DOCSLIB.ORG

Cello Stories Une Histoire Du Violoncelle Aux Xviie & Xviiie Siècles the Cello in the 17Th & 18Th Centuries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cello Stories Une Histoire Du Violoncelle Aux Xviie & Xviiie Siècles the Cello in the 17Th & 18Th Centuries CELLO STORIES UNE HISTOIRE DU VIOLONCELLE AUX XVIIE & XVIIIE SIÈCLES THE CELLO IN THE 17TH & 18TH CENTURIES BRUNO COCSET LES BAssES RÉUNIES TEXT BY MARC VANSCHEEUWIJCK CELLO STORIES 2 MENU TRACKLISTING 6 MUSICIANS & INSTRUMENTS 13 INTRODUCTION BY BRUNO COCSET 18 CELLO STORIES BY MARC VANSCHEEUWIJCK 24 BiograPHIES 74 ILLUSTRATIONS 77 INTRODUCTION PAR BRUNO COCSET 94 CELLO STORIES PAR MARC VANSCHEEUWIJCK 100 BiograPHIES 154 BibliograPHY 158 DiscograPHY 164 Credits 166 CELLO STORIES GIROLAMO FRESCOBALDI 11 CANZONA TRIGESIMA QUINTa ‘dETTA L’ALESSANDRINA’ * 3’28 12 CANZONA DECIMASESTA A 2 BASSI ‘dETTA LA SAMMINIATA’ * 2’34 1 THE ORIGINS | ORIGINES 13 CANZONA UNDECIMA A DUE CANTI ‘dETTA LA PLETTENBERGEr’ * 2’15 DIEGO ORTIZ (1510-1570) 14 CANZONA SECONDA A 2, CANTO E BASSO ** 3’37 1 RECERCADA 1 2’04 15 CANZONA VIGESIMAQUARTA A DUE BASSI E CANTO LES BASSES RÉUNIES (1) ‘dETTA LA NOBIle’ * (pRIMA A 3) 3’15 16 CANZONA PRIMA A 2, CANTO E BASSO ** 2’30 VINCENZO BONIZZI (15..?-1630) 17 CANZONA DECIMASETTIMA A DUE BASSI ‘dETTA LA DIODATA’ * 3’53 2 PASSAGGIATa ‘pIS NE PEULT VENIr’ 3’51 18 CANZONA QUARTA A 4, DUE CANTI E DUE BASSI ** 3’06 LES BASSES RÉUNIES (1) 19 CANZONA SETTIMA A BASSO SOLo ‘dETTA LA SUPERBA’ * 2’51 20 CANZONA QUINTA A 3, DUE CANTI E BASSO ** 3’03 (1583-1643) GIROLAMO FRESCOBALDI 21 CANZONA TERZA A CANTO SOLo ‘dETTA LA DONATINA’ * 2’20 3 CANZONA PRIMA A BASSO SOLo ‘dETTA LALTERA’ * & ** 3’29 22 CANZONA SECONDA A 4, DUE CANTI E DUE BASSI ** 4’38 4 CANZONA SECONDA A CANTO SOLO 23 CANZONA PRIMA A 4, CANTO ALTO TENOR BASSO ‘dETTA LA BERNARDINIA’ * 2’40 ‘sOPRA RUGIEr’ ** 2’17 5 CANZONA PRIMA A 2 BASSI ** 3’13 LES BASSES RÉUNIES (2) 6 CANZONA OTTAVA A BASSO SOLo ‘dETTA L’AMBITIOSA’ * 3’06 LES BASSES RÉUNIES (2) TOTAL TIMING: 72’25 GIOVANNI BATTISTA VITALI (1632-1692) 7 BERGAMASCA 2’08 2 ITALY-FRANCE | ITALIE-FRANCE 8 CHIACONA 2’59 LES BASSES RÉUNIES (1) BENEDETTO MARCELLO (1686-1739) SONATA II IN DO MINORE PER DUE VIOLONCELLI (1649-1697) DOMENICO GALLI 1 LARGO 4’36 9 SONATA 5 5’17 2 PRESTO 2’40 LES BASSES RÉUNIES (1) 3 