DOCSLIB.ORG

Erik Andrusyak

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Saturday, April 29, 2017 • 4:00 p.m. ​ Erik Andrusyak Junior Recital DePaul Recital Hall 804 West Belden Avenue • Chicago Saturday, April 29, 2017 • 4:00 p.m. ​ DePaul Recital Hall Erik Andrusyak, oboe Junior Recital Beilin Han, piano Yu Xin, violin Michael Zahlit, viola Francisco Malespin, cello PROGRAM Antonio Vivaldi (1678-1741) Oboe Concerto in F Major RV 455 (unk.) Allegro giusto Grave Allegro Beilin Han, piano Henri Dutilleux (1916-2013) Sonata for Oboe and Piano (1947) Aria Scherzo Final Beilin Han, piano Intermission Erik Andrusyak • April 29, 2017 Program Wolfgang Amadeus Mozart (1756-1791) Oboe Quartet in F Major K. 370/368b (1781) Allegro Adagio Rondeau Yu Xin, violin Michael Zahlit, viola, Francisco Malespin, cello Johann Wenzel Kalliwoda (1801-1866) Morceau de Salon, Op. 228 (1859) Beilin Han, piano Erik Andrusyak is from the studio of Grace Hong. This recital is presented in partial fulfillment of the degree Bachelor of Music. As a courtesy to those around you, please silence all cell phones and other electronic devices. Flash photography is not permitted. Thank you. Erik Andrusyak • April 29, 2017 Program Notes PROGRAM NOTES Antonio Vivaldi (1678-1741) Oboe Concerto in F Major RV 455 Duration: 9 minutes With over 500 concertos written in his lifetime, Vivaldi did much for the advancement of the oboe. Most of them were most likely written during his tenure as “master violinist” and later music director at the Ospedale della Pieta, an orphanage, convent and music school in Vienna. ​ ​ Vivaldi’s Oboe concertos are difficult because they are written just like violin or flute concertos, and thus they have helped push the limits of what the oboe (as well as what oboists) can do. This particular concerto is a sort of “short ride in a fast machine,” with a small pit stop in the 2nd movement, which is slower and more lyrical. The 1st and 3rd movements are buoyant examples of baroque simplicity, sparkled with technical virtuosity and almost operatic drama at times. Henri Dutilleux (1916-2013) Sonata for Oboe and Piano (1947) Duration: 12 mintues Henri Dutilleux was a French composer who followed in the compositional footsteps of Ravel and Debussy. He did, however, also develop his own compositional language, which was much darker and heavier than that of his early influences. Part of the reason for this was the growing popularity of serialism and absence of tonality, which Dutilleux took seriously but with which he was not completely comfortable. He generally stayed in a realm between the extreme compositional styles of his time. Dutilleux’s Oboe Sonata is one of his earlier works, one that he himself considered too “light” compared to his more mature compositions. The piece was commissioned for the Concours of the Paris Conservatoire, an ​ ​ annual competition held to determine which student of the oboe studio was Erik Andrusyak • April 29, 2017 Program Notes most ready for a professional performing career. The pieces were usually composed specifically for Concours, so that no student had an unfair ​ ​ advantage, and the winner would be allowed to graduate from this prestigious institution. The first movement features a quiet and mysterious beginning, with the oboe theme seemingly wandering aimlessly, tense and worried, yet staying fairly tame and soft. The mysterious intervals eventually begin to increase intensity until they reach a cry of desperation - a loud sustained high F - while the accompaniment seems to continue with worried-sounding harmonies. Several flurries of notes with “leiftmotifs” in between send us back down to almost exactly where we started: low, soft, and mysterious. In the second movement the accompaniment begins with dark, looming repeated chords that quickly lead to the oboe entrance, which is rife with frantic 16ths and many meter changes. This first section lasts several variations until it suddenly morphs into a soft, hopeful theme reminiscent of the 1st movement. Not before long, this hope is lost again with the return of 16th note passages, this time with many leaps across much of the oboe’s register. We hear many altered, intensified versions of the themes from the 1st movement until we finally arrive at what is essentially once again the lost aimlessness of the 1st movement. The third movement is a surprisingly soothing theme in complete contrast to the preceding movements. Some of the dread of the past returns form time to time in bursts, but the soothing melody returns to ends with a happy, excited, and self-assured passage, ranging from one of the highest notes on the oboe to the very lowest. Erik Andrusyak • April 29, 2017 Program Notes Wolfgang Amadeus Mozart (1756-1791) Oboe Quartet in F Major K. 370/368b (1781) Duration: 15 minutes Mozart’s Oboe Quartet was written during a very important period in his life. It was written around the time that his very successful opera Idomeneo ​ premiered, which ultimately gave him the finances and recognition to be able to leave Salzburg for good to start anew in Vienna. Mozart was on a trip to Munich visiting Elector Karl Theodor, the very same person who commissioned Idomeneo, when he met oboist Friedrich Ramm, for whom ​ ​ this quartet was written. Ramm was one of the great virtuosos of his time, and had significantly expanded the capabilities of the oboe, both in terms of musicality and technology. Mozart’s Sinfonia Concertante for Oboe, Clarinet, Horn, Bassoon and orchestra was also written for him. Written much like a concerto, the Oboe Quartet has 3 movements. The Allegro is in a joyful 4/4, with an excited oboe melody full of grace notes and quick passages. Toward the end of the movement, after the recapitulation of the theme and some more development, Mozart unveils one of the technological advancements Ramm made to the oboe: the 3rd octave F! The movement ends shortly after this, with some some cozy, ornamented dominant 7th resolutions. The contrasting, sorrowful D minor Adagio 2nd movement is much like an operatic aria. With some almost recitative like moments, it also utilizes Ramm’s unique range, this time in a heart-wrenching way rather than a jolly one. The theme of the Rondo closely resembles the theme of the Allegro, both with the pickup note as well as floating grace notes. In standard Rondo form, Mozart develops the theme much like the first movement until, after the second A section, he begins the C section with a deceptive recapitulation in the subdominant B-flat major. After six bars, however, Mozart changes the meter of the oboe into 4/4, separating it from the strings who are still in 6/8. This virtuosic section is in D minor and lasts 13 measures before returning the oboe to the original meter. The theme then continues through the Rondo form to end on a literal high note. Erik Andrusyak • April 29, 2017 Program Notes Johann Wenzel Kalliwoda (1801-1866) Morceau de Salon, Op. 228 (1859) Duration: 10 minutes Though he is rarely performed today, Kalliwoda was a composer held in high regard in his time, especially by Robert Schumann. Born and raised in Prague, he studied violin and composition at the Prague Conservatory, and for 40 years was the conductor of the court of Prince Karl Egon II of Furstenberg in Donaueschingen, Germany. Morceau de Salon, which ​His ​ ​ simply means “salon piece,” is a very typical example of 19th century salon music: it is very romantic and almost operatic at times, full of contrasting melodies, quickly shifting between slow, lyrical melodies to joyous, spritely passages, before ending in a flurry of delightful triplet runs. Notes by Erik Andrusyak. 804 West Belden Avenue Chicago, IL 60614 773.325.7260 music.depaul.edu.
Recommended publications
  • Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg

