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Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht. -
MUSIK PODIUM STUTTGART 2018/19 Frieder Bernius
MUSIK PODIUM STUTTGART 2018/19 Frieder Bernius Kammerchor Stuttgart Barockorchester Stuttgart Hofkapelle Stuttgart Klassische Philharmonie Stuttgart OPEN AIR SCHLOSS SOLITUDE DIRIGENTENAKADEMIE FESTIVAL STUTTGART BAROCK 1 Sehr geehrte Damen und Herren, liebe Musikfreunde, vor Ihnen liegt unser Programm der Saison 2018/19. Es bildet das ab, was man „spezialisierte Vielfalt“ nennen kann und womit wir einen unverwechselbaren künstlerischen Beitrag für unsere Reg ion und darüber hinaus leisten wollen. Dafür brauchen wir Sie: ein Publikum, das sich für individuell interpretierte Meisterwerke eben- so interessiert wie für Unbekanntes, das als Meisterwerk erst noch entdeckt werden will. Überstrahlt wird unsere Saison vom 50-jährigen Jubiläum der Inhalt Gründung des Kammerchors Stuttgart, das wir in diesem Herbst mit zwei ganz unterschiedlichen Programmen feiern wollen: zum einen mit Aufführungen und einer Aufnahme der Missa solemnis von Beethoven, zum anderen einem A-cappella-Programm des 4 50 Jahre Kammerchor Stuttgart Kammerchors, das am 4. November in Zusammenarbeit mit der Jubiläumskonzerte „Akademie für Gesprochenes Wort/Uta Kutter Stiftung“ auch das Ende des ersten Weltkriegs 1918 vor 100 Jahren sowie die Pogrom- 8 Konzerte in Stuttgart und Region nacht 1938 künstlerisch reflektieren will. 18 Konzertkalender Immer wieder ist der Kammerchor Stuttgart zu einem Format für 12 und 16 Solostimmen zurückgekehrt, das auch in der kommenden 20 Musik Podium Stuttgart und seine Ensembles Saison sein Repertoire erweitert und besonders die klassische Mo- 22 Freundeskreis derne einschließt. Eine spezielle Gattung ist auch das Melodram, das die Hofkapelle Stuttgart in der Electra von Christian Cannabich 24 Informationen zum Konzertbesuch einer Schauspielerin gegenüberstellt. Cannabich ist ein Vertreter der sogenannten „Mannheimer Schule“. Mit seiner Electra von 1781 26 CD-Neuerscheinungen wollen wir wieder auf einen Schatz der baden-württembergischen Musikgeschichte aufmerksam machen und für den SWR festhalten. -
A Register of Music Performed in Concert, Nazareth, Pennsylvania from 1796 to 1845: an Annotated Edition of an American Moravian Document
A register of music performed in concert, Nazareth, Pennsylvania from 1796 to 1845: an annotated edition of an American Moravian document Item Type text; Thesis-Reproduction (electronic) Authors Strauss, Barbara Jo, 1947- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 23:14:00 Link to Item http://hdl.handle.net/10150/347995 A REGISTER OF MUSIC PERFORMED IN CONCERT, NAZARETH., PENNSYLVANIA FROM 1796 TO 181+52 AN ANNOTATED EDITION OF AN AMERICAN.MORAVIAN DOCUMENT by Barbara Jo Strauss A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC WITH A MAJOR IN MUSIC HISTORY In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 6 Copyright 1976 Barbara Jo Strauss STATEMENT BY AUTHOR This thesis has been submitted in partial fulfill ment of requirements for an advanced degree at The Univer sity of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate ac knowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu script in whole or in part may -
Introduction
Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen. -
Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
ACADEMY OF MUSIC, PHILADELPHIA Twenty-third Season in Philadelpnia DR. KARL MUCK, Conductor •Programme of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, MARCH 16, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE MUSICAL ECHO CO., 1217 Chestnut Street, Philadelphia, Pa. Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. ~Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Ozerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Stnibe, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, PI. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. -
Frieder Bernius
