WAB Numbers by Date (Some Dates Are Approximate) WAB 115 Apollo March (Now Known to Be Not by Bruckner.) WAB 119 Klavierstück in E Flat Major
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Bläserphilharmonie Mozarteum Salzburg
BLÄSERPHILHARMONIE MOZARTEUM SALZBURG DANY BONVIN GALACTIC BRASS GIOVANNI GABRIELI ERNST LUDWIG LEITNER RICHARD STRAUSS ANTON BRUCKNER WERNER PIRCHNER CD 1 WILLIAM BYRD (1543–1623) (17) Station XIII: Jesus wird vom Kreuz GALAKTISCHE MUSIK gewesen ist. In demselben ausgehenden (1) The Earl of Oxford`s March (3'35) genommen (2‘02) 16. Jahrhundert lebte und wirkte im Italien (18) Station XIV: Jesus wird ins „Galactic Brass“ – der Titel dieses Pro der Renaissance Maestro Giovanni Gabrieli GIOVANNI GABRIELI (1557–1612) Grab gelegt (1‘16) gramms könnte dazu verleiten, an „Star im Markusdom zu Venedig. Auf den einander (2) Canzon Septimi Toni a 8 (3‘19) Orgel: Bettina Leitner Wars“, „The Planets“ und ähnliche Musik gegenüber liegenden Emporen des Doms (3) Sonata Nr. XIII aus der Sterne zu denken. Er meint jedoch experimentierte Gabrieli mit Ensembles, „Canzone e Sonate” (2‘58) JOHANN SEBASTIAN BACh (1685–1750) Kom ponisten und Musik, die gleichsam ins die abwechselnd mit und gegeneinander (19) Passacaglia für Orgel cMoll, BWV 582 ERNST LUDWIG LEITNER (*1943) Universum der Zeitlosigkeit aufgestiegen musizierten. Damit war die Mehrchörigkeit in der Fassung für acht Posaunen sind, Stücke, die zum kulturellen Erbe des gefunden, die Orchestermusik des Barock Via Crucis – Übermalungen nach den XIV von Donald Hunsberger (6‘15) Stationen des Kreuzweges von Franz Liszt Planeten Erde gehören. eingeleitet und ganz nebenbei so etwas für Orgel, Pauken und zwölf Blechbläser, RICHARD STRAUSS (1864–1949) wie natürliches Stereo. Die Besetzung mit Uraufführung (20) Feierlicher Einzug der Ritter des William Byrd, der berühmteste Komponist verschiedenen Blasinstrumenten war flexibel JohanniterOrdens, AV 103 (6‘40) Englands in der Zeit William Shakespeares, und wurde den jeweiligen Räumen ange (4) Hymnus „Vexilla regis“ (1‘12) hat einen Marsch für jenen Earl of Oxford passt. -
Selected Male Part-Songs of Anton Bruckner by Justin Ryan Nelson
Songs in the Night: Selected Male Part-songs of Anton Bruckner by Justin Ryan Nelson, B.M., M.M. A Dissertation In Choral Conducting Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved John S. Hollins Chair of Committee Alan Zabriskie Angela Mariani Smith Mark Sheridan Dean of the Graduate School May 2019 Copyright 2019, Justin Ryan Nelson Texas Tech University, Justin R. Nelson, May 2019 ACKNOWLEDGMENTS To begin, I would like to thank my doctoral dissertation committee: Dr. John Hollins, Dr. Alan Zabriskie, and Dr. Angela Mariani Smith, for their guidance and support in this project. Each has had a valuable impact upon my life, and for that, I am most grateful. I would also like to thank Professor Richard Bjella for his mentorship and for his uncanny ability to see potential in students who cannot often see it in themselves. In addition, I would like to acknowledge Dr. Alec Cattell, Assistant Professor of Practice, Humanities and Applied Linguistics at Texas Tech University, for his word-for-word translations of the German texts. I also wish to acknowledge the following instructors who have inspired me along my academic journey: Dr. Korre Foster, Dr. Carolyn Cruse, Dr. Eric Thorson, Mr. Harry Fritts, Ms. Jean Moore, Dr. Sue Swilley, Dr. Thomas Milligan, Dr. Sharon Mabry, Dr. Thomas Teague, Dr. Jeffrey Wood, and Dr. Ann Silverberg. Each instructor made an investment of time, energy, and expertise in my life and musical growth. Finally, I wish to acknowledge and thank my family and friends, especially my father and step-mother, George and Brenda Nelson, for their constant support during my graduate studies. -
