DOCSLIB.ORG

Rohrblatt Herunterladen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rohrblatt Herunterladen Register der Jahre 1986 – 2008 (einschließlich) Redaktion: Hans-Jürgen MÜLLER und Ingeborg MÜLLER-LOGEMANN Inhaltsverzeichnis/Systematik 1. Geschichtliches .......................................................................................................4 1.1 allgemein ............................................................................................................................................................ 4 1.2 Oboe, Englischhorn, Heckelphon ......................................................................................................................... 4 1.3 Klarinette ............................................................................................................................................................ 5 1.4 Bassetthorn ........................................................................................................................................................ 6 1.5 Fagott ................................................................................................................................................................. 6 1.6 Saxophon ........................................................................................................................................................... 6 1.7 Blasmusik ............................................................................................................................................................ 7 2. Instrument .............................................................................................................7 2.1 allgemein ............................................................................................................................................................ 7 2.2 Oboe .................................................................................................................................................................. 7 2.3 Klarinette ............................................................................................................................................................ 7 2.4 Bassetthorn ........................................................................................................................................................ 8 2.5 Fagott ................................................................................................................................................................. 8 2.6 Saxophon ........................................................................................................................................................... 9 3. Blatt- und Mundstücksbau ......................................................................................9 4. Personen/Ensembles .............................................................................................10 5. Medizinisches .......................................................................................................14 6. Psychologische Aspekte ........................................................................................15 7. Studium/Unterricht/Methodik ...............................................................................15 8. Komponisten/Kompositionen ................................................................................18 9. Militärmusik .........................................................................................................23 – 2 – 10. Firmenporträts/Instrumentenbauer ........................................................................23 11. Firmennachrichten ................................................................................................24 11.0 allgemein ........................................................................................................................................................ 24 11.1 Oboe, Englischhorn ......................................................................................................................................... 26 11.2 Klarinette, Bassetthorn, Baßklarinette .............................................................................................................. 26 11.3 Fagott ............................................................................................................................................................. 