David Kim, Fortepiano, and Lauren Basney, Violin
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The Double Keyboard Concertos of Carl Philipp Emanuel Bach
The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R. -
Music in the Pavilion
UNIVERSITY of PENNSYLVANIA LIBRARIES KISLAK CENTER Music in the Pavilion PHOTO BY SHARON TERELLO NIGHT MUSIC A SUBTLE AROMA OF ROMANTICISM Friday, September 27, 2019 Class of 1978 Orrery Pavilion Van Pelt-Dietrich Library Center www.library.upenn.edu/about/exhibits-events/music-pavilion .................................................................................. .................................................................................. .................................................................................. .................................................................................................................................................................... .................................................................................. ........... ............ ......... A SUBTLE AROMA OF ROMANTICISM NIGHT MUSIC Andrew Willis, piano Steven Zohn, flute Rebecca Harris, violin Amy Leonard, viola Eve Miller, cello Heather Miller Lardin, double bass PIANO TRIO IN D MINOR, OP. 49 (1840) FELIX MENDELSSOHN (1809–47) MOLTO ALLEGRO AGITATO ANDANTE CON MOTO TRANQUILLO SCHERZO: LEGGIERO E VIVACE FINALE: ALLEGRO ASSAI APPASSIONATO PIANO QUINTET IN A MINOR, OP. 30 (1842) LOUISE FARRENC (1804–75) ALLEGRO ADAGIO NON TROPPO SCHERZO: PRESTO FINALE: ALLEGRO The piano used for this concert was built in 1846 by the Paris firm of Sébastien Érard. It is a generous gift to the Music Department by Mr. Yves Gaden (G ’73), in loving memory of his wife Monique (1950-2009). ................................................................................... -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
The Keyboad Sonatas of Domenico Scalatti and Eighteenth-Centuy Musical Style
THE KEYBOAD SONATAS OF DOMENICO SCALATTI AND EIGHTEENTH-CENTUY MUSICAL STYLE W. DEAN SUTCLIFFE St Catharine’sCollege, Cambridge published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 Thisbook isin 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 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library ISBN 0 521 48140 6 hardback CONTENTS Preface page vii 1 Scarlatti the Interesting Historical Figure 1 2 Panorama 26 Place and treatment in history 26 The dearth of hard facts29 Creative environment 32 Real-life personality 34 The panorama tradition 36 Analysis of sonatas 38 Improvisation 40 Pedagogy 41 Chronology 43 Organology 45 Style classification 49 Style sources 54 Influence 55 Nationalism I 57 Nationalism II 61 Evidence old and new 68 3 Heteroglossia 78 An open invitation to the ear: topic and genre 78 A love-hate relationship? -
Piano History
ABOUT THE PIANO A SHORT HISTORY OF THE PIANO If you have ever played a harpsichord or a clavichord, you know they feel dif- ferent from a piano. In a piano, a hammer is thrown at the strings when you press a key on the keyboard. The hammer quickly rebounds so the string can vi- brate for as long as you hold the key down (or even longer if you use the damper pedal). The harpsichord is different because the strings are plucked by a plectrum (originally the pointed end of a feather, now made of plastic or other synthetic material). Because the harpsichord plucks the string (as opposed to a hammer striking the string), you are very conscious of the moment the plucking takes place. The clavichord strikes the string with a metal tangent. Unlike the piano’s ham- mer that rebounds right away, the tangent stays in contact with the string. So the clavichord, too, has its own feel. A keyboard instrument called a virginal was a small and simple rectangular form of the harpsichord. The spinet was another small harpsichord-type instru- ment. These are some of the earliest keyboard instruments. Even the fortepiano, the name given to the earliest piano to distinguish it from the modern pianoforte, or piano, has its own feel—the depth of the key fall is shallow and it takes much less weight to press the key down. THE CRISTOFORI PIANOFORTE The piano itself was invented in Italy in 1709 by Bartolommeo Cristofori. His was a four-octave instrument (compared to our seven-and-a half-octave modern instrument), with hammers striking the strings just as they do on a modern pi- ano. -