98997 BWM2 Booklet.Indd
Anton Bruckner Männerchöre Vol. 2 Männerchor Bruckner 12 Ensemble Linz Thomas Kerbl 9989978997 BBWM2WM2 BBooklet.inddooklet.indd 1 224.10.20134.10.2013 111:47:561:47:56 Anton Bruckner (1824–1896) Men’s Choirs Vol. 2 Männerchöre Vol. 2 1 Ständchen WAB 84 2:28 2 An dem Feste WAB 59 2:18 3 Der Lehrerstand WAB 77 4:15 4 Wir alle, jung und alt WAB 148/2 0:30 5 Träumen und Wachen WAB 87 5:07 6 Vaterländisches Weinlied WAB 91 1:07 7 Um Mitternacht (2. Vertonung) WAB 90 5:41 8 Freier Sinn und froher Mut WAB 147 0:21 9 Des Dankes Wort sei mir vergönnt WAB 62 5:26 bl Volkslied WAB 94 0:46 bm Zur Vermählungsfeier WAB 54 4:09 bn Lasst Jubeltöne laut erklingen WAB 76 3:26 bo Des Höchsten Preis WAB 95/2 0:30 bp Das Lied vom deutschen Vaterland WAB 78 1:05 bq Der deutsche Gesang (Das deutsche Lied) WAB 63 3:01 Cantata for Prelate Friedrich Mayer WAB 60 Kantate für Prälat Friedrich Mayer WAB 60 br (I) Auf, Brüder! Auf! 1:39 bs (II) Wohl ist’s die Liebe 1:58 bt (III) Heil unserm Vater, den wir lieben 4:18 2 9989978997 BBWM2WM2 BBooklet.inddooklet.indd 2 224.10.20134.10.2013 111:48:271:48:27 Männerchor Bruckner 12 Ensemble Linz Michael Nowak tenor / Tenor Matthäus Schmidlechner tenor / Tenor Martin Kiener tenor / Tenor Markus Schulz bass / Bass Walter Johannes Fischer bass / Bass Philipp Sonntag organ / Orgel Christian Schmidbauer conductor / Dirigent Thomas Kerbl piano, conductor / Klavier, Dirigent www.sonare.at 3 9989978997 BBWM2WM2 BBooklet.inddooklet.indd 3 224.10.20134.10.2013 111:48:281:48:28 Anton Bruckner, Weltliche Männerchöre II Beim Brucknerfest 2008 wurde am 27. -
SWR2 Musikstunde
SWR2 Musikstunde Messias und Rosenband - Friedrich Gottlieb Klopstock und die Musik (2) Von Martin Erdmann Sendung: 04. Februar 2020 9.05 Uhr Redaktion: Dr. Bettina Winkler Produktion: SWR 2020 SWR2 können Sie auch im SWR2 Webradio unter www.SWR2.de und auf Mobilgeräten in der SWR2 App hören – oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen mindestens sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app SWR2 Musikstunde mit Jan Ritterstaedt 03. Februar 2020 – 07. Februar 2020 Messias und Rosenband - Friedrich Gottlieb Klopstock und die Musik (2) Messias und Rosenband: Zum zweiten Teil der „SWR 2 Musikstunde“ über Friedrich Gottlieb Klopstock und die Musik begrüßt Sie Martin Erdmann. Musik 1 Georg Philipp Telemann „Mirjams, und deine Wehmut, Debora“, 1. Satz, 3’30 M0274466(AMS), Track 7 Von Georg Philipp Telemann stammte diese Musik: der Beginn seiner Kantate „Mirjams, und deine Wehmut, Debora“, dem zweiten der Zween Auszüge aus dem Gedichte: Der Messias. -
A Conductor's Guide to Twentieth-Century Choral-Orchestral Works in English
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9314580 A conductor's guide to twentieth-century choral-orchestral works in English Green, Jonathan David, D.M.A. The University of North Carolina at Greensboro, 1992 UMI 300 N. -
Bruckner Mass in E Minor Motets
