! 1566 Sing Praise to God, Who Reigns Above, p. 324 English carol, p. 320 German Unofficial English Psalters and Hymnbooks, 1560-1637 1100 We Now Implore the Holy Ghost 1567 Lord, Teach Us How to Pray Aright -Thomas Tallis German Leise, p. -
Concordia Journal
CONCORDIA JOURNAL Volume 28 July 2002 Number 3 CONTENTS ARTICLES The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer ......................................................................... 234 Luther on Call and Ordination: A Look at Luther and the Ministry Markus Wriedt ...................................................................... 254 Bridging the Gap: Sharing the Gospel with Muslims Scott Yakimow ....................................................................... 270 SHORT STUDIES Just Where Was Jonah Going?: The Location of Tarshish in the Old Testament Reed Lessing .......................................................................... 291 The Gospel of the Kingdom of God Paul R. Raabe ......................................................................... 294 HOMILETICAL HELPS ..................................................................... 297 BOOK REVIEWS ............................................................................... 326 BOOKS RECEIVED ........................................................................... 352 CONCORDIA JOURNAL/JULY 2002 233 Articles The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer The engraving at the front of Christoph Bernhard’s Geistreiches Gesang- Buch, 1676,1 (see PLATE 1) is often reproduced as an example of musical PLATE 1 in miniature 1Geistreiches | Gesang-Buch/ -
Deutsche Nationalbibliografie 2012 T 04
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2012 T 04 Stand: 18. April 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1613-8945 urn:nbn:de:101-ReiheT04_2012-7 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde. -
Im Auftrag Der Internationalen Heinrich-Schütz-Gesellschaft E.V. Herausgegeben Von Walter Werbeck in Verbindung Mit Werner Brei
Im Auftrag der Internationalen Heinrich-Schütz-Gesellschaft e.V. herausgegeben von Walter Werbeck in Verbindung mit Werner Breig, Friedhelm Krummacher, Eva Linfield 33. Jahrgang 2011 Bärenreiter Kassel . Basel . London . New York . Praha 2012_schuetz-JB_druck_120531.ind1 1 31.05.2012 10:03:13 Gedruckt mit Unterstützung der Internationalen Heinrich-Schütz-Gesellschaft e.V. und der Landgraf-Moritz-Stiftung Kassel © 2012 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / Printed in Germany Layout: ConText, Carola Trabert – [email protected] ISBN 978-3-7618-1689-9 ISSN 0174-2345 2012_schuetz-JB_druck_120531.ind2 2 31.05.2012 10:03:13 Inhalt Vorträge des Schütz-Festes Kassel 2010 Heinrich Schütz und Europa 7 Silke Leopold Heinrich Schütz in Kassel 19 Werner Breig Europa in der ersten Hälfte des 17. Jahrhunderts 31 Georg Schmidt Music and Lutherian Devotion in the Schütz Era 41 Mary E. Frandsen »Mein Schall aufs Ewig weist«: Das Jenseits und die Kirchenmusik in der lutherischen Orthodoxie 75 Konrad Küster Medien sozialer Distinktion: Funeral- und Gedenkkompositionen des 17. Jahrhunderts im europäischen Vergleich 91 Peter Schmitz Echos in und um »Daphne« 105 Bettina Varwig Heinrich Schütz und Otto Gibel 119 Andreas Waczkat, Elisa Erbe, Timo Evers, Rhea Richter, Arne zur Nieden Heinrich Schütz as European cultural agent at the Danish courts 129 Bjarke Moe Freie Beiträge Eine unbekannte Trauermusik von Heinrich Schütz 143 Eberhard Möller Heinrich Schütz und seine Brüder: Neue Stammbucheinträge 151 Joshua Rifkin Die Verfasser der Beiträge 168 2012_schuetz-JB_druck_120531.ind3 3 31.05.2012 10:03:13 Abkürzungen ADB Allgemeine deutsche Biographie, München u. Leipzig 1876 – 1912 AfMw Archiv für Musikwissenschaft AmZ Allgemeine musikalische Zeitung Bd., Bde. -
Generalbaßlehre of 1738” by Thomas Braatz © 2012
