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Reinhard Keiser (1674-1739) Markuspassion Passion Selon Saint Marc - St Mark Passion
ENSEMBLE JACQUES MODERNE Gli Incogniti - Amandine Beyer Jan Kobow ténor - Thomas e. Bauer basse - Joël Suhubiette direction Jan Kobow ténor (Evangelist) Thomas E. Bauer basse (Jesus) Ensemble Jacques Moderne Anne Magouët soprano (arias et Magd) David Erler alto (arias et Hohepriester) Stephan Van Dyck ténor (arias et Petrus) Guilhem Terrail alto (Judas, Kriegsknecht) Gunther Vandeven alto (Hauptmann) Olivier Coiffet ténor (Pilatus) Cécile Dibon soprano Cyprile Meier soprano Marc Manodritta ténor Didier Chevalier basse Christophe Sam basse Pierre Virly basse Gli Incogniti Amandine Beyer violon 1 Alba Roca violon 2 Marta Páramo alto 1 Ottavia Rausa alto 2 Francesco Romano théorbe Marco Ceccato violoncelle Baldomero Barciela violone Anna Fontana orgue et clavecin Mélodie Michel basson Antoine Torunczyk hautbois Joël Suhubiette direction TRACKS 2 PLAGES CD REINHARD KEISER (1674-1739) Markuspassion Passion selon Saint Marc - St Mark Passion De récentes recherches musicologiques permettent de penser que la « Markuspassion » n’est pas l’œuvre de Reinhard Keiser, essentiellement pour des raisons stylistiques. En revanche, l’attribution à un autre compositeur du XVIIème siècle tel que Nicolaus Bruhns ou Gottfried Keiser, le père de Reinhard Keiser, n’est pas encore avérée et cette question reste donc à ce jour non élucidée. Recent musicological research tends to suggest that the Markuspassion is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain. Die Ergebnisse jüngster musikwissenschaftlicher Forschungen lassen, vor allem aus stilistischen Gründen, durchaus vermuten, dass Reinhard Keiser nicht der wirkliche Urheber der „Markuspassion“ ist. -
Bach: Goldberg Variations
The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BACH GOLDBERG VARIATIONS Parker Ramsay | harp PARKER RAMSAY Parker Ramsay was the first American to hold the post of Organ Scholar at King’s, from 2010–2013, following a long line of prestigious predecessors. Organ Scholars at King’s are undergraduate students at the College with a range of roles and responsibilities, including playing for choral services in the Chapel, assisting in the training of the probationers and Choristers, and conducting the full choir from time to time. The position of Organ Scholar is held for the duration of the student’s degree course. This is Parker’s first solo harp recording, and the second recording by an Organ Scholar on the College’s own label. 2 BACH GOLDBERG VARIATIONS Parker Ramsay harp 3 CD 78:45 1 Aria 3:23 2 Variatio 1 1:57 3 Variatio 2 1:54 4 Variatio 3 Canone all’Unisono 2:38 5 Variatio 4 1:15 6 Variatio 5 1:43 7 Variatio 6 Canone alla Seconda 1:26 8 Variatio 7 al tempo di Giga 2:24 9 Variatio 8 2:01 10 Variatio 9 Canone alla Terza 1:49 11 Variatio 10 Fughetta 1:45 12 Variatio 11 2:22 13 Variatio 12 Canone alla Quarta in moto contrario 3:21 14 Variatio 13 4:36 15 Variatio 14 2:07 16 Variatio 15 Canone alla Quinta. Andante 3:24 17 Variatio 16 Ouverture 3:26 18 Variatio 17 2:23 19 Variatio 18 Canone alla Sesta 1:58 20 Variatio 19 1:45 21 Variatio 20 3:10 22 Variatio 21 Canone alla Settima 2:31 23 Variatio 22 alla breve 1:42 24 Variatio 23 2:33 25 Variatio 24 Canone all’Ottava 2:30 26 Variatio 25 Adagio 4:31 27 Variatio 26 2:07 28 Variatio 27 Canone alla Nona 2:18 29 Variatio 28 2:29 30 Variatio 29 2:04 31 Variatio 30 Quodlibet 2:38 32 Aria da Capo 2:35 4 AN INTRODUCTION analysis than usual. -
The Reformation: 500 Years © Cantata Bwv 79 J