GRAVE 1’24 4 PRESTO 2’44 GIOVANNI BATTISTA DEGLI ANTONI (1636-1698) LES BASSES RÉUNIES (1) 10 RICERCATA [II?] PER VIOLONCELLO E VIOLINO 3’51 LES BASSES RÉUNIES (1) ANTONIO VIVALDI (1678-1741) SUONATA A VIOLONCELLO SOLO N° 7 IN LA MINORE, RV 44 MANUSCRIPT FROM THE LIBRARY OF THE NAPLES CONSERVATORY, ITALY * Grassi, 1628 5 PRELUDIO 2’20 ** Venise, 1635 6 ALLEMANDA 2’38 1 [1-2, 7-10], 2 [1-4] & 5 [13-15] were specially recorded for this set 7 SARABANDA 3’44 and have never been previously released on Alpha. 8 GIGA 2’20 LES BASSES RÉUNIES (3) 6 > MENU 7 SUONATA A VIOLONCELLO SOLO N° 6 3 JOHANN SEBASTIAN BACH#1 IN SI BEMOLLE MAGGIORE, RV 47 MANUSCRIPT FROM THE LIBRARY OF COUNT SCHÖNBORN, WIESENTHEID 9 PRELUDIO 2’16 JOHANN SEBASTIAN BACH (1685-1750) 10 ALLEMANDA 2’18 SONATE IN G-DUR, BWV 1027 11 LARGO 2’26 1 ADAGIO 3’33 12 CORRENTE 2’14 2 ALLEGRO MA NON TANTO 3’26 3 ANDANTE 1’50 LES BASSES RÉUNIES (3) 4 ALLEGRO MODERATO 2’58 SUONATA A VIOLONCELLO SOLO N° 5 IN MI MINORE, RV 40 LES BASSES RÉUNIES (5) MANUSCRIPT FROM THE BIBLIOTHÈQUE NATIONALE DE FRANCE, PARIS 13 LARGO 3’05 SUITE A VIOLONCELLO SOLO SENZA BASSO I 14 ALLEGRO 2’39 IN G-DUR, BWV 1007 15 LARGO 3’13 5 SARABANDE 2’56 16 ALLEGRO 1’39 BRUNO COCSET (LES BASSES RÉUNIES 6) LES BASSES RÉUNIES (3) SONATE IN D-DUR, BWV 1028 JEAN BARRIÈRE (1707-1747) 6 ADAGIO 1’43 SONATE VI EN DO MINEUR POUR LE VIOLONCELLE 7 ALLEGRO 3’40 AVEC LA BASSE CONTINUE, LIVRE II 8 ANDANTE 4’16 (CELLO, HARPSICHORD, ORGAN, THEORBO, VIOLONE) 9 ALLEGRO 3’50 17 ADAGIO 2’32 LES BASSES RÉUNIES (5) 18 ALLEGRO 3’24 19 LARGHETTO 4’41 SUITE A VIOLONCELLO SOLO SENZA BASSO II 20 GIGA 2’12 IN D-MOLL, BWV 1008 LES BASSES RÉUNIES (4) 10 PRÉLUDE 3’39 BRUNO COCSET (LES BASSES RÉUNIES 6) SONATE IV EN SI BÉMOL MAJEUR POUR LE VIOLONCELLE AVEC LA BASSE CONTINUE, LIVRE III CHORALVORSPIELE (CELLO, HARPSICHORD, CELLO, DOUBLE BASS) 11 ‘nUN KOMM, DER HEIDEN HEILANd’, BWV 659 3’36 21 ANDANTE 2’13 12 ‘ALLEIN GOTT IN DER HÖH SEI EHr’, BWV 711 2’41 22 ALLEGRO 2’57 LES BASSES RÉUNIES (5) 23 ADAGIO, ALLEGRO 4’08 LES BASSES RÉUNIES (4) SUITE A VIOLONCELLO SOLO SENZA BASSO III IN C-DUR, BWV 1009 SONATE II A TRE EN RÉ MINEUR POUR LE VIOLONCELLE 13 PRÉLUDE 2’50 AVEC LA BASSE CONTINUE, LIVRE III 14 ALLEMANDE 3’24 (TENOR CELLO, BASS VIOLA, VIOLONE) 15 COURANTE 2’55 24 ARIA (LARGO) 2’55 16 SARABANDE 5’12 LES BASSES RÉUNIES (4) 17 BOURRÉES I & II 3’12 18 GIGUE 2’49 TOTAL TIMING: 66’18 BRUNO COCSET (LES BASSES RÉUNIES 6) 8 9 TRIO A 2 CLAVIER E PEDALE, BWV 528A SUITE A VIOLONCELLO SOLO SENZA BASSO VI 19 ANDANTE 3’56 IN D-DUR, BWV 1012 LES BASSES RÉUNIES (5) 13 PRÉLUDE 3’54 14 ALLEMANDE 7’19 TOTAL TIMING: 62’26 15 COURANTE 3’25 16 SARABANDE 5’08 17 GAVOTTES I & II 3’43 18 GIGUE 3’44 4 JOHANN SEBASTIAN BACH#2 BRUNO COCSET (LES BASSES RÉUNIES 6) (1685-1750 JOHANN SEBASTIAN BACH ) TOTAL TIMING: 72’57 CHORALVORSPIEL 1 ‘ACH BLEIB BEI UNS, HERR JESU CHRISt’, BWV 649 2’20 LES BASSES RÉUNIES (5) FROM GEMINIANI TO BOCCHERINI | 5 SUITE A VIOLONCELLO SOLO SENZA BASSO IV DE GEMINIANI À BOCCHERINI IN ES-DUR, BWV 1010 2 SARABANDE 4’33 FRANCESCO GEMINIANI (1687-1762) BRUNO COCSET (LES BASSES RÉUNIES 6) 1 TENDREMENT 3’36 FOR TENOR VIOLIN, CELLO AND BASS, TRANSCRIPTION BY MATHURIN MATHAREL SONATE IN G-MOLL, BWV 1029 AFTER THE PIÈCES DE CLAVECIN TIRÉES DES DIFFERENS OUVRAGES 3 VIVACE 4’59 (SONATA VI FOR VIOLIN AND BASSO, OP. 1) 4 ADAGIO 4’23 LES BASSES RÉUNIES (7) 5 ALLEGRO 3’28 LES BASSES RÉUNIES (5) SONATE N° 11 POUR VIOLONCELLE AVEC LA BASSE CONTINUE, OPUS 1 FOR VIOLIN AND BASS, IN A MINOR, PERFORMED WITH TENOR VIOLIN, SUITE A VIOLONCELLO SOLO SENZA BASSO V LE CLERC & BOIVIN EDITION, PARIS, 1740 IN C-MOLL, BWV 1011 2 VIVACE 2’35 6 PRÉLUDE 5’32 3 AFFETUOSO 2’30 7 ALLEMANDE 5’29 4 ALLEGRO 3’09 8 COURANTE 1’55 LES BASSES RÉUNIES (7) 9 SARABANDE 3’55 10 GAVOTTES I & II 4’14 SONATE N° 2 EN RÉ MINEUR POUR VIOLONCELLE 11 GIGUE 1’47 AVEC LA BASSE CONTINUE BRUNO COCSET (LES BASSES RÉUNIES 6) 5 ANDANTE 2’18 6 PRESTO 2’29 CHORALVORSPIEL 7 ADAGIO 0’46 12 ‘wACHET AUF, RUFT UNS DIE STIMMe’, BWV 645 3’09 8 ALLEGRO 4’14 LES BASSES RÉUNIES (5) LES BASSES RÉUNIES (7) 10 11 SONATE N° 4 EN SI BÉMOL MAJEUR POUR VIOLONCELLE AVEC LA BASSE CONTINUE LES BASSES RÉUNIES 9 ANDANTE 0’23 10 ALLEGRO MODERATO 2’57 BRUNO COCSET 11 GRAVE 0’41 DIRECTION 12 ALLEGRO 0’53 LES BASSES RÉUNIES (7) GIOVANNI BATTISTA CIRRI (1724-1808) SONATE 5 EN DO MAJEUR 13 ALLEGRO MÀ POCO 4’11 14 ADAGIO 3’23 15 ALLEGRETTO 2’04 LES BASSES RÉUNIES (1) LUIGI BOCCHERINI (1743-1805) SONATE N° 7 EN SI BÉMOL MAJEUR POUR VIOLONCELLE ET BASSE CONTINUE 16 ALLEGRO MODERATO 6’41 17 LARGO, ALLEGRO, ADAGIO 4’37 18 ALLEGRO 4’09 LES BASSES RÉUNIES (8) CONCERTO EN SOL MAJEUR POUR VIOLONCELLE 19 ALLEGRO 