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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. -
October 2015
October 2015 Bertrand Chamayou INSIDE: Ian Bostridge | Sarah Connolly Ehnes Quartet | Thomas Hampson Alina Ibragimova & Cédric Tiberghien Magdalena Kozˇená & Mitsuko Uchida Steven Isserlis | Robert Levin Sandrine Piau | Christoph Prégardien Stile Antico | Vox Luminis And many more Box Office 020 7935 2141 Online Booking www.wigmore-hall.org.uk How to Book Wigmore Hall Box Office 36 Wigmore Street, London W1U 2BP In Person 7 days a week: 10 am – 8.30 pm. Days without an evening concert 10 am – 5 pm. No advance booking in the half hour prior to a concert. Please note that the Box Office with be closed for bookings in person from Monday 27 July to Friday 4 September. By Telephone: 020 7935 2141 7 days a week: 10 am – 7 pm. Days without an evening concert 10 am – 5 pm. There is a non-refundable £3.00 administration fee for each transaction, which includes the return of your tickets by post if time permits. Online: www.wigmore-hall.org.uk 7 days a week; 24 hours a day. There is a non-refundable £2.00 administration charge. Standby Tickets Standby tickets for students, senior citizens and the unemployed are available from one hour before the performance (subject to availability) with best available seats sold at the lowest price. NB standby tickets are not available for Lunchtime and Coffee Concerts. Group Discounts Discounts of 10% are available for groups of 12 or more, subject to availability. Latecomers Latecomers will only be admitted during a suitable pause in the performance. Facilities for Disabled People full details available from 020 7935 2141 or [email protected] Wigmore Hall has been awarded the Bronze Charter Mark from Attitude is Everything TICKETS Unless otherwise stated, tickets are A–D divided into five prices ranges: BALCONY Stalls C – M W–Y Highest price T–V Stalls A – B, N – P Q–S 2nd highest price Balcony A – D N–P 2nd highest price STALLS Stalls BB, CC, Q – S C–M 3rd highest price A–B Stalls AA, T – V CC CC 4th highest price BB BB PLATFORM Stalls W – Y AAAA AAAA Lowest price This brochure is available in alternative formats. -
Sat, Jan 02, 2021 - 00 the Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Sat, Jan 02, 2021 - 00 The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:31 Weber Overture to Der Freischutz Berlin 01006 EMI 74764 724357476423 Philharmonic/Karajan 00:13:0125:39 Strauss, R. Death and Transfiguration, Op. Atlanta 07032 Telarc 80661 089408066122 24 Symphony/Runnicles 00:39:55 19:54 Haydn Piano Trio No. 36 in E flat Beaux Arts Trio 04027 Philips 432 070 n/a 01:01:1911:33 Falla Three Dances from The Boston Pops/Fiedler 04581 RCA 68550 090266855025 Three-Cornered Hat 01:13:5202:08 Gabrieli, G. Canzona prima a 5 Canadian Brass 05433 RCA 63238 090266323821 01:16:00 01:02 Palestrina Hosanna Canadian Brass 05433 RCA 63238 090266323821 01:18:1741:41 Schubert Piano Sonata in A, D. 959 Mitsuko Uchida 05116 Philips 289 456 028945657929 579 02:01:2804:15 Grieg The Last Spring from Two Capella 11036 Naxos 8.578009 747313800971 Elegiac Melodies, Op. 34 Istropolitana/Leaper 02:06:4343:50 Balakirev Symphony No. 1 in C City of Birmingham 00845 EMI 47505 077774750523 Symphony/Jarvi 02:51:4808:17 Beethoven Overture to Egmont, Op. 84 Berlin 00470 DG 415 506 028941550620 Philharmonic/Karajan 03:01:3511:14 Liszt Mephisto Waltz No. 1 Murray Perahia 02233 Sony 47180 07464471802 03:13:4903:44 Tippett Dance, Clarion Air (madrigal for Choir of Christ Church 00783 Nimbus 5266 D 110593 five voices) Cathedral, Oxford/Darlington 03:18:4840:41 Alfven Symphony No. 1 In F minor, Stockholm 01531 BIS 395 731859000395 Op. 7 Philharmonic/Jarvi 4 04:00:5932:43 Taneyev, A. -
The Classical Station, WCPE 1 Start Runs Composer Title Performerslib # Label Cat
