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Black, Brown and Beige
Jazz Lines Publications Presents black, brown, and beige by duke ellington prepared for Publication by dylan canterbury, Rob DuBoff, and Jeffrey Sultanof complete full score jlp-7366 By Duke Ellington Copyright © 1946 (Renewed) by G. Schirmer, Inc. (ASCAP) International Copyright Secured. All Rights Reserved. Reprinted by Permission. Logos, Graphics, and Layout Copyright © 2017 The Jazz Lines Foundation Inc. Published by the Jazz Lines Foundation Inc., a not-for-profit jazz research organization dedicated to preserving and promoting America’s musical heritage. The Jazz Lines Foundation Inc. PO Box 1236 Saratoga Springs NY 12866 USA duke ellington series black, brown, and beige (1943) Biographies: Edward Kennedy ‘Duke’ Ellington influenced millions of people both around the world and at home. In his fifty-year career he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onward and will endure for generations to come. Wynton Marsalis said it best when he said, “His music sounds like America.” Because of the unmatched artistic heights to which he soared, no one deserves the phrase “beyond category” more than Ellington, for it aptly describes his life as well. When asked what inspired him to write, Ellington replied, “My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people.” Duke Ellington is best remembered for the over 3,000 songs that he composed during his lifetime. -
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. -
An Evening with Robert Levin Introduction by Lewis Lockwood
Autograph manuscript of Mozart’s Piano Sonata in F Major. Reprinted by permission of Biblioteka Jagiellonska. An Evening with Robert Levin Introduction by Lewis Lockwood This presentation was given at the 1897th Stated Meeting, held at the House of the Academy on December 2, 2005. Robert Levin’s presentation included a musical performance of works by Wolfgang Amadeus Mozart and Arnold Schoenberg. Robert Levin is Dwight P. Robinson, Jr. Professor had not played this rondo for seven years, he and rondo on Sunday afternoon. Then he of the Humanities at Harvard University. He has relearned it in a day and a half and played it relearned the Beethoven Second, which he been a Fellow of the American Academy since that Friday evening. All was well, if a little hadn’t played in four years, and did both 2000. frantic. Beethoven concertos with the bso at the Tuesday concert to loud applause. Lewis Lockwood, a Fellow of the American Acad- The next morning, the Boston Symphony emy since 1984, is Fanny Peabody Professor of Orchestra called and asked Levin if he could This was a single memorable episode in the Music, Emeritus, at Harvard University. possibly step in to play the Beethoven Fourth career of a colleague whom I regard as one Piano Concerto that night since Alfred Bren- of the most gifted and versatile musicians del, the scheduled pianist, had injured his of our time–but it doesn’t suggest the full Lewis Lockwood back. Brendel was also supposed to play the range of his activities. For many years, Robert Beethoven Second Concerto, but the bso Levin has appeared as concerto soloist with magnanimously felt that two concertos was major orchestras, as well as recital pianist, On a Friday and Sunday in late April 2001, more than they should ask for in an emer- playing a repertoire that stretches from Bach Robert Levin was scheduled to play the gency situation, so they would substitute a to Harbison and Wyner. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance. -
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. -
Finale 2006C
6 Introduction Johann Gottlieb Graun was born in the small Saxon town of Wahrenbrück in 1702 or 1703, the second of three brothers, each of whom was to become a distinguished musician. He counted among his ancestors an organist and several generations of Protestant pastors, but his father August served a more materialistic cause: he was a tax collec- tor and brewer. Educational possibilities in Wahrenbrück were limited, and all three brothers were sent elsewhere for further education. The eldest, August Friedrich (1698/99-1765) went to Grimma in 1711, at which point he may be allowed to depart from this biographical sketch. Johann Gottlieb and his younger brother Carl Heinrich (1703/4- 1759) remained together, a situation which pertained throughout much of their lives, and which has ever since cau- sed considerable confusion and difficulty in attribution of much of their music. Johann Gottlieb went to the Kreuzschule in Dresden in 1713, and Carl Heinrich followed him there in 1714. This excellent school offered general education with an emphasis on music. It was associated with the Dresden Kreuzkirche, and trained singers for its choir, the Kreuzchor. During his time at the Kreuzschule Graun would have come in contact with the fine musicians of the Dresden court, as well as visitors such as Telemann and J. S. Bach. The Saxon capital was a major political and cultural centre, and its court orchestra was widely admired. Among its finest younger virtuosi was the violinist Johann Georg Pisendel (1687-1755), who was appointed in 1712 and took over as Konzertmeister in 1728. -