Frieder Bernius SEINE AUFNAHMEN 1975 – 2018 Freunde des Musik Podium Stuttgart e.V. Vorwort Meine Tonaufzeichnungen – auf der Suche nach dem goldenen ist im Gegensatz zur Literatur und Malerei zu können. Denn für mich ist der Unterschied Schnitt zwischen Ausdruckscharakter und technischer Perfektion „flüchtig“, deshalb kann man ihre Ergebnisse zwischen Livekonzert und Studioaufnahme nicht erneut abrufen, überprüfen und festhalten. vergleichbar mit einem gefilmten Livekonzert und einer Filmproduktion. Da geht es nicht Jeder Interpret eines musikalischen Werks ist in dieser Situation der Überprüfung, dass seine Im Lauf der Zeit, vor allem mit dem Beginn nur um die größere Vollkommenheit des Er- damit befasst, gleichzeitig seinen Klang zu emotionale Empfindungswelt eine ganz andere der digitalen Aufzeichnung, hat die sogenannte reichbaren durch die Möglichkeit, in einzelnen entwickeln und diesen in die Architektur des ist als zum Zeitpunkt der Klangentstehung. „Postproduktion“, also die technische Nach- Abschnitten zu denken, sondern vor allem Werkes einzubringen. Er ist also mit dem Augen- Denn um Klänge unmittelbar und vor der bearbeitung von Aufnahmen, erheblich an darum, die verschiedenen Anläufe nachträg- blick der Klangerzeugung ebenso beschäftigt Öffentlichkeit zu erzeugen, erfordert es andere Gewicht gewonnen. Was wären a cappella- lich unter die Lupe zu nehmen und den goldenen wie er die Form des Werkes vom ersten Ton Voraussetzungen und eine andere Einstel- Aufnahmen ohne die Möglichkeit des „pitch- Schnitt zwischen Ausdruckscharakter und tech- an voraussehen muss. Zu einem kontrollieren- lung zu ihnen, als wenn sie mit der nötigen shifts“ (Tonhöhenveränderung), was wäre ein nischer Vollkommenheit aus der gewonnenen den Nachhören der gestalteten Klänge kann Distanz abgehört werden – zumal mit der optimales Gleichgewicht von Chor und Orches- Distanz zu finden. -
LUTHERAN Bach Cantata Sunday
LUTHERAN ACADEMY & FESTIVAL Bach Cantata Sunday The Eighth Sunday after Pentecost | Sunday, 14 July 2013 Service of Holy Communion Bach Cantata Sunday + Eighth Sunday after Pentecost + 14 July 2013 — 10:30AM Lutheran Summer Music Academy and Festival Today’s Texts It is easy to miss the shocking nature of this morning's parable if we think that this story only teaches us to imitate the Samaritan. The parable says so much more about God, our relationship to God, and the lengths to which God will go to reach out to us. Through the image of the Samaritan, Jesus lifts up a surprising rescuer as an image of our God who relentlessly cares for those in need. Could it be that we are meant to identify not with the Samaritan or even the lawyer to whom Jesus speaks the parable, but rather with the man who is hopeless and left for dead? Could it be that Christ is the good Samaritan who embraces us with the tender compassion of God? Jesus is not just giving us a comfortable morality tale reminding us to be nice, helpful, generous people. Instead Jesus is proclaiming the good news of the kingdom. God's grace comes to us through the cross, and our baptism into Jesus' death and resurrection. God's grace comes to us even—and especially—when we are at our worst, left for dead, bleeding and dying in life's many ditches. Even when we cannot or will not cry out, mercy and grace come into our lives through Jesus. This powerful message of Christ's death and resurrection is reinforced in Bach’s Cantata #4, Christ lag in Todesbanden. -
Document Cover Page
A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. -
Late Fall 2020 Classics & Jazz
Classics & Jazz PAID Permit # 79 PRSRT STD PRSRT Late Fall 2020 U.S. Postage Aberdeen, SD Jazz New Naxos Bundle Deal Releases 3 for $30 see page 54 beginning on page 10 more @ more @ HBDirect.com HBDirect.com see page 22 OJC Bundle Deal P.O. Box 309 P.O. 05677 VT Center, Waterbury Address Service Requested 3 for $30 see page 48 Classical 50% Off beginning on page 24 more @ HBDirect.com 1/800/222-6872 www.hbdirect.com Classical New Releases beginning on page 28 more @ HBDirect.com Love Music. HBDirect Classics & Jazz We are pleased to present the HBDirect Late Fall 2020 Late Fall 2020 Classics & Jazz Catalog, with a broad range of offers we’re sure will be of great interest to our customers. Catalog Index Villa-Lobos: The Symphonies / Karabtchevsky; São Paulo SO [6 CDs] In jazz, we’re excited to present another major label as a Heitor Villa-Lobos has been described as ‘the single most significant 4 Classical - Boxed Sets 3 for $30 bundle deal – Original Jazz Classics – as well as a creative figure in 20th-century Brazilian art music.’ The eleven sale on Double Moon, recent Enlightenment boxed sets and 10 Classical - Naxos 3 for $30 Deal! symphonies - the enigmatic Symphony No. 5 has never been found new jazz releases. On the classical side, HBDirect is proud to 18 Classical - DVD & Blu-ray and may not ever have been written - range from the two earliest, be the industry leader when it comes to the comprehensive conceived in a broadly Central European tradition, to the final symphony 20 Classical - Recommendations presentation of new classical releases. -