Historical Performance Practice at the Beginning of the New Millennium
Historical Performance Practice at the beginning of the new millennium Dorottya Fabian An interest in early music and performing practices of the past has a long history by now. Its characteristics in the nineteenth century have been mapped by several authors, especially in relation to the revival of Johann Sebastian Bach’s music, the Cecilian Movement and various musical developments in England. Even more pub- lications are available on its twentieth-century history.1 The initiatives during the early decades (e.g. the organ and recorder movements of the 1920s, the establish- ing of the Schola Cantorum in Basel in 1933) and the contribution of pioneers like Wanda Landowska and Arnold Dolmetsch have been extensively studied togeth- er with lesser-known figures, places and institutions.2 But as is well-known, it was during the second half of the twentieth century that the Early Music or Historically Informed Performance Movement has truly taken off, becoming a major force in the world of classical music. Many books and papers have been dedicated to the history of this development, its various phases, musical characteristics, key figures, aesthetic outlook and philosophical assumptions, and its achievements. There was a burgeon- ing of such literature and heated debates during the 1980s and 1990s followed by more comprehensive and ‘corrective’ analyses published during the early years of the 2000s, most focussing on the second half of the twentieth century.3 Much less has 1 Harry Haskell, The Early Music Revival – A History, London 1988; George B. Stauffer, Changing Issues of Performance Practice, in: John Butt (Hg.), Cambridge Companion to Bach, Cambridge 1997, S. -
Two-Piano Music of Franz Liszt Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 10-17-2011 Poetry and Passion: Two-Piano Music of Franz Liszt Department of Music, University of Richmond Follow this and additional works at: http://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Poetry and Passion: Two-Piano Music of Franz Liszt" (2011). Music Department Concert Programs. 9. http://scholarship.richmond.edu/all-music-programs/9 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. 3 3082 01189 4473 r THE UNIVERSITY OF RICHMOND DEPARTMENT OF MUSIC Presents POETRY AND PASSION: TWO-PIANO MUSIC OF FRANZ LISZT Paul Hanson Joanne Kong pianists Monday, October 17, 2011 7:30p.m. Booker Hall of Music Camp Concert Hall FRANZ L!SZT POETRY AND PASSION: TWO-PIANO MUSIC OF FRANZ LISZT (1811-1886) Weihnachtsbaum (Christmas Tree) (1882) Psallite (Sing Psalms) Die Hirten an der Krippe (The Shepherds at the Manger) Adeste Fideles Gleichsam ais Marsch der heiligen drei Konige (In the manner of "The March of the Three Holy Kings") Scherzoso (Playful) Man zundet dle Kerzen des Baumes an (Lighting the candles on the tree) Carillon (Chimes) Schlummerlied (Slumber Song) Altes provenzalisches Weihnachtslied (Old Proven9al Christmas Song) Abendglocken (Evening Bells) Ehemals (Old Times) Polnisch (Polish) 9nfermfssfon Symphonic Poems, transcribed for two pianos by Liszt Festklange (Festive Sounds) (1853) Orphee (Orpheus) (1853-1854) Hunnenschlacht (Battle of the Huns) (1857) @Please silence cell phones, digital watches, and paging devices before the concert. -
EMV Announces 11 New Concerts for the Remainder of Its 51St Season