    Program Notes When Mozart Wrote the Three Divertimentos, KV 136-8 at the Age of 16, He Had Already Spent More Than Two Years Away from His Hometown of Salzburg

    Program Notes When Mozart wrote the three Divertimentos, KV 136-8 at the age of 16, he had already spent more than two years away from his hometown of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands, and Italy. Besides giving concerts at court, he met many famous musicians of the time and had opportunities to hear and study their music. Mozart’s early compositions are therefore often case studies in the styles and traditions of where his travels had most recently taken him. The Divertimentos were written in the winter 1771/2, after the second of three extended trips to Italy. A third journey was already in the planning and the Italian influence on Mozart’s writing is evident. It is uncer- tain whether the pieces are meant for a specific occasion; the title ‘Divertimento’ was in fact even added by another hand, possibly that of his father Leopold. The three-movement structure follows the pattern of the early Italian Sinfonia type, but J. Haydn and J.C. Bach have strongly influenced his compositions as well. Young Mozart met the two composers in London and looked up to them mentors and friends. The scholar Alfred Einstein hypothesizes that Mozart wrote the three pieces anticipating the need for some new symphonies during his next Italian journey. If required on short notice, Mozart would simply have added winds at the last moment. Before the birth of his gifted children, Leopold Mozart had made a business of writing musical novelties. He was a violinist, conductor, and teacher, his book ‘Versuch einer gründlichen Violinschule’ is alongside the textbooks by Quantz and C.
  • SONGS DANCES Acknowledgments & Recorded at St