Messe in H-Moll BWV 232
Carus 83.211 Johann Sebastian Bach Messe in h-Moll BWV 232 Mechthild Bach Daniel Taylor Marcus Ullmann Raimund Nolte Kammerchor Stuttgart Barockorchester Stuttgart Frieder Bernius Johann Sebastian Bach (1685–1750) Messe in h-Moll BWV 232 Mechthild Bach, Soprano · Daniel Taylor, Alto Marcus Ullmann, Tenore · Raimund Nolte, Baritono Kammerchor Stuttgart · Barockorchester Stuttgart Frieder Bernius CD 1 CD 2 Kyrie Credo 1 Kyrie eleison I (Coro SSATB) 9:32 1 Credo in unum Deum (Coro) 1:57 2 Christe eleison (Soli S I, S II) 4:21 2 Patrem omnipotentem (Coro) 2:00 3 Kyrie eleison II (Coro) 2:30 3 Et in unum Dominum (Soli S I, A) 4:31 4 Et incarnatus est (Coro) 3:19 Gloria 5 Crucifixus (Coro SATB) 2:55 4 Gloria in excelsis Deo (Coro) 1:37 6 Et resurrexit (Coro) 3:33 5 Et in terra pax (Coro) 4:36 7 Et in Spiritum Sanctum (Solo B) 4:33 6 Laudamus te (Solo S II) 4:08 8 Confiteor (Coro) 3:49 7 Gratias agimus tibi (Coro) 2:23 9 Et exspecto (Coro) 2:01 8 Domine Deus (Soli S I, T) 5:31 9 Qui tollis (Coro) 2:53 Sanctus 10 Qui sedes (Solo A) 4:31 10 Sanctus (Coro SSAATB) 4:54 11 Quoniam tu solus Sanctus (Solo B) 4:21 11 Osanna (Coro SATB/SATB) 2:36 12 Cum Sancto Spiritu (Coro) 3:45 12 Benedictus (Solo T) 4:04 50:14 13 Osanna (Coro SATB/SATB) 2:36 Agnus Dei 14 Agnus Dei (Solo A) 5:47 15 Dona nobis pacem (Coro SATB) 2:32 51:14 Total time: 101:28 Recorded by Tritonus Musikproduktion GmbH Cover: Max Ackermann: aus Im Garten der Hesperiden Ev. -
Proquest Dissertations
German Harmonielehren, 1800-1854: An annotated bibliography with discussion of the societal and technological factors in their development and publication Item Type text; Dissertation-Reproduction (electronic) Authors McGinnis, Julie Kay, 1959- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 06:39:23 Link to Item http://hdl.handle.net/10150/282202 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 comer 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. -
Edition Peters Sounds 21
NEW ISSUES 2018 www.editionpeters.com EDITION PETERS THE GREEN SERIES AT 150 Hidden behind the iconic green covers of Edition Peters lies a story that is fascinating and complex, at times heartbreakingly tragic, but also overwhelmingly inspirational – a story that should never be forgotten. It is told in a new documentary that is now available to watch on the Edition Peters Group YouTube channel and at www.editionpeters.com. Come and visit us to find out how Edition Peters wrote music history. Scan the code to watch the documentary now. March 2018 | Prices correct at time of going to print but subject to change PREFACE 3 Edition Peters, with its three offices in Leipzig, London and New York, has always had a truly international approach to music. Continuing the tradition, 2018 sees the company launch many projects sourced from a richly diverse range of cultures and countries. We begin with the launch of The Silk Road Series, a groundbreaking co-publication with our partners in China, the Central Conservatoire of Music Press in Beijing. Eight of China’s leading contemporary composers have contributed major works to the series, inspired by the Silk Road. And fittingly, Leipzig – where the Peters story began in 1800 – is now on the New Silk Road (“Belt and Road”). Leipzig provides the powerful music included in our Peters East German Library 1949 – 1990. The years in which Germany, and the publishing house itself, were divided between East and West form an important chapter in the company’s story. The output of composers from the East German firm – then known as VEB Edition Peters, Leipzig – forms a unique and valuable part of the company’s identity and, more widely, of European cultural history, making this repertoire well worth rediscovering.