The Problematical Origins of the “Generalbaßlehre of 1738” by Thomas Braatz © 2012 Near the end of 2011 a new volume of the NBA was released by Bärenreiter. It is called a supplement and includes notes and studies on thorough-bass, composition and counterpoint along with a section of Bach’s sketches and drafts and finally in the appendix the more recently discovered aria, BWV 1127. In addition to the well- researched and documented rules on thorough-bass found in the Anna Magdalena Bach’s notebooks, there is a presentation and critical discussion of the recently discovered (1999) counterpoint studies in the form of an exchange between Wilhelm Friedemann Bach and his father, all in autograph documents from the period 1736 to1739 when W. F. Bach was an organist in Dresden. Of great interest is the analysis and discussion of the Precepts and Principles for Playing the Thorough-Bass along with the complete text and musical examples. Below I will present the original German (Appendix 1) along with my English translation (Appendix 2) of the pertinent sections from the NBA editor’s introduction and the critical report covering this document. From this the reader will be able ascertain the spurious1 nature of its origin and claims of authenticity. The Precepts and Principles for Playing Four-Part Thorough-Bass or Accompaniment, or more commonly referred to in its short form as the “Generalbaßlehre of 1738”, has attained a false aura of authenticity since the appearance of Philipp Spitta’s monumental Bach biography in which Spitta printed the entire text of this document that he also analyzed and discussed in greater detail in a music journal in 1882.2 Spitta was the first Bach scholar to recognize the connection between this document and certain paragraphs contained in a treatise by Friedrich Erhard Niedt. -
La Vie Antérieure
Henri DUPARC La vie antérieure chœur (SSATB) et piano Bearbeitung von/Arrangement par/Arrangement by Denis Rouger C Carus 9.250 CDs Vocal Music (a selection) C_Carus Bach, Johann Sebastian Mendelssohn Bartholdy, Felix –– Messe in h-Moll BVW 232 (Edition Deluxe – 2 CDs + DVD) 83.315 –E– in Sommernachtstraum. Schauspielmusik op. 21/61 83.205 Gächinger–Kantorei–Stuttgart,–FBO,–H.-C.–Rademann Kammerchor–Stuttgart,–Barockorchester–Stuttgart,–F.–Bernius –– Weihnachtsoratorium BWV 248 (2 CDs) 83.312 –– Lieder im Freien zu singen 83.287 Gaechinger–Cantorey,–H.-C.–Rademann Kammerchor–Stuttgart,–F.–Bernius –– Erhalt uns, Herr, bei deinem Wort 83.311 –– Jauchzet dem Herrn, alle Welt. Geistliche Chormusik (2 CDs) 83.491 Gaechinger–Cantorey,–H.-C.–Rademann Kammerchor–Stuttgart,–F.–Bernius –– Matthäus-Passion (Edition Deluxe – 3 CDs) 83.286 –– Kirchenwerke (Gesamteinspielung) Kammerchor–Stuttgart,–Barockorchester–Stuttgart,–F.–Bernius Solisten,–Kammerchor–Stuttgart,–F.–Bernius– –– Osteroratorium BWV 249 & Himmelfahrtsoratorium BWV 11 83.290 Deutsche–Kammerphilharmonie–Bremen,–Klassische–Philharmonie– Kammerchor–Stuttgart,–Barockorchester–Stuttgart,–F.–Bernius Stuttgart,–Stuttgarter–Kammerorchester–u.a. –– Ein feste Burg. Cantata BWV 80 & Missa in g BWV 235 83.282 –G eistliches Chorwerk (10 CDs in Box) 83.020 Kammerchor–Stuttgart,–Barockorchester–Stuttgart,–F.–Bernius –O ratorien (4 CDs in Box) 83.021 –– Motetten 83.298 Alle CDs der Gesamteinspielung sind auch als Einzel-CDs erhältlich. Kammerchor–Stuttgart,–F.–Bernius Mozart, Wolfgang Amadeus –– BACHArkaden 83.381 –– Missa in c KV 427 83.284 Calmus–Ensemble,–Lautten–Compagney,–W.–Katschner Kammerchor–Stuttgart,–Hofkapelle–Stuttgart,–F.–Bernius –– Solokantaten mit Emma Kirkby 83.302 –– Requiem (Beyer) 83.207 Emma–Kirkby,–Freiburger–Barockorchester Kammerchor–Stuttgart,–Frieder–Bernius –– Vom Himmel hoch. -
Characteristics of Choral Writing in György Ligeti's Late Works*
UDC 784.1 Вестник СПбГУ. Искусствоведение. 2018. Т. 8. Вып. 4 Characteristics of Choral Writing in György Ligeti’s Late Works* A. S. Ryzhinskii Gnesins’ Russian Academy of Music, 30–36, Povarskaya str., Moscow, 121069, Russian Federation For citation: Ryzhinskii, Aleksandr. “Characteristics of Choral Writing in György Ligeti’s Late Works”. Vestnik of Saint Petersburg University. Arts 8, no. 4 (2018): 578–92. https://doi.org/10.21638/ spbu15.2018.403 Article is devoted to the last vocal works a cappella created Gyorgÿ Ligeti in 1980 — the 1990th years: “Drei Phantasien nach Fridrich Hölderlin”, “Magyar Etüdök” and “Nonsense Madrigals”. The author traces relationship between the previous and last choral opuses by the master, between Ligeti’s choral works and choral creativity of his predecessors and contemporaries. So the author reveals features of ligeti’s late choral style: at the levels of relationship between word and music, the texture and timbre organization. The author pays special attention to studying of