5’27 20 ADAGIO 4’39 21 ALLEGRO 3’01 LES BASSES RÉUNIES (8) SONATE EN DO MAJEUR POUR VIOLONCELLE 22 ALLEGRO 5’25 23 LARGO ASSAI 2’41 24 RONDO ALLEGRO 3’17 LES BASSES RÉUNIES (8) TOTAL TIMING: 76’06 12 > MENU 13 LES BASSES RÉUNIES (1) CHRISTINA PLUHAR BAROQUE HARP RAINER THURAU, 1993 BRUNO COCSET LUCA GUGLIELMI, LAURENT STEWART TENOR VIOLIN CHARLES RICHÉ, FOURS, 2007 (AFTER A PAINTING BY BARTOLOMEO BETTERA) HARPSICHORD ÉMILE JOBIN, LARGE ITALIAN MODEL LARGE BASS VIOLIn ‘ALLA BASTARDA’ iN G CLAVIORGANUM QUENTIN BLUMENNSDEN CHARLES RICHÉ, FOURS, 2002 (AFTER AMATI) & ÉMILE JOBIN, 16TH CENTURY BASS VIOLIN IN B FLAT CHARLES RICHÉ, FOURS, 2000 (AFTER GASPARO DA SALÒ, c.1600) CELLo, ‘AUBADe’ CHARLES RICHÉ, FOURS, 2009 LES BASSES RÉUNIES (3) EMMANUEL JACQUES LARGE BASS VIOLIN IN G CHARLES RICHÉ, FOURS, 2002 BRUNO COCSET JACQUES BOQUAY, PARIS, 1726 CELLO CELLO CHARLES RICHÉ, FOURS, 1996 (AFTER THe ‘cRISTIANi’ STRADIVARIUS, 1700) BERTRAND CUILLER ITALIAN HARPSICHORD PHILIPPE HUMEAU, BARBASTE, 2002 BLANDINE RANNOU HARPSICHORD ÉMILE JOBIN, LARGE ITALIAN MODEL ORGAN ÉTIENNE DEBAISIEUX WITH PRINCIPALE REGISTER LES BASSES RÉUNIES (2) PASCAL MONTEILHET THEORBO MATHIAS DURVIE, 1978 BRUNO COCSET (RESTORED BY STEPHEN MURPHY IN 1990) GUITAR CHARLES BESNAINOU, 1995 TENOR VIOLIN CHARLES RICHÉ, FOURS, 2003 (AFTER AMATI) LARGE BASS VIOLIn ‘ALLA BASTARDA’ iN G RICHARD MYRON CHARLES RICHÉ, FOURS, 2002 (AFTER AMATI) DOUBLE BASS DOMENICUS BUSAN, VENICE, 1743 EMMANUEL JACQUES VIOLONE DOMINIK ZUCHOWICZ, OTTAWA, 1996 (AFTER VOGEL, LATE 16TH CENTURY) TENOR VIOLIN CHARLES RICHÉ, FOURS, 2000 (AFTER GASPARO DA SALÒ, c.1600) BASS VIOLIN IN B FLAT ALAIN MEYER, 1989 (AFTER BOURBON, MUSICAL INSTRUMENTS MUSEUM, BRUSSELS) LES BASSES RÉUNIES (4) EMMANUEL BALSSA BASS VIOLIN IN B FLAT ANONYMOUS BRUNO COCSET (RESTORED BY CHARLES RICHÉ IN 1996) CELLO CHARLES RICHÉ, FOURS, 1996 (AFTER THe ‘cRISTIANi’ RICHARD MYRON STRADIVARIUS, 1700) BASS VIOLIN IN B FLAT ALAIN MEYER, 1989 VIOLONE IN G ANONYMOUS (RESTORED BY MATHIEU ROUVÉ (AFTER BOURBON, MUSICAL INSTRUMENTS MUSEUM, BRUSSELS) IN 2003) TENOR CELLO ANONYMOUS FRENCH, EARLY 18TH CENTURY, THREE-STRING DOUBLE BASS WILLIBRORD CRIJNEN, TUNED A FIFTH UP MARSEILLE, 2000 (AFTER VENETIAN SCHOOL, 17TH CENTURY) BLANDINE RANNOU WILLIAM DONGOIS HARPSICHORD MARC DUCORNET, PARIS, SCHOOL OF HEMSCH CORNETT