Central United Church of Christ presents the SOUTHSIDE PHILHARMONIC ORCHESTRA WITH SPECIAL GUEST Vox Nova THE REFORMATION: 500 YEARS © CANTATA BWV 79 J. S. Bach CANTATA BWV 80 J. S. Bach SYMPHONY NO. 5 in D minor Mendelssohn FEATURING Patrick Clark, Artistic Director and Conductor Christine Jarquio Nichols, Vocal Director JEFFERSON CITY, MISSOURI NOVEMBER 3, 2017, 7:00 pm The Reformation, the German Southside, and Central United Church of Christ When German immigrants began arriving in Jefferson City in the 1840s, Catholic families settled west of St. Peter Church, and Refor- mation Protestant families settled on the south side of Wear’s Creek, creating a neighborhood now called Munichburg. These Protestant immigrants bought land for a church in 1850 and organized and built Central Church in 1858. They formed a congregation open to all German-speaking Protestants, regardless of creed or confession. The congregation’s name in the first constitution (1858) was Evangelical Central Congregation. “Evangelical” refers to the Good News of the gospel. It was a “union” congregation open to all German Protestants. Three Protestant tradi- tions converged: Lutheran (from Luther), Reformed (from Zwingli and Calvin), and Evangelical. The Evangelical denomination was formed when the Prussian ruler united the Lutheran and Reformed churches on October 31, 1817, the 300th anniversary of the Reformation. Since Prussian immigrants dominated the young congregation, Central saw itself an Evangelical church, a united and uniting church for Protestants. It recognized several confessions and catechisms insofar as they agreed, and respected individual conscience where they differed. Shortly after the Civil War, Lutherans who recognized only the Augsburg Confes- sion and Luther’s catechism as the sole creed arising from the Reformation withdrew from the Evangelical Central congregation and joined many more Lutherans who had never participated in the union congregation. -
JB17 Poeschel 2018 10 30 Familie Graun in Preußen Manuskript WP2
Wilhelm Poeschel – Familie Graun in Preußen 3. Quellen zu biografischen Daten der Familien Johann Gottlieb und Carl Heinrich Graun (Auswahl) Samuel Schmiel Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 107 (*1658; †1.9.1734) 1734 I September I 1. Herr Samuel Schmiel, Königl. Geheimer Kammer Diener, 77. Jahr, am Schlagfluß, den 5. Anna Regina Schmiel, Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 8 geb. Thering 1704 Aug. 15. Hr. Geheimer Cammerdiener Schmieles Ehe Frau, in S.P. (*um 1680; †15.8.1704) Friederich Schmiel Taufbuch St. Petri, ELAB Sig. 5789-2, S. 596 (*17.5.1700; †2.8.1700) Pr: Herr Samuel Schmiel Ser: churfürstlichen Herrn (?) brandng geheimer Cammer-Diener I Mr: Fr: Anna Regina geborene Theringen laßen Tauffen am 17 May ihr am 14 deßelbh Monath zwischen 3 und ½ 4 Uhr geborenes Söhn- lein mit dem Nahmen I Friedrich I Die Gevattern waren I S: Churfürstl. Durch- laucht Friederich an deßen Platz der Hoffmarschall Excellents d(er) Herr von Wusrau (?) zugegen gewest. I Herr Lucas Heinrich Therig Archediaconus d(er) Peter Kirch. Die Fr: Kriegs Rähtin v. Kraut, geborene Schindlern, Die Frau Mommortin, Loff […][…] (?) Bestattungsbuch St. Petri, ELAB Sig. 5820-1, S. 1536 1700, Augt. 2. Herr Geheimer Cammerdiener Schmiels Kind, zu S.P. Anna Theodora Schmiel, Taufbuch Friedrich Werdersche Kirche, ELAB Sig. 5117-1, S. 151 geb. Simonetti, 1684, 27 December Inf: Anna Theodora I Pat: Johann Simonetti, Stucator156 I Mat: Euphrosina Hoffekuntzin I Pathen I 1 Hr. Christian Kuntzleben. 2 Hr. (#27.12.1684; †15.5.1708) Peter Jenicke. 3 Jfr: Scharlotta …(?) 4 Fr […] 5 Fr. -
Some Viewpoints to the Private Theoretical Library of Johann Gottfried Walther (1684–1748) Dmus, Lic.Phil.Tommi Harju University of Arts Helsinki 19.06.2017 2
Some Viewpoints to the Private Theoretical Library of Johann Gottfried Walther (1684–1748) DMus, Lic.Phil.Tommi Harju University of Arts Helsinki 19.06.2017 2 Who was J. G. Walther (1684-1748)? Erfurt-born Stadtorganist in Weimar during so called ”Bach era”. Distant relative to Johann Sebastian Bach through their mothers (both part of famous Lämmerhirt-family) Walther as - A composer: organ chorales (282), concerto arrangements to organ, individual preludes and fugues - A lexicograph: first music encyclopaedia in German Musicalisches Lexicon (published 1732) - A theorist: developed the musical rhetorics (affects and figures) in his theoretical Praecepta der Musicalischen Composition (ms. 1708). Musical rhetorics also visible in the definitions of