DOCSLIB.ORG

Doing Without Thinking?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Doing Without Thinking? Doing without thinking? Processes of decision-making in period instrument performance Daniel Bangert B.Mus. (Hons), A.Mus.A. A thesis submitted to the University of New South Wales in fulfilment of the requirements for the degree Doctor of Philosophy 2012 http://doi.org/10.4225/53/58bca28d2a79a THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Bangert First name: Daniel Other name/s: Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: Doing without thinking? Processes of decision-making in period instrument performance Abstract 350 words maximum: The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi-structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision-making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music. Retrospective verbal reports were collected after both the sight- read and performance and participants were asked to ‘think-aloud’ during the practice period. A small proportion of deliberate decision-making was found (18% overall) and experienced performers were found to use deliberate processes to a greater extent than less experienced performers. The third study traced the preparation process involved in recording the Suites for Solo Cello by J.S. Bach through a longitudinal case study of Baroque cellist Daniel Yeadon. This study demonstrates how an interpretation develops over time and found a large proportion of deliberate decision-making (65% overall). The results largely confirm the characteristics of intuitive and deliberate decision-making as described in recent psychological literature, such as the importance of pattern recognition in intuitive processes. The relatively low proportion of deliberate decision- making in the second study can be explained by the use of a sight-reading task and a more implicit measure of decision-making. Based on data from the three studies, a spiral model is proposed to account for changes in the contribution of intuitive and deliberate decision-making over time, including the process by which intuition becomes ‘informed.’ Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: Originality statement I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception or in style, presentation and linguistic expression is acknowledged. Signed ……………………… Date …………………. Copyright statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International. I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation. Signed ……………………… Date …………………. Authenticity statement I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format. Signed ……………………… Date …………………. iii Abstract The performance of a musical work involves making many decisions about the notated score. This study explores the nature and role of intuitive and deliberate processes of musical decision-making in period instrument performance of solo Baroque string music. This research uses dual process theories of cognition as a conceptual framework to examine issues of Baroque performance practice and interpretation. A threefold approach to data collection was employed. In the first study, semi- structured interviews were conducted with leading Baroque violinists and cellists, focusing on the solo works of J.S. Bach. A high proportion of deliberate decision- making was found (60% overall) although this varied considerably between individuals. Performers described their interpretation of these pieces as being influenced by various factors and provided insights into how elements of the interpretative process such as intuition are experienced and defined. The participants in the second study were Baroque violinists of varying levels of expertise who were asked to sight-read, practise and perform a short piece of unfamiliar solo Baroque violin music. Retrospective verbal reports were collected after both the sight-read and performance and participants were asked to ‘think-aloud’ during the practice period. A small proportion of deliberate decision-making was found (18% overall) and experienced performers were found to use deliberate processes to a greater extent than less experienced performers. The third study traced the preparation process involved in recording the Suites for Solo Cello by J.S. Bach through a longitudinal case study of Baroque cellist Daniel Yeadon. This study demonstrates how an interpretation develops over time and found a large proportion of deliberate decision-making (65% overall). The results largely confirm the characteristics of intuitive and deliberate decision- making as described in recent psychological literature, such as the importance of pattern recognition in intuitive processes. The relatively low proportion of deliberate decision-making in the second study can be explained by the use of a sight-reading iv task and a more implicit measure of decision-making. Based on data from the three studies, a spiral model is proposed to account for changes in the contribution of intuitive and deliberate decision-making over time, including the process by which intuition becomes ‘informed.’ v Acknowledgments The completion of this thesis would not have been possible without the assistance of many valued colleagues and friends. First and foremost, I would like to thank my joint supervisors at the University of New South Wales, Associate Professor Dorottya Fabian and Associate Professor Emery Schubert. Their unfailingly generous, insightful and encouraging feedback has contributed greatly to the thesis and I am grateful for their advice, support, and mentorship. Thank you to all the musicians who participated in this research: interviewees Pavlo Beznosiuk, Christophe Coin, Sebastian Comberti, Lucy van Dael, Alice Evans, Margaret Faultless, Enrico Gatti, Job ter Haar, John Holloway, Ingrid Matthews, Anna McDonald, Alison McGillivray, Jennifer Morsches, Susie Napper, Hélène Schmitt, Susan Sheppard,
Load more

Recommended publications
  • Highlighted = Needs to Be Written/Included
    Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.