28 11.4 Saxophon ........................................................................................................................................................ 29 11.5 Zubehör, CDs .................................................................................................................................................. 30 12. Tagungen/Veranstaltungen/Wettbewerbe .............................................................31 12.1 Messeberichte ................................................................................................................................................. 31 12.2 Oboe, Englischhorn ......................................................................................................................................... 32 12.3 Klarinette, Bassetthorn, Chalumeau ................................................................................................................. 33 12.4 Fagott ............................................................................................................................................................. 35 12.5 Saxophon........................................................................................................................................................ 37 12.6 allgemeine Veranstaltungen ............................................................................................................................ 38 12.7 Methodik, Didaktik 12.8 Deutsche Klarinetten-Gesellschaft, IDRS, DeGOF ............................................................................................. 42 12.8.1 Deutsche Klarinetten-Gesellschaft ........................................................................................................ 42 12.8.2 International Double Reed Society Deutschland .................................................................................... 43 12.8.3 Deutsche Gesellschaft für Oboe und Fagott ......................................................................................... 45 12.9 Wettbewerbe .................................................................................................................................................. 45 13. Nachrichten/Berichte ............................................................................................48 14. Buchbesprechungen .............................................................................................51 15. Notenbesprechungen ...........................................................................................54 16. Aufnahmetechnik .................................................................................................57 17. Software ..............................................................................................................57 – 3 – 1. Geschichtliches 1.1 allgemein ACHT, Rob van: Zum Klang niederländischer Oboen und Fagotte im Barock. 13 (1998), 1, S. 18 – 21 BECKER, Heinz: Mechanische Spielhilfen (Effektoren) als instrumentenkundliches Problem. 2 (1987), 1, S. 31 – 38; 2, S. 73 – 79 BRIXEL, Eugen: Die Doppelrohrblatt-Tradition der Wiener Hofmusikkapelle von ihren Anfängen bis zur Mitte des 19. Jahrhunderts. 14 (1999), 1, S. 8 – 14; Ergänzung hierzu von Christian RAUCH. 14 (1999), 3, S. 140 – 141; Ergänzung zu RAUCH von Paul HAILPERIN. 15 (2000), 1, S. 35 – 36 BRIXEL, Eugen: Ein glückhaftes Kapitel der Musikgeschichte. MOZARTs persönliche Beziehungen zu Rohrblattinstrumentenbläsern. 5 (1990), 2, S. 87 – 98 GÜRSCHING, Albrecht: Die Sinfonie. Eine fragmentarische Geschichte von den Anfängen bis MOZART. 16 (2001), 1, S. 2 – 6 SETTILI, Jochen: Das Pariser Conservatoire und die Klarinette in der Zeit von 1795 – 1870. 15 (2000), 2, S. 54 – 65; 3, S. 102 – 115 SPITTELER, Carl: „Meine trotzige Ästhetik“: Allegro und Kompanie. 20 (2005), 1, S. 9 – 14 STILZ, Bernhard: Von Stadtpfeiffern und Hoboisten. Holzbläser als Berufsmusiker in der frühen Neuzeit. 10 (1995), 1, S. 2 – 7; 10 (1995), 3, S. 101 – 106 STRADNER, Gerhard: Die Rohrblattinstrumente in einem Traktat von Friedrich PONSING. 5 (1990), 2, S. 66 – 77 WATERHOUSE, William: Zur Identifi kation der führenden Rohrblattinstrumentenbauer zwischen 1650 und 1800. 5 (1990), 2, S. 78 – 86 WEBER, Rainer: Historische Quellen zum Umgang mit Holzblasinstrumenten. 8 (1993), 2, S. 58 – 60 WELLER, Enrico: Zur Geschichte des Musikinstrumentenbaus im Vogtland und in Westböhmen. 11 (1996), 3, S. 116 – 122; 11 (1996), 4, S. 152 – 162 WENNER, Martin: Englischhorn, Klarinetten und Fagotte in der Musikhistorischen Sammlung Jehle, Schloß Lautlingen. 