C. P. E. BACH, CONCERTOS W. 4–6: INTRODUCTION Edited Here Are
W. 4–6: Introduction, p. 1 C. P. E. BACH, CONCERTOS W. 4–6: INTRODUCTION Edited here are the first three concertos for solo keyboard and strings that Carl Philipp Emanuel Bach composed at Berlin. These works date from 1738, 1739, and 1740, respectively, years that saw Bach move to Berlin and enter the service of King Friedrich II “the Great” of Prussia.1 One additional concerto from this period, composed earlier in 1740 for two keyboard instruments and strings, is edited separately.2 Although Bach is known to have previously composed three concertos as a student at Leipzig and Frankfurt-on-the-Oder, the present works are the first products of an extraordinary creative development that would continue in the twenty-two further concertos that Bach would compose or revise at Berlin and Potsdam through the 1740s. Only within the domain of the keyboard sonata would he produce a greater number of works during this period. Although written at the beginning of Bach's professional career, these are not tentative or student works. They reveal a youthful but fully mature composer brilliantly expanding the vocabulary of a new genre in each new work. One inspiration for this outburst of creativity doubtless was furnished by his father, in particular the eight completed keyboard concertos that Johann Sebastian Bach copied into a fair-copy manuscript around 1738, the same year as W. 4.3 A second would have been the artistic, social, and economic ferment of Berlin during the period when Prince Friedrich, now securely in the good graces of his father Friedrich Wilhelm II, was preparing to take the throne. -
Johann Sebastian BACH
Johann Sebastian BACH Complete Works for Lute Yasunori Imamura, Baroque Lute 1Partita in E major, BWV 1006a 20:41 ^Suite in E minor, BWV 996 18:18 Johann Sebastian Bach (1685–1750) Prelude 4:13 & Prelude 2:51 2 Complete Works for Lute 3 Loure 3:58 * Allemande 3:02 Courante 2:40 4 Gavotte en Rondeau 3:29 ( This recording offers the complete lute works of J.S. Bach following the death of Johann Kuhnau (1660–1722), Sarabande 4:24 5 Menuet I & II 4:43 ) including all the solo works as well as pieces from the Kantor at the Thomasschule in Leipzig, Bach was Bourrée 1:51 Bourrée 1:33 6 ¡ St John Passion and the St Matthew Passion , where the appointed as his successor. Gigue 2:27 Gigue 3:48 lute appears in an ensemble setting. The depth and During this time, Bach is believed to have been in breadth of Bach’s interest in the lute and its sonorities are contact with two esteemed lute-players, Sylvius Leopold ™Suite in G minor, BWV 995 25:15 7Suite in C minor, BWV 997 22:01 thus amply demonstrated. The variety of the composer’s Weiss (1687–1750) and Johann Kropffgans (1708–c. 1770). Prelude 3:11 £ Prelude 6:11 8 output in this area is considerable, covering different (Around this period, he transcribed his Fifth Cello Suite for Fugue 7:13 ¢ Allemande 6:18 9 periods of his life. lute and arranged the Third Violin Partita for lute- 0 Sarabande 5:28 ∞ Courante 2:35 A brief biographical summary is perhaps relevant to harpsichord, BWV 1006a . -
Shakespeare 400 Music, Songs and Poetry from the Renaissance - the Cultural Bridge Between the Middle Ages and Modern History in Europe