Tue, Jan 26, 2021 - The Classical Station, WCPE 1 Start Runs Composer Title PerformersLIb # Label Cat. # Barcode 00:01:30 10:39 Mozart Adagio in B minor, K. 540 Mitsuko Uchida 00264 Philips 412 616 028941261625 00:13:3945:17 Dvorak Cello Concerto in B minor, Op. du Pre/Swedish Radio 07040 Teldec 85340 685738534029 104 Symphony/Celibidache 01:00:2631:11 Beethoven String Quartet No. 9 in C, Op. Tokyo String Quartet 04508 Harmonia 807424 093046742362 59 No. 3 Mundi 01:32:3708:09 Mozart Adagio & Fugue in C minor for Berlin 06660 DG 0005830 028947759546 Strings K. 546 Philharmonic/Karajan 01:42:1618:09 Telemann Paris Quartet No. 11 Kuijken 04867 Sony 63115 074646311523 Bros/Leonhardt 02:01:5529:22 Mozart Sinfonia Concertante in E flat, Frang/Rysanov/Arcang 12341 Warner 08256462 825646276776 K. 364 elo/Cohen Classics 76776 02:32:1726:39 Brahms Clarinet Trio in A minor, Op. Stoltzman/Ax/Ma 02937 Sony 57499 074645749921 114 Classical 03:00:2611:52 Liszt Mephisto Waltz No. 1 Evgeny Kissin 06623 RCA 58420 828765842020 03:13:1834:42 Strauss, R. Symphony in D minor Hong Kong 03667 Marco Polo 8.220323 73009923232 Philharmonic/Scherme rhorn 03:49:0009:52 Schubert Overture to Rosamunde, D. Leipzig Gewandhaus 00217 Philips 412 432 028941243225 797 Orchestra/Masur 04:00:2215:04 Haydn Piano Sonata No. 50 in D Julia Cload 02053 Meridian 84083 N/A 04:16:2628:32 Mozart Symphony No. 29 in A, K. 201 Prague Chamber 05596 Telarc 80300 089408030024 Orch/Mackerras 04:45:58 12:20 Webern In the Summer Wind Philadelphia 10424 Sony 88725417 887254172024 Orchestra/Ormandy 202 04:59:4806:23 Lehar Merry Widow Waltz Richard Hayman 08261 Naxos 8.578041- 747313804177 Symphony 42 05:07:11 21:52 Rachmaninoff Rhapsody on a Theme of Entremont/Philadelphia 04207 Sony 46541 07464465412 Paganini, Op. -
Learning to Play Like the Great Pianists
Learning to Play Like the Great Pianists Asmir Tobudic Gerhard Widmer Austrian Research Institute for Department of Computational Perception, Artificial Intelligence, Vienna Johannes Kepler University, Linz [email protected] Austrian Research Institute for Artificial Intelligence, Vienna [email protected] Abstract CD recordings and the printed score of the music. Exper- iments show that the system indeed captures some aspect of An application of relational instance-based learn- the pianists' playing style: the machine's performances of un- ing to the complex task of expressive music per- seen pieces are substantially closer to the real performances formance is presented. We investigate to what ex- of the `training' pianist than those of all other pianists in our tent a machine can automatically build `expres- data set. An interesting by-product of the pianists' `expres- sive profiles’ of famous pianists using only min- sive models' is demonstrated: the automatic identification of imal performance information extracted from au- pianists based on their style of playing. And finally, the ques- dio CD recordings by pianists and the printed tion of automatic style replication is briefly discussed. score of the played music. It turns out that the The rest of the paper is laid out as follows. After a short machine-generated expressive performances on un- introduction to the notion of expressive music performance seen pieces are substantially closer to the real per- (Section 2), Section 3 describes the data and its representa- formances of the `trainer' pianist than those of all tion in FOL. We also discuss how the complex task of learn- others. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
Programnotes Brahms Double
Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years. -
Unc Symphony Orchestra Library