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BRUCKNER MASS IN E MINOR MOTETS Academy of St Martin in the Fields Sir Stephen Cleobury THE CHOIR OF KING’S COLLEGE, CAMBRIDGE For more than half a millennium, King’s College Chapel has been the home to one of the world’s most loved and renowned choirs. Since its foundation in 1441 by the 19-year-old King Henry VI, choral services in the Chapel, sung by this choir, have been a fundamental part of life in the College. Through the centuries, people from across Cambridge, the UK and, more recently, the world have listened to the Choir at these services. Today, even people who aren’t able to attend services in the Chapel have heard King’s Choir, thanks to its many recordings and broadcasts, and the tours that have taken it to leading international concert venues around the world. Despite its deep roots in musical history, the Choir has always been at the forefront of technological innovation, and records exclusively on its ‘impeccable’ own label. 2 BRUCKNER MASS IN E MINOR MOTETS The Choir of King’s College, Cambridge Academy of St Martin in the Fields Henry Websdale & Dónal McCann Organ Scholars Sir Stephen Cleobury conductor 3 CD 57:06 ANTON BRUCKNER (1824–1896) 1 ECCE SACERDOS MAGNUS | WAB 13 (1885) 6:04 MASS NO. 2 IN E MINOR | WAB 27 (1882) 2 I Kyrie 5:43 3 II Gloria 6:50 4 III Credo 7:58 5 IV Sanctus 2:42 6 V Benedictus 4:48 7 VI Agnus Dei 3:55 8 TOTA PULCHRA ES | WAB 46 (1878) 4:48 9 VIRGA JESSE | WAB 52 (1885) 3:17 10 LOCUS ISTE | WAB 23 (1869) 2:38 11 AVE MARIA | WAB 6 (1861) 3:05 12 CHRISTUS FACTUS EST | WAB 11 (1884) 5:18 4 SHADES OF THE PAST IN played out against a revival of interest in early music. -
Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices
Bruckner and the Liedertafel Tradition: His Secular Music for Male Voices by Andrea Harrandt Anton Bruckner Editor's note: This article is based on a paper presented in February men's choirs during his Linz period (1855 to 1868). After his 1994 at the first Bruckner conference held in the U. S. ("Perspectives appointment as town and cathedral organist in Linz, he be on Anton Bruckner"), Connecticut College, New London. came a member of the Liedertafel Frohsinn in March 1856. This society was the most important singing club in Linz. The beginning of the nineteenth century saw a gradual shift Bruckner sang second tenor, though in the archives of the from aristocratic to middle-class dominated social structure. Liedertafel he is listed as a first bass. l At the society's meeting of One outgrowth of that shift was the establishment of male October 31, 1856, he was elected assistant librarian for the choral societies-Liedertafel-Gedanke-that permitted social season. 2 In that position he was able to acquire first-hand contact and companionship regardless of class strictures. The knowledge of the standard Liedertafel repertory. development began in Germany where Carl Friedrich Zelter founded the Berliner Liedertafel in 1809. The Berlin model Repertory was followed in Leipzig (1815), Breslau and Magdeburg (1819), The most popular pieces performed by mid-nineteenth and Stuttgart (1824). In 1827 the first German festival of songs century Liedertafels are contained in a collection published took place in Plochingen (Wiirttemberg); the next big event by the Regensburger Liederkranz, a male choral society was a festival in Wiirzburg (1845). -
Vienna « Singakademie » – Concerts Including Choral Works of Anton Bruckner (1888-2015)
Vienna « Singakademie » – Concerts including choral works of Anton Bruckner (1888-2015) Source : https://www.wienersingakademie.at/de/konzertarchiv/?archiv=composer&id=93 10 December 1888 « Großer-Musikvereins-Saal » , Vienna : Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Caroline Wogrincz (Soprano) , Josef Lamberg (Piano) . Johannes Brahms : « Fragen. Sehr lebhaft und rasch » (Asking) , Song in C major for women's choir, Opus 44, No. 4 (1859-1860) . Johannes Brahms : « Minnelied » (Song of Love) , Song in E major for women's choir, Opus 44, No. 1 (1859-1860) . Wilhelm Friedemann Bach : Chorus « Lasset uns ablegen die Werke der Finsternis » (F. 80) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Laurentius Lemlin : « Der Gutzgauch auf dem Zaune saß » , Folk-song for unaccompanied voices (1540) . Giovanni Pierluigi da Palestrina : « Missa Tu es Petrus » , Parody Mass for 6 mixed-voices (SSATBB) (IGP 110) . Carl Wilhelm Schauseil : « Mir ist ein schön’s braun’s Mägdelein » , folk-song. Franz Schubert : « Mirjams Siegesgesang » , Opus 136 (D. 942) . 