    [Show full text]
  • Christophe Coin Violoncello (Alessandro Gagliano, Ca
    Christophe Coin violoncello (Alessandro Gagliano, ca. 1720, on loan from the Fonds Instrumental Français) Petr Skalka violoncello (Joseph Guarnerius, filius Andreae, Cremona 1701) Felix Knecht violoncello (workshop of Carlo Antonio Testore, Milano, mid 18th century) [tracks 14-16] Markus Hünninger harpsichord (Thomas Friedemann Steiner, Basel 1992, after Gujon) 5 A production of the Schola Cantorum Basiliensis - Hochschule für Alte Musik Recorded in the Église de Malbosc (Ardèche, France), on 2-6 July 2013 Engineered and produced by Manuel Mohino Photographs: Susanna Drescher Executive producer & editorial director ( scb ): Thomas Drescher All texts and translations © 2014 Schola Cantorum Basiliensis Design: valentiniglesias.com Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Editorial assistance: María Díaz © 2014 note 1 music gmbh Christophe Coin Martin Berteau (1708-1771) Airs * Sonatas & airs for violoncello 18 Amoroso 1:12 19 Air Gratieux 1:06 20 Menuet Gratieux 0:55 21 Air Gay 0:41 22 Air Gratieux 1:38 5 Sonata iv (F major) Sonata v (E flat major) 23 Cantabile 2:57 24 Allegro ma non troppo 3:29 25 Andantino. Pianissimo 4:00 26 [Tempo di Minuetto] 1:32 27 Amoroso* 1:07 28 [Tempo di Minuetto da capo] 0:41 1 Grave 2:31 2 Moderato 2:31 3 Aria. Amoroso 3:20 4 Air Gratieux* 1:28 29 Air Gay* 1:03 Sonata i (D major) 5 Spirituoso 2:14 6 Vivace 2:32 7 Grave 1:55 8 Allegro assai 2:20 Sources: Martin Berteau: Sonate da camera a violoncello solo col basso continuo , op. 1, Paris (1748), 2.
    [Show full text]
  • LBW: Public-2
    Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T.
    [Show full text]
  • Forum Alte Musik Köln Christophe Coin Davit Melkonyan
    SONNTAG 11. OKTOBBER 2020 ST. URSULA FORUM ALTE MUSIK KÖLN SONNTAGSKONZERTE 17H m+k e.V. CHRISTOPHE COIN DAVIT MELKONYAN VIOLONCELLO „EUROPA-REISE MIT CELLO“ AUS DEM CONSERVATOIRE IN DIE WELT Ein Jahrhundert lang schon galt die Violine als das Instrument der Wahl für die Dar- stellung expressiver Melodien, rasanter Läufe und bizarrster Sprünge, da kam auch das Violoncello endlich zu Solo-Ehren. Zunächst waren es italienische Ausnahme- Musiker, die das virtuose Solospiel auf dem Violoncello um 1700 auch im Norden Euro- pas bekanntmachten. Im Laufe der nächsten Jahrzehnte übernahm da aber Frank- reich die Führung, das Land, in dem bislang die aristokratische Viola da gamba den Ton angegeben hatte. So mancher hervorragende Gambenspieler wechselte damals aufs Cello. Auf Verbindungen nach Frankreich – jetzt in die Klassen des nachrevolutionären Pariser Conservatoire – stoßen wir auch, wenn wir uns auf die Duo- und Solokom- positionen herausragender Cello-Virtuosen des 19. Jahrhunderts einlassen, die uns heute durch verschiedene europäische Musiklandschaften führen. Wir beginnen „vor der Haustür“. Bernhard Romberg, ge- boren in Dinklage, darf als eine der prägenden Gestalten unter den Cellisten dieser Zeit gelten. Er war ein Jugend- freund Ludwig van Beethovens – gemeinsam spielten sie in der kurkölnischen Hofkapelle in Bonn. Dann aber ent- wickelte sich Romberg zu einem der ersten reisenden Cello- virtuosen; seine Konzerttourneen führten ihn von Lissabon bis St. Petersburg und Moskau. Romberg unterrichtete von 1801 bis 1803 am Pariser Konservatorium und beeinflusste so die französische Celloschule. Vor allem aber war die deutsche Cellotradition durch ihn bestimmt: Er entwickel- te die Spieltechnik weiter und richtete das Instrument ent- sprechend ein. In seiner Violoncell-Schule, die 1839/40 er- schien, veranschaulicht er die Modifikationen an seinem Instrument in einer maßstabs- getreuen Zeichnung.