FOR IMMEDIATE RELEASE December 21, 2020 EMV Announces 11 New Concerts for the Remainder of its 51st Season Includes performances by Canadian icon Angela Hewitt, recorder virtuoso Vincent Lauzer, and returning EMV favourites Vancouver, BC – Early Music Vancouver (EMV) begins the second half of its 51st season on Wednesday January 13, 2021 at 7:30pm as part of its Digital Concert Hall. The virtual season will continue to be released on a bi-weekly basis, concluding on June 2, 2021. The 11 concerts feature a diverse range of programs, including J.S. Bach’s Brandenburg Concerto no. 5 performed by the Pacific Baroque Orchestra, West African music performed by Ensemble Constantinople and kora player Ablaye Cissoko, and a recital of 19th century lieder sung by Vancouver native Tyler Duncan accompanied by Erika Switzer on fortepiano. The first concert of the new year will be Vivaldi & Bach: The Trio Sonata in the 18th Century, performed by veterans of the early music movement, Marc Destrubé, former Music Director of the Pacific Baroque Orchestra and co- concertmaster of the Orchestra of the 18th Century, Jeanne Lamon, Tafelmusik Music Director Emerita, Christina Mahler, former principal cellist of Tafelmusik Baroque Orchestra, as well as Christina Hutten, keyboardist of the Pacific Baroque Orchestra. Other notable concerts include New Music for Old Instruments in which the Pacific Baroque Orchestra performs newly commissioned pieces from BC-based composers in collaboration with Vancouver Pro Musica; Metamorfosi, showcasing music by Barbara Strozzi in the context of music from the Persian and Ottoman Empires performed by Ensemble Constantinople and incoming Artistic & Executive Director of EMV, Suzie LeBlanc; Angela Hewitt in recital performing J.S. -
Concert: Ithaca College Chamber Orchestra Ithaca College Chamber Orchestra
Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 4-30-2010 Concert: Ithaca College Chamber Orchestra Ithaca College Chamber Orchestra Jeffery Meyer Follow this and additional works at: https://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Ithaca College Chamber Orchestra and Meyer, Jeffery, "Concert: Ithaca College Chamber Orchestra" (2010). All Concert & Recital Programs. 4411. https://digitalcommons.ithaca.edu/music_programs/4411 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. PROGRAM Overture to Le Nozze di Figaro Wolfgang Amadeus Mozart from “The Marriage of Figaro ” (1756–1791) ITHACA COLLEGE CHAMBER ORCHESTRA Piano Concerto no. 17, Wolfgang Amadeus Mozart Jeffery Meyer, conductor K. 453 in G major I. Allegro Malcolm Bilson, fortepiano II. Andante III. Allegretto – Finale: Presto Malcom Bilson, fortepiano Ford Hall Friday, April 30, 2010 8:15 p.m. INTERMISSION Symphony no. 4 in B-flat major Ludwig van Beethoven (1770-1827) I. Adagio-Allegro Vivace II. Adagio III. Allegero vivace IV. Allegro ma non troppo To receive occasional emails from the School of Music about upcoming concerts, send an email with your name and address to: [email protected] Photographic, video, and sound recording and/or transmitting devices are not permitted in the Whalen Center concert halls. Please turn off all cell phone ringtones. Program Notes certainly no exception to this maxim as it balances ease of listening with sophistication. It was written Overture to Le Nozze di Figaro in 1784, a particularly fruitful year for that genre being the fourth of six piano concertos written that Le Nozze di Figaro by Wolfgang Amadeus Mozart is year. -
Johann Sebastian Bach and the Fortepiano
Johann Sebastian Bach and the Fortepiano The keyboard music of J.S. Bach (Johann Sebastian Bach, 1685-1750 was mostly intended for the harpsichord. At that time, this instrument had a central position in the musical world, and had reached a state of high perfection. However, because it used a plucked string mechanism, it was not possible to express nuances on the keyboard, by playing loud or soft. The clavichord, on the other hand, another very popular instrument instrument, functioned by striking the strings, thus making different expressive nuances possible. Unfortunately, this instrument had a small range, and an extremely discreet sonority, which makes for a particularly confidential usage: it could hardly be used for public concerts. For that reason, the idea arose of replacing the plucked string system of the harpsichord with another, newly developed mechanism using hammers, which would strike the strings and thus make it possible to play with different dynamics. This was the system