    SONGS DANCES Acknowledgments & Recorded at St

    SONGS DANCES Acknowledgments & Recorded at St. Mark’s Evangelical Lutheran Church, Jacksonville, Florida on June 13 and 14, 2018 Jeff Alford, Recording Engineer Gary Hedden, Mastering Engineer in THE SAN MARCO CHAMBER MUSIC SOCIETY collaboration THE LAWSON ENSEMBLE with WWW.ALBANYRECORDS.COM TROY1753 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2018 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. SanMarco_1753_book.indd 1-2 10/18/18 9:36 AM The Music a flute descant – commences. Five further variations ensue, each alternating characters and moods: a brisk second variation; a slow, sad, waltzing third; a short, enigmatic fourth; a sprawling fifth, this the Morning Elation for oboe and viola by Piotr Szewczyk (2010) emotional heart of the composition; and a contrapuntal sixth, which ends with a restatement of the theme Piotr Szewczyk was fairly new to Jacksonville when I asked him if he could compose an oboe/viola duo for now involving the flute. us in 2010, so I did not expect the enthusiasm and speed in which he composed “Morning Elation”! Two In all, it’s a complex, ambitious score, a glowing example of the American Romantic style of which days later he greeted me with the news that he had a burst of inspiration and composed our piece the day Beach, along with George Whitefield Chadwick, John Knowles Paine, and Arthur Foote, was such a wonder- before.
  • MUSIC for OBOE and STRINGS Mozart • Crusell • J.C. Bach

    MUSIC for OBOE and STRINGS Mozart • Crusell • J.C. Bach

    557361bk USA 26/8/04 7:30 pm Page 4 Max Artved The oboist Max Artved was born in 1965 and joined the Tivoli Boys’ Guard at the age of twelve. In 1980 he entered the Royal Danish Academy of Music, studying with Jørgen Hammergaard, and subsequently with Maurice Bourgue in Paris and Gordon Hunt in London. He made his solo MUSIC FOR début in 1990 and joined the Royal Danish Orchestra in 1991, later the same year becoming principal oboe with the Danish Radio Symphony Orchestra. Awards include the Jacob Gade Scholarship, the Gladsaxe Music Prize and the Music Critics’ Artist Prize. His career has brought solo OBOE AND STRINGS engagements in Scandinavia and throughout Europe, and he has contributed to recordings released by dacapo and by Naxos Mozart • Crusell • J.C. Bach Elise Båtnes The violinist Elise Båtnes was appointed leader of the Danish Radio Symphony Orchestra in 2002. She has appeared as a soloist, particularly throughout Scandinavia, and was leader of the Oslo Philharmonic Orchestra. She has been a Max Artved, Oboe • Elise Båtnes, Violin member of the Vertavo Quartet, and has served as artistic director of the Bergen Chamber Ensemble. Tue Lautrup, Violin/Viola • Dimitri Golovanov, Viola Dimitri Golovanov Dimitri Golovanov is a native of St Petersburg, where he studied at the Conservatory, before emigrating from the Soviet Union. He has served as principal violist in the Danish Radio Symphony Orchestra since 1994. Lars Holm Johansen, Cello Lars Holm Johansen Lars Holm Johansen was principal cellist in the Royal Danish Orchestra until August 2002, and is well known for his collaboration in chamber music and as a co-founder of the Copenhagen Trio.
  • Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of

    Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of

    UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him.
  • G. Henleverlag

    G. Henleverlag

    General Catalogue 2007/2008 Urtext Editions Study Scores Performing Materials Facsimiles All prices are in U.S. dollars. G. HenleVerlag Hal Leonard Corporation P.O. Box 13819 Milwaukee, WI 53213 414­774­3630 FAX: 414­774­3259 Online: www.halleonard.com The catalogue is also available on the Internet: www.henle.com All Henle publications also appear on www.halleonard.com By publication of this catalogue former catalogues are no longer valid. All information in this catalogue is subject to change with­ out notice. A separate catalogue of our musicological publications is also available on demand, free of charge! Explanations Abbreviations NEW = New issue B.c. Basso continuo AM/HN = Performing material see Works for Orchestra BWV Catalogue of Bach‘s works AM/BA = Performing material of this edition published by D Deutsch Catalogue (Schubert) Bärenreiter Fag. Bassoon KA/BA = Piano reduction of this edition published by Fl. Flute Bärenreiter HN Order Number TP/BA = Pocket score of this edition published by Hob. Hoboken Catalogue (Haydn) Bärenreiter Hop. C. Hopkinson: A Bibliographical Thematic Catalogue AM/EB = Performing material of this edition available at of the Works of John Field Breitkopf & Härtel‘s HW Wohlfarth Catalogue (J. C. F. Bach) TP/EB = Pocket score of this edition available at Breitkopf HWV Catalogue of Handel‘s works & Härtel‘s ISBN International Standard Book Number K Kirkpatrick Catalogue (Scarlatti) Ed. = Editor Kb. Double Bass Fing. = Fingering Piano KK Kobyla´nska Catalogue (Chopin) Fing. Vl. = Fingering and bowing Violin K. Köchel Catalogue (Mozart) Fing. Vla. = Fingering and bowing Viola Kl. Piano Fing. Vc. = Fingering and bowing Violoncello Kl.
  • Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS

    Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS

    1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
  • What Motivates Composers to Compose?

    What Motivates Composers to Compose?

    University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2014 What Motivates Composers to Compose? Brian Fanning University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Commons Recommended Citation Fanning, Brian, "What Motivates Composers to Compose?" (2014). Honors Theses and Capstones. 160. https://scholars.unh.edu/honors/160 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Brian Fanning 1 What Motivates Composers to Compose? Composers must be motivated in order to produce music. Although the expression of oneself is at the crux of the content of compositions, the idea of the composition in the first place does not necessarily start with motivation. Composers may be commissioned by others, moved to respond to an event or disaster, or motivated strictly monetarily by their employer (either a corporation or royal court, depending on the era). This paper poses the question: What motivates composers to compose? The thesis will be drawn out in two examples: Paul Hindemith’s late sonatas and Wolfgang Amadeus Mozart’s Oboe Quartet in F. The theory of basic desires to motivation proposed by Steven Reiss will be used to explain each of the composers’ desires to compose. Paul Hindemith (1895–1963) was born in Hanau, Germany which is near Frankfurt.

  • Index of Mozart's Works by Köchel Number

    Cambridge University Press 978-1-107-18105-2 — Mozart in Context Edited by Simon Keefe Index More Information Index of Mozart’s Works by Köchel Number K. 1 Minuet in G 267 K. 261 Adagio in E for violin and orchestra 187 K. 8 Sonata for piano and violin in B-flat 217 K. 264 Variations for piano on ‘Lison dormait’ K. 10–15 Sonatas for piano and violin 135, 188, 217 (Nicolas Dezède) 116 K. 16 Symphony in E-flat 135 K. 269 Rondo in B-flat for violin and K. 19 Symphony in D 135 orchestra 187 K. 20 Chorus ‘God is Our Refuge’ 135 K. 283 Piano Sonata in G 257, 261 K. 21 Aria ‘Va, dal furor portata’ 105, 135, 205 K. 286 Notturno in D 185 K. 23 Aria ‘Conservati’ 205 K. 295 Aria ‘Se al labbro’ 212 K. 35 Die Schuldigkeit des ersten Gebots 47 K. 296,K.376,K.377,K.378,K.379,K.380 K. 38 Apollo et Hyacinthus 85 Sonatas for piano and violin (op. 2) 290 K. 41 Grabmusik 19 K. 297 Symphony in D (‘Paris’) 25, 27, 45, K. 51 La finta semplice 91, 142, 147, 205 116, 140 K. 66 Mass in C 84 K. 297b Sinfonia Concertante in E-flat 45, 189 K. 72a Molto allegro for keyboard 62 K. 299 Concerto for flute and harp in C 16, K. 74b Aria ‘Non curo’ 205 117, 189 K. 77 Aria ‘Misero pargoletto’ 205 K. 301–306 Sonatas for piano and violin 99, 140 K. 82 Aria ‘Se ardir’ 205 K.
  • Programme Notes by Chris Darwin