SERGE DELMAS, 1999 POSITIV ORGAN JOHAN DEBLIECK, BRUSSELS MUTE CORNETT HENRY GOHIN, 1990 EMMANUEL BALSSA XAVIER DÍAZ-LATORRE CELLO CHARLES RICHÉ, FOURS, 1990 (AFTER PIETRO GUARNERIUS, 1734) THEORBO 14 COURSES, JAUME BOSSER, 2000 BASS VIOL RENÉ GARMY, 1983 14 > MENU 15 PASCAL MONTEILHET LES BASSES RÉUNIES (7) THEORBO MATHIAS DURVIE, 1978 (RESTORED BY STEPHEN MURPHY IN 1990) BRUNO COCSET RICHARD MYRON CELLo ‘le bOCCHERINi’ CHARLES RICHÉ, FOURS, 2004 CHARLES RICHÉ, FOURS, 2003 DOUBLE BASS DOMENICUS BUSAN, VENICE, 1743 TENOR VIOLIn ‘ALLA BASTARDA’
Load more

Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • Stowell Make-Up
    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
    [Show full text]
  • Messiah Notes.Indd
    Take One... The Messiah Violin Teacher guidance notes The Messiah Violin is on display in A zoomable image of the violin is available Gallery 39, Music and Tapestry. on our website. Visit www.ashmolean.org/education/ Starting Questions The following questions may be useful as a starting point for thinking about the Messiah violin and developing speaking and listening skills with your class. • What materials do you think this violin is made from? • Why do you think this violin is in a museum? • Where do you think it might come from? • What kind of person do you think would have owned this violin? • Who could have made it? • Does the violin look like it has been played a lot or does it look brand new? • How old do you think the violin could be? • If I told you that nobody is allowed to play this violin do you feel about that? These guidance notes are designed to help you use the Ashmolean’s Messiah violin as a focus for cross-curricular teaching and learning. A visit to the Ashmolean Museum to see your chosen object offers your class the perfect ‘learning outside the classroom’ opportunity. Background Information Italy - a town that was already famous for its master violin makers. The new styles of violins and cellos that The Object he developed were remarkable for their excellent tonal quality and became the basic design for many TThe Messiah violin dates from Stradivari’s ‘golden modern versions of the instruments. period’ of around 1700 - 1725. The violin owes Stradivari’s violins are regarded as the fi nest ever its fame chiefl y to its fresh appearance due to the made.