    [Show full text]
  • Franz Schubert
    FRANZ SCHUBERT oktett ISABELLE FAUST ANNE KATHARINA SCHREIBER | DANUSHA WASKIEWICZ | KRISTIN VON DER GOLTZ JAMES MUNRO | LORENZO COPPOLA | JAVIER ZAFRA | TEUNIS VAN DER ZWART FRANZ LISZT FRANZ SCHUBERT (1797-1828) Oktett D. 803 for clarinet, horn, bassoon, 2 violins, viola, cello and double bass F major / Fa majeur / F-Dur 1 | I. Adagio. Allegro 15’09 2 | II. Adagio 11’24 3 | III. Allegro vivace - Trio 5’51 4 | IV. Andante - Var. I-VII 12’10 5 | V. Menuetto. Allegretto - Trio 7’16 6 | VI. Andante molto - Allegro - Andante molto - Allegro molto 9’05 Fünf Menuette mit sechs Trios D. 89 Arrangement for octet by Oscar Strasnoy 7 | No. 3 5’21 8 | No. 5 3’50 Isabelle Faust, violin A. Stradivarius “Sleeping Beauty”, 1704 Anne Katharina Schreiber, violin anon., Holland, c. 1700 Danusha Waskiewicz, viola anon., Bohemia, c. 1860 Kristin von der Goltz, cello anon., Vienna, c. 1800 James Munro, double bass G. Panormo, London, 1827 Lorenzo Coppola, clarinets, 11-key B flat clarinet after A. Rorarius, Vienna, c. 1820; copy by Agnès Guéroult, Paris, 2010 - 6-key C clarinet after J. B. Merklein, Vienna, c. 1810; copy by Agnès Guéroult, Paris, 2010 Teunis van der Zwart, horn Courtois neveu aîné, Paris, 1802 Javier Zafra, bassoon W. Triebert, Paris, 1805 , l’Andante est un mouvement à variations. Schubert en emprunte le thème au duo no 12, “Gelagert unter’m Per aspera ad astra : hellen Dach der Bäume” (“Étendu dessous le couvert lumineux des arbres”), de son Singspiel Die Freunde von l’Octuor D. 803 de Schubert et le “chemin vers la grande symphonie” Salamanka D.
    [Show full text]
  • Critical Reflection Tormod Dalen 2013
    TORMOD DALEN Zum Spielen und zum Tantzen A Kinaesthetic Exploration of the Bach Cello Suites through Studies in Baroque Choreography Critical reflection and documentation Norwegian Research Fellowship for the Arts Programme The Norwegian Academy of Music May 2013 PREFACE ................................................................................................................................. 1 INTRODUCTION Personal background .......................................................................................................................... 3 PROJECT DESCRIPTION AND METHODS The research questions ....................................................................................................................... 5 Methods ............................................................................................................................................ 5 Practising .......................................................................................................................................... 6 Learning by teaching ......................................................................................................................... 6 Collaborations ................................................................................................................................... 7 Theoretical background ..................................................................................................................... 7 Artistic research ................................................................................................................................
    [Show full text]
  • Chipping Away at the Unknown: How A
    Chipping Away at the Unknown How a Recording and the Music of C. P. E. Bach Helped Set My Life’s Course A long time ago, musicians released recordings on shiny plastic compact discs organized in bins for sale in stores made of brick and mortar. One of these stores was called Tower Records and it was in there, on Route 17 in Paramus, New Jersey, that I was introduced to the early music movement. I was about 15. I had been playing the cello for only a couple of years, but long enough to have received advice shared and heeded by many wonderful musicians: vibrato should be used continuously to ensure a beautiful sound. Undoubtedly, that particular Tower Records (as any record store) housed a multitude of recordings that demonstrated the permeation of this suggestion. So, while searching for a CD to buy, I was shocked when I heard on the store’s speakers a new recording of J. S. Bach’s E major partita for unaccompanied violin, BWV 1006, in which the last note of the preludio was not only played without vibrato, but was intention- ally and unwaveringly (pun intended) played without vibrato, as though to make a point. The player on that recording was not shy about making points. He was not a violinist but a cellist, the great early music pioneer Anner Bylsma (who knew quite well how to vibrate and, when he chose to, did so beautifully). The recording I had heard was of two works for unaccompanied violin and one for solo flute by J.