UNC ORCHESTRA LIBRARY HOLDINGS Anderson Fiddle-Faddle Anderson The Penny-Whistle Song Anderson Plink, Plank, Plunk! Anderson A Trumpeter’s Lullaby Arensky Silhouettes, Op. 23 Arensky Variations on a Theme by Tchaikovsky, Op. 35a Bach, J.C. Domine ad adjuvandum Bach, J.C. Laudate pueri Bach Cantata No. 106, “Gottes Zeit ist die allerbeste Zeit” Bach Cantata No. 140, “Wachet auf, ruft uns die Stimme” Bach Cantata No. 209, “Non sa che sia dolore” Bach Brandenburg Concerto No. 1 in F major, BWV 1046 Bach Brandenburg Concerto No. 2 in F major, BWV 1047 Bach Brandenburg Concerto No. 3 in G major, BWV 1048 Bach Brandenburg Concerto No. 4 in G major, BWV 1049 Bach Brandenburg Concerto No. 5 in D major, BWV 1050 Bach Clavier Concerto No. 4 in A major, BWV 1055 Bach Clavier Concerto No. 7 in G minor, BWV 1058 Bach Concerto No. 1 in C minor for Two Claviers, BWV 1060 Bach Concerto No. 2 in C major for Three Claviers, BWV 1064 Bach Violin Concerto No. 1 in A minor, BWV 1041 Bach Concerto in D minor for Two Violins, BWV 1043 Bach Komm, süsser Tod Bach Magnificat in D major, BWV 243 Bach A Mighty Fortress Is Our God Bach O Mensch, bewein dein Sünde gross, BWV 622 Bach Prelude, Choral and Fugue Bach Suite No. 3 in D major, BWV 1068 Bach Suite in B minor Bach Adagio from Toccata, Adagio and Fugue in C major, BWV 564 Bach Toccata and Fugue in D minor, BWV 565 Barber Adagio for Strings, Op. -
2013-2014 Subscription Series
2013-2014 Subscription Series Fri. Sun. Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM 2013-2014 Subscription Series A B C D A B A B C D A B September Fri. Sun. Beethoven 9 PREMIuM Thursday 6 8PM 8PM Fri 9 2PM Saturday 6 8PM Sat. 9 8PM 2PM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. Westminster Symphonic Choir Prosperous Voyage A B C D A B A B C D A B Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Beethoven Symphony September No. 9 (“Choral”) Beethoven 9 PREMIuM Yannick Nézet-Séguin Conductor Beethoven Calm Sea and Sept. Sept. Sept. Sept. OctoberWestminster Symphonic Choir Prosperous Voyage Joe Miller Director Muhly “Bright Mass with Canons” 26 27 28 28 Mahler 4 Beethoven Symphony Oct. Oct. Oct. Oct. Yannick Nézet-Séguin Conductor Britten No. 9 (“Choral”)Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell 4 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto October Mahler Symphony No. 4 Mahler 4 Oct. Oct. Oct. Oct. BronfmanYannick Nézet-Séguin Plays BeethovenConductor Britten Variations and Fugue Richard Woodhams Oboe on a Theme of Purcell Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. 4 Oct. Oct. 5 5 6 Christiane Karg Soprano Strauss Oboe Concerto Yefim Bronfman Piano Shostakovich Symphony No. 11 Mahler Symphony No. 4 10 11 12 (“The Year 1905”) BronfmanPines of Rome Plays BeethovenPREMIuM Rafael Frühbeck de Burgos Beethoven Overture to Semyon Bychkov Conductor Beethoven Piano Concerto No. 4 Oct. Oct. -
All 1-800-667-5356
2006-2007 SEASON BOSTON SYM PHONY RCH ESTRA JAMES LEVINE MUSIC DIRECTOR BERNARD HAITINK SEIJI OZAWA MUSIC DIRECTOR LAUREATE ******>» Lead a richer life. «k 4fm fc^^^^^*! John Hancock is proud to support the Boston Symphony Orchestra, A CD Manulife Financial Company w / h// # A World-Class Alcohol and Drug Treatment Program 111!; View from The McLean Center, Princeton, MA E McLEAN CENTER IS A T FERNSIDE A comprehensive residential treatment program. Expertise in treating co-occurring psychiatric disorders. Highly discreet and individualized care for adults. Exceptional accommodations in a peaceful, rural setting. McLean Hospital: A Legacy of Compassionate Care and Superb Clinical Treatment www.mclean.harvard.edu • 1-800-906-9531 McLean Hospital is a psychiatric teachingfacility PARTOERS. ofHarvard Medical School, an affiliate of Healthcare Massachusetts General Hospital and a member of Partners HealthCare. REASON #57 extremely targeted cancer treatment There are lots of reasons to choose Beth Israel Deaconess Medical Center for your major medical care. Like the Keith C. Field CyberKnife® Center, home to the only CyberKnife in Massachusetts. This revolutionary, non-invasive system uses image-guided robotics to deliver radiation treatments with unprecedented accuracy. From advanced cancer care to world class sports medicine, you'll always find precisely the care you need at Beth Israel Deaconess. Find out more at www.bidmc.harvard.edu or call 1-800-667-5356. A teaching hospital of Beth Israel Deaconess Harvard Medical School Medical Center Affiliated | Hospital of the Red Sox with Joslin Clinic | A Research Partner of Dana-Farber/Harvard Cancer Center Official Boston James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007 Trustees of the Boston Symphony Orchestra, Inc. -