    [Show full text]
  • 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]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Download Press Release
    Borletti-Buitoni Trust Press Release: 21 September 2020 CELEBRATING 20 YEARS Italian Postcards Avie AV2436 Release date 20 November 2020 Hugo Wolf (1860-1903) Italian Serenade in G Wolfgang Amadeus Mozart (1756-1791) String Quartet No.1 in G, K.80, Lodi Nimrod Borenstein (1969 -) Cieli d’Italia, Op.88 for string quartet Pyotr Ilych Tchaikovsky (1840-1893) String Sextet in D minor, Op.70, Souvenir de Florence An album of chamber works inspired by the beauty of Italy, including a work specially commissioned for the recording, celebrates the 20th birthday of the renowned Italian ensemble Quartetto di Cremona. It is also, in part, a tribute to the late Italian philanthropist and music lover Franco Buitoni, co-founder with his wife, Ilaria, of the Borletti-Buitoni Trust. A special award was created in his name, which was designated in 2019 for Italian musicians who promote and encourage chamber music at home and throughout the world. The Franco Buitoni Award made this recording possible for the Quartet, which also won a BBT Fellowship award in 2005. With its Italian heritage to the fore, the Quartet chose works by composers who travelled to Italy and were inspired by its breathtaking scenery, rich culture and profound sense of history. The country’s splendours undoubtedly fed the creative spirit of Hugo Wolf, best known as one of the finest eXponents of the art song, including his celebrated Italienishes Liederbuch. The Italian Serenade is his most famous instrumental work, originally written for string quartet, but never performed publicly in Wolf’s lifetime and only published shortly after his death.
    [Show full text]
  • Sommario Della Rivista Amadeus, 2000
    7 Mila: la lezione continua 50 Cassandra Wilson A Venezia il Teatro di Duilio Courir Una erede per Billie di Franco Fayenz Malibran, 8 II lettore in ristrutturazione, di Gaetano Sanlangclo 52 Lettera dalla Germania: Berlino dovrebbe diventare 11 In scena Arrivi e partenze una «casa» provvisoria di Klaus Geitel G. Carli Ballota, F. Cella, per La Fenice distrutta D. Courir, R. Indaco, Ci. Montecchi, (i. Moroni, A. Porter, N. Sguben, 55 Una storia dell'opera quattro anni fa C. Tempo, F. A. Saponaio russa (1a puntata) Verso un'opera da un terribile incendio 26 II cd - Documenti nazionale Händel a Londra di Rubens Tedeschi Compositore di ventura di Andrew Porter 60 Antica di Massimo R. Zegna 30 II cd - La lettura Händel in Italia 61 Jazz Musica con vista di Franco Fayenz di Massimo R. Zegna 62 Musicaoggi 34 La Fenice quattro anni dopo M. Bortolotto, D. Courir, In cerca di alloggio G. Satragni, P. Luppi di Chiara Squarcina Una storia dell'opera 64 Taccuino russa in cinque 37 «Pagliacci» tra realtà e fantasia di Patrizia Luppi Accadde in Calabria puntate: di Luisa Longobucco 69 Libri in questo numero di G. La Face Bianconi Rubens Tedeschi 40 Ingo Metzmacher racconta la nascita La musica in cui credo 70 Lo scaffale di Cesare Fcrtonani di Paola Mollino del teatro nazionale 42 I luoghi della musica: Oman 71 Hi-fi Per una politica della bellezza di Andrea Milanesi di Nicoletta Lucalelli 46 Salvatore Sciarrino 72 Compact Un personalissimo percorso M. Coralli, C. Fertonani, di Patrìzia Luppi E. Garofalo, G. Gavazzerò, A.