developed by Bartolomeo Cristofori (1655-1731), circa 1700 in Florence, Tuscany. Over the years, he developed and perfected his invention to a level of complexity which made his instruments expensive. Simplifications were made soon afterwards, only for the complex designs of Cristofori to reappear later in yet more highly developed pianos. This is a sure sign of his exceptional creativity. The simplified mechanism was introduced by Gottfried Silbermann (1683-1753), a well-known German organ builder, who had shown an interest in Cristofori’s new piano. During the mid-1730s, Silbermann had presented his simplified instrument to J.S. Bach, who was at that time not well pleased; he is said to have complained about the pinched sound in the high notes, and the heavy touch required. -
Sir John Eliot Gardiner
LSO SEASON CONCERTS SIR JOHN ELIOT GARDINER Thursday 7 February 2019 7.30–9.30pm Barbican Weber Overture: Euryanthe Mendelssohn Concerto for Violin and Piano Interval Schumann Symphony No 3, ‘Rhenish’ Sir John Eliot Gardiner conductor Isabelle Faust violin Kristian Bezuidenhout fortepiano SCHUMANN Programme Notes on Pages 4 to 9 Sunday 10 February 2019 7–9pm Barbican Hall Schumann Overture: Manfred Beethoven Piano Concerto No 1 Interval Schumann Symphony No 1, ‘Spring’ Sir John Eliot Gardiner conductor Piotr Anderszewski piano Programme Notes on Pages 10 to 14 Welcome Latest News On Our Blog Thanks to our media partner Classic FM, CENTRE FOR MUSIC ORCHESTRA’S CHOICE: SCHUMANN who have recommended this concert to their listeners. Thursday evening will be broadcast The LSO, Barbican and Guildhall School have LSO players share stories about their live on the LSO’s YouTube channel, and both ambitious plans for a new London concert favourite music by Robert Schumann concerts will also be captured for the LSO’s hall. The vision for the Centre for Music is and how it came into their lives, from the own recording label LSO Live, as part of a to develop a world-class venue for music symphonies to chamber music to song. complete cycle of Schumann’s symphonies and education. First concept designs for the • lso.co.uk/blog conducted by Sir John Eliot Gardiner. project have now been released. • lso.co.uk/news I hope that you enjoy the performances and MEET LAHAV SHANI that you will be able to join us again soon. In these two LSO concerts at the Barbican -
Review Essay Haydn Recordings in the Bicentennial Year
Review Essay Haydn Recordings in the Bicentennial Year SYLVIA BERRY N ANTICIPATION OF THE 200TH anniversary of the death of Franz Joseph Haydn (1732-1809), a number of early keyboard specialists embarked upon Icomplete recordings of Haydn’s keyboard works, all but one of which was released before the Haydn Year 2009. These recordings include not only the complete solo keyboard works, but also the complete keyboard trios — a wonderful and often neglected facet of Haydn’s keyboard output. In a real marriage of performance and scholarship, every keyboard work Haydn wrote (including some contemporary arrangements of works by Haydn in other genres) has now been committed to disc on a stunning variety of instruments. Thus, in 2009, we can finally hear Haydn’s keyboard music performed on a veritable constellation of clavichords, harpsichords, and fortepianos, reflecting the wealth of keyboard instruments available to Haydn during his life-long career as a composer of keyboard music. Previous to this recent crop of recordings, there were very few interpretations on disc of Haydn’s works on the harpsichord, and only a small number of recordings by a handful of fortepianists of a variety of programs, very few of which included the early works. Expanding on the fortepiano interpretations of the standard programs by Malcolm Bilson and Paul Badura-Skoda, we now have four complete sets of Haydn’s keyboard sonatas, two complete sets of the miscellaneous or non-sonata works (henceforth called Klavierstücke), a number of readings of assorted Klavierstücke, and a complete set of the keyboard trios. Taken together, these sets employ twenty-one instruments, of which a number are antiques.