Ligeti’s neomadrigalism. This phenomenon proves in the organization of musical texture, in interaction of musical and literary texts and also in the general organization of compositions. The opposition of love and death (immemorial categories of human life) is the cornerstone of the dramaturgic organization of a cycle and typical for Ligeti’s vocal works “polyphony of meanings” is shown in the constant present genre and style game with the recipient. The composition intended for “The King’s singers” embodies diverse style hints, corresponding to the wide performing range of this ensemble and own musical interests of the composer. In this last vocal work by Ligeti also his love to literary world of Lewis Carroll with the atmosphere of absurdity, so conformable to the music world of the author of “Le Grand Macabre” was reflected. -
The Keyboard Music of Wilhelm Friedemann Bach Updates and Corrections
The Keyboard Music of Wilhelm Friedemann Bach Updates and Corrections Chapter 1 “But any biography of these composers must remain incomplete in ways that is not the case for musicians whose inner life, emotional as well as musical, is better documented . .” (p. 5). Friedemann’s inner life has nevertheless been reconstructed fictionally in the novels, films, and operas mentioned on pages 12–13. To these must be added Lauren Belfer’s 2016 novel And After the Fire, which, although continuing the tradition begun by Brachvogel of making Friedemann a lover of certain wealthy young women, in other respects paints plausible pictures of both the aging composer and his youthful pupil Sara Levy. “One long-standing enigma . his fourth cousin” (p. 11) The exact relationship of Friedemann to J. C. Bach of Halle is less certain and probably more remote than is indicated here. The “Halle Clavier Bach” was descended from Lips (Philippus) Bach, who might have been a brother or son of Veit Bach (Friedemann’s great-great-great-grandfather). All that can be said assuredly is that the two probably were distantly related, with one or more common ancestors, but none within five generations as suggested here. J. C. Bach of Halle belonged to the same Meiningen branch of the family that also produced the composer Johann Ludwig (his uncle) and the painters Gottlieb Friedrich and Samuel Anton Bach (his cousins). Chapter 2 “I do not give instruction” (see p. 292n. 27) The claim that Friedemann did not teach during his Berlin years is based not only on Friedemann’s own declaration but on a 1779 letter of Kirnberger to Forkel (in Bitter, 2:323: “auch Lection geben mag er nicht”). -
A Walk with Bach a Little Over 327 Years Ago, a Baby Was Born Into a Family of Eight Children in the Small Village of Eisenach, Germany
A Walk With Bach A little over 327 years ago, a baby was born into a family of eight children in the small village of Eisenach, Germany. Although his parents were not wealthy, he was born into a very prestigious extended family of musicians. Even before he was born, anyone ZKRZDVDFFRPSOLVKHGLQPXVLFZDVFDOOHGD³%DFK´/LWWOHGLG anyone know, later, the work of all other Bachs would pale in comparison to the musical achievements of this baby. His name was Johann Sebastian Bach. Introduction F rom Toccata and F ugue in D minor, BWV 565 When Johann was 9 years old, his mother passed away and, one year later, his father died, leaving Johann an orphan. He was sent to live with his older brother, Christoph, in North Germany. Christoph was responsible for teaching Johann to SOD\NH\ERDUGLQVWUXPHQWVDQG-RKDQQVHFUHWO\VWXGLHGKLVEURWKHU¶VPXVLFDOVFRUHVWROHDUQ about composition. Due to his fine singing voice, at the age of 15 Johann received a scholarship to attend the SUHVWLJLRXV6W0LFKDHO¶V6FKRRO,WZDVWKHUHWKDWhe received a formal choral education and was introduced to both playing and repairing church organs. Chorale F rom Oratorio BWV 248 Early in his career, Johann was hired as organist and music director in the court of Duke Wilhelm of Weimar. Later he worked for Prince Leopold of Cöthen. At each court, Johann composed, performed and conducted music to entertain the nobles. He had the greDWIRUWXQHWRZRUNZLWKVRPHRI*HUPDQ\¶VILQHVWPXVLFLDQVDQG wrote chamber music for them. Bourree F rom Cello Suite #3 in C Major, BWV 1009 In 1723, Johann was hired as music director and organist at St. Thomas Church in Leipzig.