    [Show full text]
  • Cité De La M Usique
    Président du Conseil d’administration Jean-Philippe Billarant Directeur général Laurent Bayle Cité de la musique LES INSTRUMENTS DU MUSÉE II DE L’EXPOSITION AU CONCERT Du mardi 2 au samedi 6 mars 2004 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert : www.cite-musique.fr Objets de fascination, les instruments historiques comptent parmi SOMMAIRE les traces qui nous permettent aujourd’hui de comprendre 5 MARDI 2 MARS - 20h une œuvre, un style, une époque, surtout lorsque l’on connaît Christophe Coin, arpeggione et violoncelle Patrick Cohen, piano les liens qui unissaient les compositeurs et leurs Erich Höbarth, violon « instruments-interprètes ». C’est pour éclairer cette intimité que le Musée de la musique Œuvres de Franz Schubert œuvre depuis plusieurs années à la connaissance et à la conservation des instruments de musique. 12 MERCREDI 3 MARS - 20h Il s’agit alors d’aller à la rencontre d’un objet, mais aussi – Sergio Azzolini, basson Christophe Coin, violoncelle et surtout – d’un son, d’une identité sonore, dont les Patrick Cohen, piano caractéristiques pourraient avoir une grande valeur pour Gilles Colliard, violon comprendre l’esthétique de chaque époque. Œuvres d’Étienne Ozi, Johann Schobert, Wolfgang Amadeus Mozart Conçue autour de la personnalité de Christophe Coin, 3 et Joseph Haydn cette série de concerts permet d’entendre pour la première fois certains instruments rares de nos collections dont les 21 JEUDI 4 MARS - 20h interprètes ont souhaité expérimenter les qualités musicales. Christophe Coin, violoncelles Ils seront associés aux instruments originaux qui vant-propos Patrick Cohen, pianos appartiennent aux musiciens ou à des collectionneurs privés.
    [Show full text]
  • Quatuor Mosaïques 1797, in Eisenstadt
    CAL PERFORMANCES PRESENTS PROGRAM NOTES Friday, April 13, 2012, 8pm Joseph Haydn (1732–1809) with gentleness, or touched sober steadfastness First Congregational Church Quartet in B-flat major, Op. 76, No.4, with vision.” “Sunrise” The six Op. 76 Quartets were written on commission from Count Joseph Erdödy, Composed in 1796–1797. Premiered September 28, scion of the Viennese family who had encour- Quatuor Mosaïques 1797, in Eisenstadt. aged Haydn’s work since at least 1776 and Erich Höbarth, violin whose members became important patrons Andrea Bischof, violin Haydn was universally acknowledged as the of Beethoven after his arrival in the capital in Anita Mitterer, viola greatest living composer upon his return to 1792. The Quartets were apparently ordered and Vienna in 1795 from his second London venture; begun by the end of 1796, because Haydn was Christophe Coin, cello he was 63. Though his international renown had able to play them at the piano for the Swedish been founded in large part upon the success of diplomat Frederik Samuel Silverstolpe the fol- his symphonies and keyboard sonatas, he repeat- lowing June. They were probably given their for- PROGRAM edly refused offers to compose further in those mal premiere on September 28, 1797, when they genres, and instead concentrated the creative were played for the visit of Archduke Joseph, energies of his later years upon the string quar- Viceroy of Hungary, to Eisenstadt, family seat of Joseph Haydn (1732–1809) Quartet in B-flat major, Op. 76, No. 4, tet and the vocal forms of Mass and oratorio. Haydn’s employer, Prince Nicholas Esterházy II.
    [Show full text]
  • Entre Ciel Et Terre Johann Georg Albrechtsberger
    Entre ciel et terre Johann Georg Albrechtsberger Quatuor Mosaïques Ensemble Baroque de Limoges Christophe Coin Albin Paulus, Jew’s harp PARENTHÈSES ENTRE CIEL ET TERRE JOHANN GEORG ALBRECHTSBERGER (1736 – 1809) Concerto per trombula e viola (da gamba), Divertimento a tre con viola, violoncello e violone, FA / F (1767) due violini, viola e basso con sordini, MI / E (1771) 10. Allegro moderato 03’23 1. Tempo moderato 05’10 11. Menuet 02’32 2. Adagio 05’25 12. Finale (presto) 02’30 3. Finale (tempo di menuet) 06’05 Pierre Franck : alto, Mathias Hornsteiner, Mittenwald, ca. 1760 Albin Paulus : trombula (guimbarde, jew’s harp, maultrommel, scaccia pensieri), Christophe Coin : violoncelle, Jacob Petz, Vils, 1796 Josef Jofen, Molln, 2003 – 2007 David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Christophe Coin : viole de gambe alto, Anon., Bohême ?, fin 17e s. Ensemble Baroque de Limoges Andrés Gabetta : violon, Jean-Nicolas Lambert, Paris, ca. 1750 Sonata per due violini, due viole, due violoncelli (violone), ré / d (s.d.) Matyas Bartha : violon, id. 13. Adagio 03’29 Pierre Franck : alto, id. 14. Fuga 03’15 Denis Severin : violoncelle, id. David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Ensemble Baroque de Limoges : sextuor de J.N. Lambert, Paris, ca. 1750 Margret Köll : harpe modèle Cousineau, fin 18e s., Beat Wolf, Schaffhausen, 1992 Andrés Gabetta, Matyas Bartha, Pierre Franck, Liana Mosca, Christophe Coin, Denis Severin, David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Divertimento a tre con violino piccolo, violino secondo e viola, FA / F (1759) Andante ma non troppo 03’35 4. Partita per viola d’amore, flauto e violone, RÉ / D (1773) 5.