Lexicon (1732) 3 Walther’s letters and his library J. G. Walther was an avid letter writer He corresponded thoroughly with his contemporaries. Lorenz Christoph Mizler Johan Mattheson Andreas Werckmeister (correspondence lost) Most letters to Heinrich Bokemeyer, a cantor in Wolfenbüttel Together 47 letters from Walther has survived 4 Walther’s letters and his library ”Catalogus librorum theoretico-musicorum quos possiedo” is presented in the letter to Bokemeyer 4.4.1729 In that letter Walther lists his bookshelf to Bokemeyer, all together 147 titles Titles aren’t equal as the actual books: Opera omnia (all books) of Andreas Werckmeister, Johann Mattheson and Wolfgang Caspar Printz. Also references to owned books in other letters were added and some duplicates removed Total amount of books in Walther’s theoretical library is then 246. There were also 147 tractates mentioned in his catalogue 5 Theoretical framework from musicological aspect The great name in music historiography of 18th century in Germany is Johann Sebastian Bach (1685-1750) This canonical structure of music history unfavourable to the contemporaries of J. -
MTO 19.3: Brody, Review of Matthew Dirst, Engaging Bach
Volume 19, Number 3, September 2013 Copyright © 2013 Society for Music Theory Review of Matthew Dirst, Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn (Cambridge University Press, 2012) Christopher Brody KEYWORDS: Bach, Bach reception, Mozart, fugue, chorale, Well-Tempered Clavier Received July 2013 [1] Historical research on Johann Sebastian Bach entered its modern era in the late 1950s with the development, spearheaded by Alfred Dürr, Georg von Dadelsen, and Wisso Weiss, of the so-called “new chronology” of his works.(1) In parallel with this revolution, the history of the dissemination and reception of Bach was also being rewritten. Whereas Hans T. David and Arthur Mendel wrote, in 1945, that “Bach and his works ... [were] practically forgotten by the generations following his” (358), by 1998 Christoph Wolff could describe the far more nuanced understanding of Bach reception that had arisen in the intervening years in terms of “two complementary aspects”: on the one hand, the beginning of a more broadly based public reception of Bach’s music in the early nineteenth century, for which Mendelssohn’s 1829 performance of the St. Matthew Passion represents a decisive milestone; on the other hand, the uninterrupted reception of a more private kind, largely confined to circles of professional musicians, who regarded Bach’s fugues and chorales in particular as a continuing challenge, a source of inspiration, and a yardstick for measuring compositional quality. (485–86) [2] In most respects it is with the latter (though chronologically earlier) aspect that Matthew Dirst’s survey Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn concerns itself, serving as a fine single-volume introduction to the “private” side of Bach reception up to about 1850. -
VAIMULIKUD LOOSUNGID 2008 Valitud Piiblisalmid Igaks Päevaks
VAIMULIKUD LOOSUNGID 2008 Valitud piiblisalmid igaks päevaks Eesti Evangeelne Vennastekogudus 2008. aasta loosung Jeesus Kristus ütleb: Mina elan ja ka teie peate elama. Jh 14:19 Saatesõna 278. väljaandele Kas uskuda või mitte seda, mida ütleb Jeesus? Usklik inimene häbeneb ja ta ei küsi selliselt. Aga ometi, kas oled sa oma hinges kindel, et kui Jeesus on surnuist üles tõusnud ja elab, siis elad ka sina? Me ei söanda endale esitada selliseid küsimusi ja eriti meeleldi ei mõtle oma tulevikule. Kuigi igal päeval elame otse surma piiril, sest liiga palju on surmaga lõppevaid autoõnnetusi, tulesurmasid ja muid hukkumisi. See on reaalsus, mille keskel siin asume. Igavene elu, mis jätkub peale surma on teoreetilisena tunduv. Kui mu isa rääkis matustel ülestõusmise elust, siis ma noore mehena, kes praktiseeris tema kõrval, ei jõudnud selle mõttega kaasa minna, et jõuda rõõmuni, millele isa osutas. Näeme surma silmade ees ja meile tundub, et selles pole midagi ilusat. Ei olegi ilusat. Aga surm ei ole kohutav, kui su pilk on igavikule suunatud. Mu isa kordas ikka ja jälle: Meie elu on taevas. Meie aga küsime, kuidas on võimalik teha olematuks surma reaalsust ja traagilisust? Meie armsad lahkuvad ja meie ei peaks nutma? Ega nutmine ole keelatud. Nutmine leevendab valu. Siiski ei võta see valu ära. - 3 - Valu saab võtta sinult üksi Jeesus. Sellepärast seabki Ta enese võrdsena meie kõrvale. Ka Tema läks läbi maise surma. Ta ei ütle, mina suren ja teie peate surema. Paned sa tähele, Tema ei vaata surmale, vaid elule. Ta ütleb, see mis minule osaks sai, saab osaks ka sinule. Tõepoolest me ei astu surmast mööda. -