13 May 1891 « Minoriten-Kirche » , Vienna. Max von Weinzierl conducts the Vienna « Singakademie » Mixed-Choir. Soloists : Sofie Chotek (Soprano) , Carl Führich (Organ) . Johann Sebastian Bach : « Welt, ade ! ich bin dein müde » (World, farewell ! I am weary of thee) , Chorale in B-flat major for 5-part mixed-choir (SSATB) and orchestra (BWV 27/6) (1726) . Anton Bruckner : « Ave Maria » No. 2 ; Marian hymn in F major for 7-voice mixed unaccompanied choir (SAATTBB) (WAB 6) (1861) . Hermannus Contractus (Herman the Cripple or Herman of Reichenau) : « Salve Regina » harmonized by Professor Franz Krenn. -
Bruckner Latin Motets
BRUCKNER LATIN MOTETS LATVIAN RADIO CHOIR SIGVARDS KL‚ AVA ANTON BRUCKNER 2 ANTON BRUCKNER (1824–1896) 1 Os Justi (WAB 30) 4:10 2 Christus factus est (WAB 11) 5:28 3 Locus iste (WAB 23) 3:13 4 Ave Maria (WAB 6) 4:05 5 Libera me (F minor) (WAB 21) 2:18 Kronstorfer Messe (Messe in D, ohne Gloria & Credo) (WAB 146) 6 I. Kyrie 1:39 7 II. Sanctus 1:35 8 III. Benedictus 1:06 9 IV. Agnus Dei 2:22 10 Tantum Ergo (WAB 32) 3:07 11 Tantum Ergo (WAB 41) 2:19 12 Tantum Ergo (WAB 42) 2:42 13 Tantum Ergo (WAB 43) 1:35 14 Virga Jesse (WAB 52) 3:51 15 Pange lingua et Tantum ergo (WAB 33) 5:30 16 Salvum fac populum tuum (WAB 40) 3:23 17 Tota pulchra es Maria (WAB 46) 5:20 (Tenor: Jānis Kurševs) 18 Vexilla Regis (WAB 51) 4:55 KRISTĪNE ADAMAITE, organ (5, 12, 13 & 17) LATVIAN RADIO CHOIR SIGVARDS KĻAVA, conductor 3 horal music formed an important part of the output of Anton Bruckner (1824–1896) C throughout his career, yet it was in a way doubly disadvantaged. Firstly, Bruckner’s status as a composer in Vienna in his lifetime was eclipsed by the near-worshipful adulation afforded to Johannes Brahms (1833–1897). Secondly, choral music as a genre was underappreciated. In a stark contrast to the golden age of Renaissance choral polyphony, the 19th century preferred symphonic music (genres such as the suite, overture, fantasy, solo concerto and of course the symphony itself), chamber music was thriving in music-making in bourgeois homes, salons of the nobility and concert halls, and opera and ballet were hugely popular. -
“Complete” Cycles
ISSN 1759-1201 www.brucknerjournal.com Issued three times per year and sold by subscription Editor: Michael Cucka Retired Editor: Ken Ward (2004-2016) Founding Editor: Peter Palmer (1997-2004) Associate Editors: Dr. Crawford Howie, Dr. Dermot Gault, & Raymond Cox VOLUME TWENTY-THREE, NUMBER THREE, NOVEMBER 2019 “Complete” Cycles In this issue: During the recent BrucknerTage at St. Florian, I was engaged in an Wagner and the Early History Page 3 interesting conversation with other attendees about just what was of the Seventh Symphony necessary for a set of recordings to be considered a “complete” Paul Hawkshaw cycle. Rémy Ballot has skillfully conducted and recorded many of Beethoven, Bruckner and his Page 14 the symphonies at this annual event, including the Second this year, “Finale” Problem the Fourth next year, and 3 & 5-9 in previous years. Released on Malcom Hatfield Gramola, interest in completing the cycle for an entire cycle “box set” generated