Compositions by Matthew Hindson
Compositions by Matthew Hindson Matthew Hindson, M. Mus. (Melb), B.Mus. (Hons.) (Syd) A folio of original musical compositions and accompanying introductory essay submitted in fulfilment of the requirements of the degree of Doctor of Philosophy Department of Music University of Sydney July 2001 Volume I: Introductory Essay N.B.: This submission comprises a folio of creative work. It is in two volumes and includes two accompanying compact discs, musical scores and an introductory essay. © Matthew Hindson Certification I certify that this work has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due references has been made in the text. ____________________________ Matthew Hindson 31st July 2001 Possible works to be included on the CD and in the folio of compositions: • Speed (1996) – orchestra – 16 minutes [YES] • RPM (1996) – orchestra – 4 minutes [DO I NEED THIS ONE?] • Techno-Logic (1997) – string quartet – [no recording] • technologic 1-2 (1997) – string orchestra – 8 minutes [YES] • Night Pieces (1998) – soprano saxophone and piano – 8 minutes [YES] • Rush – guitar and string quartet – 9 minutes [YES] • In Memoriam: Concerto for Amplified Cello and Orchestra (2000) – 34 minutes [YES] • Moments of Plastic Jubilation (2000)– solo piano – 5 minutes [???] • Always on Time (2001) – violin and cello – 2 minutes [???] • The Rave and the Nightingale (2001) – string qt and string orch – 18 min. [???] [CONCERNS: IS THIS CONCENTRATED TOO MUCH ON ORCHESTRAL AND STRING WORKS? – THEY ARE THE BEST PIECES THOUGH] Chapter 1: Introduction As an Australian composer living at the end of the twentieth / start of the twenty-first centuries, I believe that there is an obligation embedded in musical art that is created in this era: to impart and explore musical and extra-musical ideas that are directly relevant to, and representative of, the society in which I live. -
Performances from 1974 to 2020
Performances from 1974 to 2020 2019-20 December 1 & 2, 2018 Michael Slon, Conductor September 28 & 29, 2019 Family Holiday Concerts Benjamin Rous, Conductor MOZART Symphony No. 32 February 16 & 17, 2019 ROUSTOM Ramal Benjamin Rous, Conductor BRAHMS Piano Concerto No. 2 in B-flat Major RAVEL Pavane pour une infante défunte RAVEL Piano Concerto in G Major November 16 & 17, 2019 MOYA Siempre Lunes, Siempre Marzo Benjamin Rous & Michael Slon, Conductors KODALY Variations on a HunGarian FolksonG MONTGOMERY Caught by the Wind ‘The Peacock’ RICHARD STRAUSS Horn Concerto No. 1 in E-flat Major March 23 & 24, 2019 MENDELSSOHN Psalm 42 Benjamin Rous, Conductor BRUCKNER Te Deum in C Major BARTOK Violin Concerto No. 2 MENDELSSOHN Symphony No. 4 in A Major December 6 & 7, 2019 Michael Slon, Conductor April 27 & 28, 2019 Family Holiday Concerts Benjamin Rous, Conductor WAGNER Prelude from Parsifal February 15 & 16, 2020 SCHUMANN Piano Concerto in A minor Benjamin Rous, Conductor SHATIN PipinG the Earth BUTTERWORTH A Shropshire Lad RESPIGHI Pines of Rome BRITTEN Nocturne GRACE WILLIAMS Elegy for String Orchestra June 1, 2019 VAUGHAN WILLIAMS On Wenlock Edge Benjamin Rous, Conductor ARNOLD Tam o’Shanter Overture Pops at the Paramount 2018-19 2017-18 September 29 & 30, 2018 September 23 & 24, 2017 Benjamin Rous, Conductor Benjamin Rous, Conductor BOWEN Concerto in C minor for Viola WALKER Lyric for StrinGs and Orchestra ADAMS Short Ride in a Fast Machine MUSGRAVE SonG of the Enchanter MOZART Clarinet Concerto in A Major SIBELIUS Symphony No. 2 in D Major BEETHOVEN Symphony No. 7 in A Major November 17 & 18, 2018 October 6, 2017 Damon Gupton, Conductor Michael Slon, Conductor ROSSINI Overture to Semiramide UVA Bicentennial Celebration BARBER Violin Concerto WALKER Lyric for StrinGs TCHAIKOVSKY Symphony No.