    [Show full text]
  • Quatuor Cambini‑Paris Projet De Résidence
    QUATUOR CAMBINI-PARIS PROJET DE RÉSIDENCE /// PRODUCTIONS & CONCERTS 2015, 2016, 2017 Le Concert de la Loge Olympique & Le Quatuor Cambini-Paris 7 rue Rameau, 75002 Paris - [email protected] +33 (0)6 88 83 53 94 www.logeolympique.fr & www.quatuorcambiniparis.com QUATUOR CAMBINI-PARIS QUATUOR CAMBINI-PARIS If there is one word to the Palazzetto Bru Zane in Venice, the Bruges Concertgebouw, describe these four young the Marble Palace of Saint Petersburg, the San Filippo Neri musicians it would be oratory in Bologna, the Opéra Comique, the Auditorium of the “passion”. First, a passion Louvre Museum, the Deauville Festival, the Sablé-sur-Sarthe for period instruments, Festival, and the Epau Festival. as members of the finest French ensembles, such as In 2015, the quartet debuts in USA at the Frick Collection in L’Orchestre des Champs- New York and the Phillips Collection in Washington DC. The Élysées, Les Talens Lyriques ensemble also performed in Canada, in Montreal at the Salle and Le Concert de la Loge Bourgie in the Fine-Arts Museum, as well as in Ottawa, Toronto Olympique. Second, a and Quebec. passion for researching beautiful, forgotten scores The musical scene occupied by the Cambini-Paris Quartet and playing them with great skill and care. Finally, a passion has been enriched by its work with other artists such as Alain for the quartet form, as the best way to express their musical Planès, Kristian Bezuidenhout, Nicolas Baldeyrou, Alain Meunier, harmony. Christophe Coin and Jérôme Pernoo. By choosing the name of Giuseppe Maria Cambini (1746-1825), IIn 2010 the quartet won the Discovery Golden Diapason a violinist and prolific composer who led a life of adventure, the Prize for its Hyacinthe Jadin’s record (Timpani) and in 2012, quartet bears witness to its interest in exploring the stylistic its recording of three of Félicien David’s quartets, a world variety of the classical romantic periods.
    [Show full text]
  • Quatuor Mosaïques Es Incomplete—Most Famously, the “Unfinished” a Motive from the Opening
    Cal Performances Presents Program Notes Wednesday, April 22, 2009, 8pm Franz Schubert (1797–1828) The dramatic opening phrase introduces an in- First Congregational Church String Quartet in C minor, D. 703, tensity and rhythmic drive that remains through- “Quartettsatz” (1820) out the movement, and it also provides musical material that is used and re-used throughout the Between 1818 and 1822, Schubert left several piec- piece. The ironic first theme in C minor is based on Quatuor Mosaïques es incomplete—most famously, the “Unfinished” a motive from the opening. It soon gives way to an Symphony No. 8 in B minor, but also three other expansive theme in A-flat major, the relative major Erich Höbarth, violin symphonies, an unfinished oratorio, and three un- of the tonic key. This theme, the first of the second Andrea Bischof, violin finished piano sonatas. The so-called “Quartettsatz” group, uses registral changes to great advantage Anita Mitterer, viola (quartet movement), written in December 1820, in the first violin and cello, while the inner voices was another such work. What remains of this provide an insistent motor rhythm. After a transi- Christophe Coin, cello string quartet is not only the first movement tion marked by repeated runs in the high range of Allegro, but also 41 measures of an Andante. Like the first violin, the final theme of the second group many details of Schubert’s life, the reasons for its closes in the exposition in the dominant key of lack of completion remain unclear. He might have G major. After a tumultuous development based PROGRAM been distracted by upheaval in his living situation.
    [Show full text]