10 (1995), 2, S. 66 – 68 WOLF, Guntram: Bohrung und Klang der Doppelrohrblattinstrumente im Wandel der Zeit. 5 (1990), 1, S. 22 – 29 1.2 Oboe, Englischhorn, Heckelphon JOPPIG, Gunther: Die Lorée-Baritonoboe im Vergleich zum Heckelphon. 3 (1988), 4, S.156 – 159 JOPPIG, Gunther: Haut bois – hohes Holz: Oboensammlung von Karl VENTZKE und Gunther JOPPIG in Düren. 4 (1989), 1, S. 25 – 30 KLAPPROTH, Georg Otto: „Der Ton ist üppig sonor und doch lieblich zugleich.“ Hundert Jahre Heckelphon (Teil 1). 19 (2004), 2, S. 54 – 66 KLAPPROTH, Georg Otto: „Müssen Sie sich nur noch ein Heckelphon anschaffen!“ Hundert Jahre Heckelphon (Teil 2). 19 (2004), 3, S. 113 – 123 KLAPPROTH,
Load more

Recommended publications
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J.
    [Show full text]
  • Junge Tiroler Kapellmeister Tiroler an Der Spitze
    2/2013 26. Jahrgang M 1 03021 2Z Verlagspostamt 6050 Hall · P.b.b., Postzulassungsnummer: 0 Aus gutem Holz – Junge Tiroler Kapellmeister Vier Absolventen am Tiroler Landeskonservatorium im Portrait Tiroler an der Spitze des ÖBV Herausnehmen:Zum Rund um die Neuwahlen im Österreichischen Blasmusikverband OBOE FÜR HOLZ BLÄSERURLAUB UND BLECH [1] 11. – 17. August 2013 [2] 25. – 31. August 2013 In einem der schönsten Gebiete Österreichs im Herzen des Salzkammergutes. Für alle Hobbymusiker, Jungbläser, Musikschüler, Musikstudenten und Musiklehrer • Einzel- und Gruppenunterricht • Richtige Blatt- bzw. Mundstückwahl • Solospiel mit Klavier • Prüfungsvorbereitung • Warm-up und Ansatztechnik • Blatt- und Rohrbau • Ensemble- und Orchesterspiel • Probespieltraining • Dirigieren für Anfänger & Fortgeschrittene • Atem- und Rhythmusübungen • Jungbläserensemble • Didaktik für Musiklehrer • Körperbewusstsein, Verkrampfungslösungen • alle Stile von Barock bis Pop • Verschiedenste Kammermusik • Individueller Übeplan • Autogenes Training, Musikpsychologie • Big Band, Tanzlmusi, Weisenblasen • Auftrittsmöglichkeiten • Hüttenabende Unsere Dozenten sind herausragende Pädagogen aus Musikuniversitäten, Konservatorien und Musikschulen oder/und Orchestermusiker in führenden Orchestern www.blaeserurlaub.at INHALT UND EDITORIAL Geschätzte Leserinnen und Leser der BiT! er Nachwuchs blüht im Tiroler Blas- musikwesen, und das ist eine überaus erfreuliche Tatsache. Ob wir nun den DBlick auf die Jugendarbeit richten oder auf den „Lehrgang für Blasorchesterleitung – Modell
    [Show full text]
  • Heralding a New Enlightenment
    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
    [Show full text]
  • Beyond the Horizon Works by Georg Hajdu, Todd Harrop, Ákos Hoffmann, Nora-Louise Müller, Sascha Lino Lemke, Benjamin Helmer, Manfred Stahnke and Frederik Schwenk
    Beyond the Horizon Works by Georg Hajdu, Todd Harrop, Ákos Hoffmann, Nora-Louise Müller, Sascha Lino Lemke, Benjamin Helmer, Manfred Stahnke and Frederik Schwenk Nora-Louise Müller Clarinet / Bohlen-Pierce Clarinet Ákos Hoffmann Clarinet / Bohlen-Pierce Clarinet Beyond the Horizon Works by Georg Hajdu, Todd Harrop, Ákos Hoffmann, Nora-Louise Müller, Sascha Lino Lemke, Benjamin Helmer, Manfred Stahnke and Frederik Schwenk Nora-Louise Müller Clarinet / Bohlen-Pierce Clarinet Ákos Hoffmann Clarinet / Bohlen-Pierce Clarinet Georg Hajdu (*1960) 01 Burning Petrol (after Alexander Nikolayevich Scriabin) (2014) ....... (05' 4 5 ) 1, 2, 3, 5, 7, 8 (2 BP-Soprano Clarinets, BP-Tenor Clarinet) Todd Harrop (*1970) 02 Maelstrom (2015) 1, 2, 5 (BP Clarinet, BP-Tenor Clarinet) .................. (07' 2 3 ) Ákos Hoffmann (*1973) 03 Duo Dez (2015) 1, 2, 3 (2 BP-Soprano Clarinets, BP-Tenor Clarinet) ........... (04' 1 4 ) Nora-Louise Müller (*1977) 04 Morpheus (2015) 1, 2, 3 (2 BP-Soprano Clarinets, BP-Tenor Clarinet) ......... (03' 1 0 ) Georg Hajdu 05 Beyond the Horizon (2008) 1, 2, 8 (2 BP-Clarinets) ..................... (07' 1 6 ) Todd Harrop 06 Bird of Janus (2012) 1 (BP-Clarinet) ..................................(06' 1 1 ) Sascha Lino Lemke (*1976) 07 Pas de deux (2008) 1, 2, 9 (Clarinet in Bb, BP-Clarinet) .................... (07' 0 6 ) Benjamin Helmer (*1985) 08 Preludio e Passacaglia (2015) 1, 4, 5, 6 (BP-Tenor Clarinet) ............... (05' 4 2 ) Manfred Stahnke (*1951) 09 Die Vogelmenschen von St. Kilda (2007) 1, 2 (2 BP-Clarinets) .........
    [Show full text]
  • The Inspiration Behind Compositions for Clarinetist Frederick Thurston
    THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing.