    [Show full text]
  • 1 Francesco Geminiani
    Francesco Geminiani: Opera Omnia Volume 5. 6 Sonatas Op. 5 (versions for cello and basso continuo H. 103-108; for violin and basso continuo H. 109-114). Christopher Hogwood, editor. Ut Orpheus Edizioni, 2010 (112 pp. clothbound). “Although Geminiani (1687‐1762) was held to be the equal of Corelli in his own day—and indeed thought by some to be superior to his contemporary Handel in instrumental composition—his considerable output of music and didactic writings has only been available in piecemeal fashion, much of it never reissued since his lifetime except in facsimile, and thus largely inaccessible to modern performers. This lack of material designed for practical performance has concealed the enormous originality he showed both in writing and re‐writing his own music, and that of Corelli. Francesco Geminiani Opera Omnia rectifies this omission with the first uniform and accurate scholarly edition of all versions of his music and writings in a form that allows pertinent comparison and reevaluation.” So opens the general preface to this first volume (of seventeen) in Ut Orpheus’ complete Geminiani Edition, and a more felicitous introduction it would be difficult to imagine. For a composer of such importance, particularly one whose limited output stands well within the logistical and economic constraints of the music publishing industry, his neglect has been astonishing. Until the period instrument movement got going in the past several decades, this was also true of Geminiani’s representation on recordings‐‐a fact that resulted in a particularly amusing episode from my own personal wanderings through the sometimes strange world of classical music collecting and appreciation.
    [Show full text]
  • Nov 23 to 29.Txt
    CLASSIC CHOICES PLAYLIST Nov. 23 - Nov. 29, 2020 PLAY DATE: Mon, 11/23/2020 6:02 AM Antonio Vivaldi Concerto for Viola d'amore, lute & orch. 6:15 AM Wolfgang Amadeus Mozart Divertimento for Winds 6:29 AM Georg Muffat Sonata No.1 6:42 AM Marianne Martinez Sinfonia 7:02 AM Georg Philipp Telemann Concerto for 2 violas 7:09 AM Ludwig Van Beethoven Eleven Dances 7:29 AM Henry Purcell Chacony a 4 7:37 AM Robert Schumann Waldszenen 8:02 AM Johann David Heinichen Concerto for 2 flutes, oboes, vn, string 8:15 AM Antonin Reicha Commemoration Symphony 8:36 AM Ernst von Dohnányi Serenade for Strings 9:05 AM Hector Berlioz Harold in Italy 9:46 AM Franz Schubert Moments Musicaux No. 6 9:53 AM Ernesto de Curtis Torna a Surriento 10:00 AM Wolfgang Amadeus Mozart Rondo for horn & orch 10:07 AM Wolfgang Amadeus Mozart Divertimento No. 3 10:21 AM Wolfgang Amadeus Mozart Piano Sonata 10:39 AM Wolfgang Amadeus Mozart Allegro for Clarinet & String Quartet 10:49 AM Wolfgang Amadeus Mozart Divertimento No. 8 11:01 AM Aaron Copland Appalachian Spring (Ballet for Martha) 11:29 AM Johann Sebastian Bach Violin Partita No. 2 12:01 PM Bedrich Smetana Ma Vlast: The Moldau ("Vltava") 12:16 PM Astor Piazzolla Tangazo 12:31 PM Johann Strauss, Jr. Artist's Life 12:43 PM Luigi Boccherini Flute Quintet No. 3 12:53 PM John Williams (Comp./Cond.) Summon the Heroes 1:01 PM Ludwig Van Beethoven Piano Trio No. 1 1:36 PM Margaret Griebling-Haigh Romans des Rois 2:00 PM Johann Sebastian Bach Konzertsatz (Sinfonia) for vln,3 trpts.