    Programme Notes by Chris Darwin

    Edward Elgar (1857-1934) Andante & Allegro for oboe & string trio (c.1878) This short work is one of the earliest pieces that Elgar wrote. After leaving school at 15, and teaching himself the violin, he earned a living in Worcester taking piano and violin pupils and playing the violin in concerts. He started to conduct, and from about the time this piece was written, he held a post at the local lunatic asylum composing dances for the gallimaufry of instruments in the staff band, which he conducted. This piece however may have been written for performance at the Worcester Glee Club which met at the Crown Hotel. It has only recently been published, liberated from an oddments folder in the British Museum, its minimal markings enriched to make it playable. The only title is the seasonal inscription 'Xmas music' on the oboe part. Elisabeth Lutyens (1906-1983) Oboe Quartet Op 81, 'Driving Out the Death' (1971) Carrying out of Winter – Pantomimos - Carrying out of Summer – Euché - Driving out the Death - Dithyrambos Financially, Elisabeth Lutyens' most successful music was her film scores for Hammer Horror and its rival Amicus; known as the 'Horror Queen', she was said to sport green finger nails. Forced into such commercial composing by the need to support children and a husband without a secure income, she was also extremely efficient at producing music for documentaries and plays. Her apophthegm 'Do you want it good, or do you want it Wednesday?' describes how she felt about this side of her musical personality. Her musical heart lay in the expressive rigours of her own brand of Schoenbergian serialism about which she was uncompromising.
  • Wolfgang Amadeus Mozart

    Wolfgang Amadeus Mozart

    BIOGRAPHY FABIEN THOUAND studied at the CNSM de Paris, winning first prize unanimously in 2000. Since CONWAY then he has pursued a career in France and abroad, specializing in the fields of orchestral and chamber repertoire. He has played under the baton of renowned conductors such as Muti, Maazel, Metha, HALL Temirkanov, Masur, Dutoit, Abbado, Gergiev and Barenboim. Since 2004 he has been principal oboe SUNDAY at La Scala in Milan. He is also active as a teacher, and recently became an oboe teacher at the Royal College of Music in London. CONCERTS In 1996 LAURENT QUENELLE became a permanent member of the London Symphony Orchestra and is regularly invited as a concertmaster with Orchestre Revolutionnaire et Romantique (Gardiner), the London Sinfonietta and the Scottish Ensemble. Passionate about chamber music, he has performed Patrons with the oboist François Leleux, the violinist Gordan Nikolic, and the double bassist Edgar Meyer, and - Stephen Hough, Laura Ponsonby AGSM, Prunella Scales has recorded chamber music by Stravinsky with Vladimir Ashkenazy. He has also played with the Nash CBE, Roderick Swanston, Hiro Takenouchi and Timothy West CBE Ensemble, Oxalys, and was a member of the Mullova Ensemble formed by violinist Viktoria Mullova. Artistic Director - Simon Callaghan MALCOLM JOHNSTON began learning the violin and piano at an early age, but was soon drawn to the warm, sumptuo sound and unfamiliar repertoire of the viola, and fell in love with it. After four years with the Amernet String Quartet, during which time the quartet toured extensively and won several major awards, including the gold medal at the 1992 Tokyo International Chamber Music Competition, Sunday February 21st 2016, 6:30pm Malcolm joined the London Symphony Orchestra.
  • Ebook Download Oboe Quartet Ebook Free Download