    [Show full text]
  • The Publication History of Spohr's Clarinet Concertos
    THE PUBLICATION HISTORY OF SPOHR'S CLARINET CONCERTOS by Keith Warsop N DISCUSSING the editions used for the recording by French clarinettist paul Meyer of Spohr's four concertos for the instrument on the Alpha label (released as a two-CD set, ALPHA 605, with the orchestre de Chambre de Lausanne), reviewers in the November 2012 issues of the Gramophone and,Internotional Record Review magazines came to some slightly misleading conclusions about this subject so that it has become important to clarify matters. Carl Rosman, writing in 1RR, ,authentic, said: "Meyer has also taken steps towards a more text fbr these concertos. While the clarinet works of Mozart, Brahms and Weber have seen various Urtext editions over the years, Spohr's concertos circulate only in piano reductions from the late nineteenth century ... Meyer has prepared his own editions from the best available sources (the manuscripts of all but No.4 have been lost but there are contemporary manuscript copies of the others held at the Louis Spohr Society in Kassel); this has certainly giu., him lreater freedom in the area of articulation, and also allowed him to adopt some more-flowing temios than the late nineteenth-century editions specify.', In the Gramophone, Nalen Anthoni stated: "Hermstedt demanded exclusive rights and, presumably, kept the autographs. Only that of No.4 was found, in 1960. The other works have been put together from manuscript copies. Paul Meyer seems largely attuned to the solo parts edited by stanley Drucker, the one-time principal ciarinettist of the New york philharmonic. Michael Collins [on the Hyperion label] is of similar mind, though both musicians add their own individual touches phrasing to and articulation.
    [Show full text]
  • Artikelverzeichnis (PDF)
    Artikelverzeichnis A Bach, Wilhelm Friedemann Bach, Carl Philipp Emanuel Abbildungen → Ikonographie / Bildende Kunst Bach, Johann Christoph Friedrich Adler, Frédéric Guillaume Bach, Johann Christian Aerophone → Holzblasinstrumente (Systematik) Bachschmid, Anton Adam Agrell, Donna Backofen, Johann Georg Heinrich Aguilar, Sante Badings, Henk Akustik der Holzblasinstrumente Baermann (Familie): Albert, Eugène Baermann, Carl Albert-System → Albert, Eugène Baermann, Heinrich Joseph Albinoni, Tommaso Giovanni Baermann, Carl Ludwig Wilhelm Allard, Maurice Baermann-Ottensteiner-Klarinette → Baermann Almenräder, Carl (Familie), → Ottensteiner, Johann Georg Alta capella Bajeux, Pierre Altfagott → Dulzian (→ Praetorius, Michael) Balancehalter Altklarinette Band → Wind-Band / Wind Ensemble Altoboe Banda Amon, Johann Barbirolli, Evelyn (geb. Rothwell) Amphion Bläseroktett (Amphion Wind Octet) Barizel, Charles Dominique Joseph Ansatz Baritonoboe Antike Barockfagott Arcis-Quintett Barockklarinette Arghûl → Rohrblattinstrumente der Weltkulturen Barockoboe und Klassische Oboe Arnold, Malcolm Barret, Apollon Marie-Rose Arrangement → Bearbeitung Barth (Familie): Artikulation Barth, Christian Samuel Arundo donax Barth, Philip Atemstütze → Atemtechnik Barth, Christian Frederik Atemtechnik Bartók, Béla Aufführungspraxis (historisch informierte) Bartolozzi, Bruno Auftraggeber Bassetthorn Aulos Bassetthorn-Repertoire Aulos-Quintett Bassettklarinette Ausbildung / Ausbildungsstätten Bassettoboe → Musettenbass Azzolini, Sergio Bassfagott → Fagott Basshorn → Russisches
    [Show full text]
  • EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES from The
    EAST-CENTRAL EUROPEAN & BALKAN SYMPHONIES From the 19th Century To the Present A Discography Of CDs And LPs Prepared by Michael Herman Composers K-P MILOSLAV KABELÁČ (1908-1979, CZECH) Born in Prague. He studied composition at the Prague Conservatory under Karel Boleslav Jirák and conducting under Pavel Dedeček and at its Master School he studied the piano under Vilem Kurz. He then worked for Radio Prague as a conductor and one of its first music directors before becoming a professor of the Prague Conservatoy where he served for many years. He produced an extensive catalogue of orchestral, chamber, instrumental, vocal and choral works. Symphony No. 1 in D for Strings and Percussion, Op. 11 (1941–2) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 2, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 2 in C for Large Orchestra, Op. 15 (1942–6) Marko Ivanovič/Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 3, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Symphony No. 3 in F major for Organ, Brass and Timpani, Op. 33 (1948-57) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos. 1, 2, 4, 5, 6, 7 and 8) SUPRAPHON SU42022 (4 CDs) (2016) Libor Pešek/Alena Veselá(organ)/Brass Harmonia ( + Kopelent: Il Canto Deli Augei and Fišer: 2 Piano Concerto) SUPRAPHON 1110 4144 (LP) (1988) Symphony No. 4 in A major, Op. 36 "Chamber" (1954-8) Marko Ivanovic/Czech Chamber Philharmonic Orchestra, Pardubice ( + Martin·: Oboe Concerto and Beethoven: Symphony No. 1) ARCO DIVA UP 0123 - 2 131 (2009) Marko Ivanovič//Prague Radio Symphony Orchestra ( + Symphonies Nos.