    [Show full text]
  • Syrinx (Debussy) Body and Soul (Johnny Green)
    Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hurrian Hymn from Ancient Mesopotamian Spring 2020 Musical Fragment c. 1440 BCE D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Shadow of the Ziggurat Assyrian Hammered Lyre Spring 2020 (Replica) D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Hymn to Horus Replica Ancient Lyre Spring 2020 Based on Trad. Eqyptian Folk Melody D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Roman Banquet Replica Kithara Spring 2020 Orig Composition in Hypophrygian Mode D. H. Tracy Sound of Music How It Works Session 5 Musical Instruments OLLI at Illinois Spring 2020 D. H. Tracy If You Missed a Session…. • PDF’s of previous presentations – Also other handout materials are on the OLLI Course website: http://olli.illinois.edu/downloads/courses/ The Sound of Music Syllabus.pdf References for Sound of Music OLLI Course Spring 2020.pdf Smartphone Apps for Sound of Music.pdf Musical Scale Cheat Sheet.pdf OLLI Musical Scale Slider Tool.pdf SoundOfMusic_1 handout.pdf SoM_2_handout.pdf SoM_3 handout.pdf SoM_4 handout.pdf 2/25/20 Sound of Music 5 6 Course Outline 1. Building Blocks: Some basic concepts 2. Resonance: Building Sounds 3. Hearing and the Ear 4. Musical Scales 5. Musical Instruments 6. Singing and Musical Notation 7. Harmony and Dissonance; Chords 8. Combining the Elements of Music 2/25/20 Sound of Music 5 7 Chicago Symphony Orchestra (2015) 2/25/20 Sound of Music
    [Show full text]
  • Vol34-1997-1.Pdf
    - ---~ - - - - -- - -- -- JOURNAL OF THE VIOLA DA GAMBA SOCIETY OF AMERICA Volume 34 1997 EDITOR: Caroline Cunningham SENIOR EDITOR: Jean Seiler CONSULTING EDITOR: F. Cunningham, Jr. REVIEW EDITOR: Stuart G. Cheney EDITORIAL BOARD Richard Cbarteris Gordon Sandford MaryCyr Richard Taruskin Roland Hutchinson Frank Traficante Thomas G. MacCracken Ian Woodfield CONTENTS Viola cia Gamba Society of America ................. 3 Editorial Note . 4 Interview with Sydney Beck .................. Alison Fowle 5 Gender, Class, and Eighteenth-Centwy French Music: Barthelemy de Caix's Six Sonatas for Two Unaccompanied Pardessus de Viole, Part II ..... Tina Chancey 16 Ornamentation in English Lyra Viol Music, Part I: Slurs, Juts, Thumps, and Other "Graces" for the Bow ................................. Mary Cyr 48 The Archetype of Johann Sebastian Bach's Chorale Setting "Nun Komm, der Heiden Heiland" (BWV 660): A Composition with Viola cia Gamba? - R. Bruggaier ..... trans. Roland Hutchinson 67 Recent Research on the Viol ................. Ian Woodfield 75 Reviews Jeffery Kite-Powell, ed., A Performer's Guide to Renaissance Music . .......... Russell E. Murray, Jr. 77 Sterling Scott Jones, The Lira da Braccio ....... Herbert Myers 84 Grace Feldman, The Golden Viol: Method VIOLA DA GAMBA SOCIETY OF AMERICA for the Bass Viola da Gamba, vols. 3 and 4 ...... Alice Robbins 89 253 East Delaware, Apt. 12F Andreas Lidl, Three Sonatas for viola da Chicago, IL 60611 gamba and violoncello, ed. Donald Beecher ..... Brent Wissick 93 [email protected] John Ward, The Italian Madrigal Fantasies " http://www.enteract.com/-vdgsa ofFive Parts, ed. George Hunter ............ Patrice Connelly 98 Contributor Profiles. .. 103 The Viola da Gamba Society of America is a not-for-profit national I organization dedicated to the support of activities relating to the viola •••••• da gamba in the United States and abroad.
    [Show full text]
  • The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]