    Ebook Download Oboe Quartet Ebook Free Download

    OBOE QUARTET PDF, EPUB, EBOOK Malcolm Arnold | 48 pages | 01 Jan 1967 | Faber Music Ltd | 9780571500192 | English | London, United Kingdom Oboe Quartet PDF Book Mozart: Flute Quartets arranged by Hoffmeister. PentaTone Classics Any electronic files associated with the work are included with every purchase. Mozart: Chamber Music Various Artists. Oboe Quartet in F Major, K. Vaughan Williams. Arranger Shin-Itchiro Yokoyama. He increasingly devotes himself, contingent upon the duties of his post, to liturgical music; several masses are written. Mozart: Complete Quintets, Vol. Carlton Classics Throughout the past century, the oboe quartet and oboe quintet have proved to be particularly popular instrumentations for composers to write for. Unicorn-Kanchana Naxos Javascript not enabled. Casals: Festivals at Prades. Plate K. Editor Jaroslav Pohanka The Painter's Music, the Musician's Art. The quartet is certainly a vehicle for Ramm's virtuosity as well as Mozart's enduring ability to write idiomatically for a given instrument's essential personality. Brindisi String Quartet. Lawo Classics LWC Mozart: The Flute Quartets. Full Score and Solo Part Print A print edition of the score and solo part ships to the customer's address upon receipt. The central slow movement Adagio is brief but intense. Warner Classics The works on this recording are full of well-known tunes which demonstrate Mozart's trademark melodic beauty whilst acclaimed oboist, Robin Williams, gives a dazzling performance of the composer's great masterpiece. Plate B. The Art of Itzhak Perlman. Publication of violin sonatas. Francis Routh. Radice Chamber Music. Streaming Services. Holograph manuscript, Masterworks: Mozart. My Profile. Academy of Ancient Music Chamber Ensemble.
  • Boston Symphony Orchestra Concert Programs, Season 129, 2009

    Boston Symphony Orchestra Concert Programs, Season 129, 2009

    BOSTON SYMPHONY CHAMBER PLAYERS Sunday, March 14, 2010, at 3 p.m. at Jordan Hall BOSTON SYMPHONY CHAMBER PLAYERS Malcolm Lowe, violin Elizabeth Rowe, flute Haldan Martinson, violin John Ferrillo, oboe Steven Ansell, viola William R. Hudgins, clarinet Jules Eskin, cello Richard Svoboda, bassoon Edwin Barker, double bass James Sommerville, horn MOZART Quartet in F for oboe, violin, viola, and cello, K.370(368b) Allegro Adagio Rondeau. Allegro Messrs. FERRILLO, LOWE, ANSELL, and ESKIN VILLA-LOBOS Bachianas brasileiras No. 6, for flute and bassoon Aria (choro) Fantasia (Allegro) Ms. ROWE and Mr. SVOBODA GANDOLFI Plain Song, Fantastic Dances (2005), for violin, viola, cello, double bass, clarinet, horn, and bassoon I. St. Botolph's Fantasia II. Tango Blue III. QuickStep Messrs. LOWE, ANSELL, ESKIN, BARKER, HUDGINS, SVOBODA, and SOMMERVILLE INTERMISSION BRAHMS Quintet in B minor for clarinet and strings, Opus 1 15 Allegro Adagio Andantino Con moto Messrs. HUDGINS, LOWE, MARTINSON, ANSELL, and ESKIN BSO Classics, Nonesuch, Deutsche Grammophon, Philips, RCA, and New World records Wolfgang Amade Mozart (1756-1791) Quartet in F for oboe, violin, viola, and cello, K.370(368b) Mozart composed his F major Quartet for Oboe and Strings in early 1781 in Munich, where he was busy finishing up his opera Idomeneo ; he wrote the quartet for the oboist Friedrich Ramm (1744-.? 1811), who had become a member of the Mannheim court orchestra at fourteen. In 1777, when Mozart first encountered him at Mannheim, Ramm was already using the composer's Oboe Concerto as something of a calling card; according to a letter of Mozart's, he played the concerto five times in Mannheim in 1778.