anticipation. Bruckner, The Teacher Page 24 David Singerman However, as is often the case with Bruckner, a disagreement arose Conduct Like Celibidache? Page 28 about just how complete the recordings needed to be to be Thng Yi Ren considered “complete”. Bruckner Thoughts Page 36 Tom Empson Certainly, there was general agreement that all the numbered symphonies must be included (and to the best of my knowledge, 2019 BrucknerTage: Reports Page 37 that is the intention of the Gramola team with Ballot and St. Ken Ward & Michael Cucka Florian). But, must the cycle also include the D Minor “Die Nullte” Concert Reviews Page 43 No. 0 – the F Minor “Study” No. -
Aldeburgh CONNECTION
THE Aldeburgh CONNECTION Love among the Ruins Walter Hall, Sunday, March 10, 2013, 2:30 pm We wish to thank most sincerely Che Anne Loewen for sponsoring Monica Whicher * We are grateful to James and Connie MacDougall for providing the flowers on stage * We are performing on the Edith McConica Steinway * Today’s performances by Isaiah Bell and Gordon Bintner have been generously supported by through the Emerging Artists Support Project 1 The 15th Annual Greta Kraus Schubertiad Love among the Ruins Walter Hall, Sunday, March 10, 2013, 2:30 pm Monica Whicher, soprano Isaiah Bell, tenor Gordon Bintner, bass-baritone Stephen Ralls and Bruce Ubukata, piano * Greta Kraus (1907-98) was born and raised in Vienna. Austria’s loss was Canada’s gain when she settled in Toronto in 1939 and became renowned as a brilliant harpsichordist. Teaching for many years at the University of Toronto, she became more and more devoted to the Lieder repertoire and was an inspira- tion to generations of Canadian singers (including, of this afternoon’s cast, Monica Whicher). Very significant in her performing career were her recital partnerships with sopranos Elizabeth Benson Guy and Lois Marshall. She was, for many years, Honorary Patron of the Aldeburgh Connection and an enthusiastic supporter of our activities. We are proud of our tradition of pre- senting an annual Schubertiad in her honour - a celebration of the music of the composer she loved. * Franz Schubert (1797-1828) Like all young Austrians of his class, Schubert had a good “classical education” - four or five years of Latin studies and at least two of Greek. -
Robert Schumann and the Gesangverein: the Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St
Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) January 2011 Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850) Gina Pellegrino Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Pellegrino, Gina, "Robert Schumann and the Gesangverein: The Dresden Years (1844 - 1850)" (2011). All Theses and Dissertations (ETDs). 276. https://openscholarship.wustl.edu/etd/276 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of Music Dissertation Examination Committee: Hugh Macdonald, Chair Garland Allen Todd Decker Martin Kennedy Michael Lützeler Craig Monson John Stewart ROBERT SCHUMANN AND THE GESANGVEREIN: THE DRESDEN YEARS (1844–1850) by Gina Marie Pellegrino A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2011 Saint Louis, Missouri ABSTRACT Nineteenth-century Germany saw an expansion of choral music in a secular context, bringing about changes not only in the nature of the organizations but also in the character of the music. Often depicted in history books as the age of the Lied, the early nineteenth century was also the age of the Chorgesang, creating a demand for music for social gatherings. Amateur choruses and partsinging reached their peak of popularity in nineteenth-century Germany.