For the Degree of MASTER of MUSIC by Richard Highfill, B. Mus. Memphis, Texas August, 1952
/V$1 THE HISTORY OF THE TROMBONE FROM THE RENAISSANCE TO THE EARLY ROdANTIC PERIOD THESIS Presented to the Graduate Counci. of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 211818 Richard Highfill, B. Mus. Memphis, Texas August, 1952 211818 PREFACE The purpose of this thesis is to show the development of the trombone, in form and music, and its use in the orches- tra through the times of Beethoven and Schubert. Since very little material has been presented concerning the history of the trombone, it is hoped that the illustrations and explana- tions contained herein will be a contribution toward a repre- sentation of music from different composers and periods. The music covered gives a picture of the use of the trombone from the Renaissance through to the beginning of the Romantic Period. The results of this study are presented in three main sections: (1) The history of the trombone in the Renais- sance; (2) The history of the trombone in the Baroque; (3) The history of the trombone in the Classical Period, and up to the time of Schubert. In the first section, the trombone is described in its original form and illustrations show its use in the music of the Renaissance. The use of the trombone in the Baroque era, and its place in the various forms of sacred and secular music are presented in the second section. The third section is concerned mainly with the further development of the trombone in orchestral literature, iii culminating with the introduction and establishment of the instrument in the symphony. -
Buxtehude's Pedaliter Keyboard Works: Organ Or Pedal Clavichord?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Journals of Faculty of Arts, University of Ljubljana K. J. SNYDER • BUXTEHUDE’S PEDALITER ... UDK 780.8:780.649Buxtehude Kerala J. Snyder Eastman School of Music, University of Rochester Eastmanova akademija za glasbo, Univerza v Rochesterju Buxtehude’s Pedaliter Keyboard Works: Organ or Pedal Clavichord? Buxtehudejeva pedalna dela za instrumente s tipkami: orgle ali pedalni klavikord Prejeto: 13. julij 2011 Received: 13th July 2011 Sprejeto: 9. september 2011 Accepted: 9th September 2011 Ključne besede: Buxtehude, klavikord, orgle, Keywords: Buxtehude, clavichord, organ, peda- izvajanje pedaliter [s pedali] liter [or pedals] performance Iz v l e č e k Ab s t r a c t Članek razpravlja o tem, kako naj bi bil Buxtehude This article explores the questions of how Buxte- uporabljal pedalni klavikord pri pouku, reproduk- hude might have used a pedal clavichord for the ciji in komponiranju, zlasti kar zadeva njegove purposes of teaching, performing, and composing, pedalne (pedaliter) preludije. with special reference to his pedaliter praeludia. On May 23, 1675, Dieterich Buxtehude, organist and Werkmeister of St. Mary’s Church in Lübeck, wrote the following entry into the account book of the church: “Saturday. My highly honored directors, upon my—Dieterich Buxtehude’s— humble request (see Memorial, fol. 75), have graciously granted that a small writing and study room be built onto the Werkhaus, over the steps, facing the church courtyard. And this week [the work] began on it.”1 These two positions, one artistic, the other administrative, had been combined at St. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
A Study of Musical Rhetoric in JS Bach's Organ Fugues
A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.