13thInternational Music Festival Phnom Penh 3-7 November 2016 Shakespeare 400 Music, songs and poetry from the Renaissance - the cultural bridge between the Middle Ages and modern history in Europe European Union International Music Festival Phnom Penh www.musicfestival-phnompenh.org Contact 077 787038 / 015755718 / [email protected] Dear Music Lovers This year, I am pleased to invite you to explore European Renais- sance Music. The central inspirational figure - William Shakespeare - indeed influenced Drama and Music. His stage directions call for music more than 300 times, and his plays are full of beautiful tributes to music. The Festival will mark the 400th anniversary of Shakespeare’s death in 1616. The Renaissance in music occurred between 1450 and 1625, including the transitional period from Renaissance to Early Baroque. As in the other arts, the horizons of music were greatly expanded. The circulation of music and the number of composers and performers increased. The humanistic interest in language (Shakespeare and his contemporaries) influenced vocal music, creating a close relationship between words and music. Renais- sance composers wrote music to enhance the meaning and emotion of the text. The festival program is a snapshot of the musical life during the European Renaissance and leads us to refined musical forms, such as the opera during the end of the period. In six concerts, you will experience selected songs, poetry and pure instrumental forms. These performing practices took place mostly in domestic interiors in a private sphere of all milieu of society. I look forward to welcome again international artists, with their luggage of historical Instruments including a Spinet, Lute, and Viola da Gamba, to perform music from: England, France, The Nether- lands, Belgium, Germany, Italy and Spain I warmly invite all music lovers, young and old and also those new to classical music to take full advantage of the feast of music offered by this year’s concert program of European Renaissance music. -
Music Vocabulary a Cappella. Unaccompanied Choral Singing
Music Vocabulary A cappella. Unaccompanied choral singing. Accompaniment. A vocal or solo part that supports or is background for a solo part. Articulation. In performance, the characteristics of attack and decay of tones and the manner and extent to which tones in sequence are connected or disconnected. Atonal. Music in which no single tone is the home base or key center. Bar. A unit of music, such as 12-bar or 8-bar, denoting length. Beat. A unit of measure in rhythmic time. Binary. A musical form consisting of two main sections. Cadence. A group of notes or chords at the end of a phrase or piece of music that gives a feeling of pausing or finality. Cadenza. A parenthetic flourish in a solo piece commonly just before a final or other important cadence. Canon. A musical form in which melody is imitated exactly in one or more parts, similar to a round. Chord. Three or more tones played simultaneously. Classroom instruments. Instruments typically used in the general music classroom, including, for example, recorder-type instruments, chorded zithers, mallet instruments, simple percussion instruments, fretted instruments, keyboard instruments, and electronic instruments. Coda. A "tail" or short closing section added at the end of a piece of music. Compose. To create original music by organizing sound. Usually written down for others to perform. Composition. A single, complete piece of music, (also , piece and work). Compound meter. Meter characterized by 3:1 relationship of the beat to the subdivided beat (the note receiving the beat in compound meter is always a dotted note.). -
The Social and Religious Designs of J.S. Bach's Brandenburg Concertos
Swarthmore College Works Music Faculty Works Music 1995 The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos Michael Marissen Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-music Part of the Music Commons Recommended Citation Michael Marissen. (1995). "The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos". The Social And Religious Designs Of J.S. Bach's Brandenburg Concertos. https://works.swarthmore.edu/fac-music/10 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in Music Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. ✜ INTRODUCTION ✜ Bach’s Musical Contexts Tubby the Tuba, at a rehearsal, sitting forlornly in the back row of the orchestra: “Oh, what lovely music.” (Sighs.) Peepo the Piccolo, rushing to Tubby’s side: “Here, what’s the matter?” Tubby: “Oh, every time we do a new piece, you all get such pretty melodies to play. And I? Never, never a pretty melody.” Peepo, arms stretched out: “But people don’t write pretty melodies for tubas. It just isn’t done.” Paul Tripp, Tubby the Tuba ubby the Tuba captures powerfully the enculturated notion Tof the orchestral hierarchy. As Tubby’s story goes on to show, there is, of course, no inherent technical reason why tubas should not be highlighted with pretty melodies in orchestral music; it just “isn’t done.” Further explanation is hardly needed. J. S. Bach would apparently not have been moved by an appeal to tradition.