    [Show full text]
  • Monograph-Ana Catalina Ramirez
    COSTA RICAN COMPOSER CARLOS ESCALANTE MACAYA AND HIS CONCERTO FOR CLARINET AND STRINGS A Monograph Submitted to the Temple University Graduate Board In partial fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Ana Catalina Ramírez Castrillo May, 2014 Examining Committee Members: Dr. Cynthia Folio, Advisory Chair, Music Studies Department (Music Theory) Dr. Charles Abramovic, Piano Department, Keyboard Department (Piano) Dr. Emily Threinen, Instrumental Studies Department (Winds and Brass) Dr. Stephen Willier, Music Studies Department (Music History) ABSTRACT The purpose of this monograph is to promote Costa Rican academic music by focusing on Costa Rican composer Carlos Escalante Macaya and his Concerto for Clarinet and Strings (2012). I hope to contribute to the international view of Latin American composition and to promote Costa Rican artistic and cultural productions abroad with a study of the Concerto for Clarinet and Strings (Escalante’s first venture into the concerto genre), examining in close detail its melodic, rhythmic and harmonic treatment as well as influences from different genres and styles. The monograph will also include a historical context of Costa Rican musical history, a brief discussion of previous important Costa Rican composers for the clarinet, a short analysis of the composer’s own previous work for the instrument (Ricercare for Solo Clarinet) and performance notes. Also, in addition to the publication and audio/video recording of the clarinet concerto, this document will serve as a resource for clarinet soloists around the world. Carlos Escalante Macaya (b. 1968) is widely recognized in Costa Rica as a successful composer. His works are currently performed year-round in diverse performance venues in the country.
    [Show full text]
  • Programme Artikulationen 2017
    Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research.
    [Show full text]
  • Download the Clarinet Saxophone Classics Catalogue
    CATALOGUE 2017 www.samekmusic.com Founded in 1992 by acclaimed clarinetist Victoria Soames Samek, Clarinet & Saxophone Classics celebrates the single reed in all its richness and diversity. It’s a unique specialist label devoted to releasing top quality recordings by the finest artists of today on modern and period instruments, as well as sympathetically restored historical recordings of great figures from the past supported by informative notes. Having created her own brand, Samek Music, Victoria is committed to excellence through recordings, publications, learning resources and live performances. Samek Music is dedicated to the clarinet and saxophone, giving a focus for the wonderful world of the single reed. www.samek music.com For further details contact Victoria Soames Samek, Managing Director and Artistic Director Tel: + 44 (0) 20 8472 2057 • Mobile + 44 (0) 7730 987103 • [email protected] • www.samekmusic.com Central Clarinet Repertoire 1 CC0001 COPLAND: SONATA FOR CLARINET Clarinet Music by Les Six PREMIERE RECORDING Featuring the World Premiere recording of Copland’s own reworking of his Violin Sonata, this exciting disc also has the complete music for clarinet and piano of the French group known as ‘Les Six’. Aaron Copland Sonata (premiere recording); Francis Poulenc Sonata; Germaine Tailleferre Arabesque, Sonata; Arthur Honegger Sonatine; Darius Milhaud Duo Concertant, Sonatine Victoria Soames Samek clarinet, Julius Drake piano ‘Most sheerly seductive record of the year.’ THE SUNDAY TIMES CC0011 SOLOS DE CONCOURS Brought together for the first time on CD – a fascinating collection of pieces written for the final year students studying at the paris conservatoire for the Premier Prix, by some of the most prominent French composers.
    [Show full text]
  • A Chinese Clarinet Legend Also in This Issue
    Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017.
    [Show full text]