29 September 2019

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29 September 2019 12:01 AM Selim Palmgren (1878-1951) Cinderella (Overture) Finnish Radio Symphony Orchestra, George de Godzinsky (conductor) FIYLE 12:05 AM Giovanni Picchi (c.1571-1643) 3 Ballos - Ballo alla Polacca; Ballo Ongaro; Ballo ditto il Pichi Rinaldo Alessandrini (harpsichord) DEWDR 12:12 AM Nino Rota (1911-1979) Concerto for bassoon and orchestra Christopher Millard (bassoon), CBC Vancouver Orchestra, Mario Bernardi (conductor) CACBC 12:30 AM Giovanni Pierluigi da Palestrina (c.1590-1664) Magnificat primi toni for 4 voices Marco Beasley (tenor), Davide Livermoore (tenor), Fabian Schofrin (alto), Annemieke Cantor (alto), Daniele Carnovich (bass), Diego Fasolis (conductor) CHRTSI 12:38 AM Joseph Haydn (1732-1809) Divertimento in C major, aka London Trio No 1 (Hob.4 No 1) Carol Wincenc (flute), Philip Setzer (violin), Carter Brey (cello) GBBBC 12:47 AM Stefan Kisielewski (1911-1991) Suite from the ballet "Fun Fair" Polish Radio National Symphony Orchestra Katowice, Michal Nesterowicz (conductor) PLPR 01:00 AM Jean Sibelius (1865-1957) 13 Pieces for piano (Op.76) Eero Heinonen (piano) FIYLE 01:20 AM Antonin Dvorak (1841-1904) Symphony no 5 in F major, Op 76 Rotterdam Philharmonic Orchestra, James Conlon (conductor) NLNOS 02:01 AM Wolfgang Amadeus Mozart (1756-1791) String Quartet no.19 in C major K.456, 'Dissonance' Artis Quartet ESCAT 02:29 AM Fritz Kreisler (1875-1962) String Quartet in A minor Artis Quartet ESCAT 02:55 AM Johannes Brahms (1833-1897) String Quartet no.2 in A minor Artis Quartet ESCAT 03:25 AM Bohuslav Martinu (1890-1959) Symphony No.5 (H.310) Prague Radio Symphony Orchestra, Vladimir Valek (conductor) CZCR 04:01 AM Heinrich Ignaz Franz von Biber (1644-1704) Missa Alleluja a36 Gradus ad Parnassum, Concerto Palatino, Wiener Hofburgkapelle, Konrad Junghanel (director) DEWDR 04:37 AM Alexander Scriabin (1871-1915) Poeme de l'extase for orchestra (Op.54) Orchestre National de France, Evgeny Svetlanov (conductor) FRSRF 05:03 AM Leopold Ebner (1769-1830) Trio in B flat major Zagreb Woodwind Trio HRHRT 05:10 AM Antonio Vivaldi (1678-1741) Concerto for lute, 2 violins & continuo in D major, RV.93 Nigel North (lute), London Baroque, John Toll (organ) DEWDR 05:20 AM Dora Pejacevic (1885-1923) Four piano pieces Ida Gamulin (piano) HRHRT 05:31 AM Ralph Vaughan Williams (1872-1958) Fantasia on a theme by Thomas Tallis for double string orchestra BBC Philharmonic, Yan Pascal Tortelier (conductor) GBBBC 05:45 AM Thomas Tallis (1505-1585) Loquebantur variis linguis for 7 voices BBC Singers, Bo Holten (director) GBBBC 05:50 AM Wojciech Kilar (1932-2013) Orawa Baltic Sea Youth Philharmonic, Kristjan Järvi (conductor) PLPR .

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Recorder in Oxford Music Online Oxford Music Online
14.3.2011 Recorder in Oxford Music Online Oxford Music Online Grove Music Online Recorder article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/23022 Recorder. A woodwind instrument with a thumb-hole and (generally) seven finger-holes. It is the chief Western member of the class of duct flutes, i.e. flutes with a whistle mouthpiece, being distinguished from most other members particularly by its thumb-hole. Invented (or imported to Europe) during the Middle Ages, it was one of the most common wind instruments of the Renaissance and continued to play an important role in the Baroque. After being little used during the Classical and Romantic periods, it was resuscitated in the early 20th century and featured prominently in the early-music revival. Today it is a widely popular educational and amateur instrument and has attracted a skilled body of professionals. Recorders are made in different sizes, with compasses corresponding to different vocal ranges. There are four main instruments in use today: the descant (known in the USA as the ‘soprano’; lowest note c″); treble (in the USA ‘alto’; lowest note f′), tenor (lowest note c′) and bass ( f). Sopranino ( f″) and great bass ( c) instruments are also fairly common. The treble and tenor are written for as non-transposing instruments, but music for the sopranino, descant, bass and great bass is customarily written an octave below their sounding pitch. See also ORGAN STOP . I. The instrument 1. Nomenclature. The verb ‘to record’, meaning ‘to remember for oneself, to recall to another’, derives from the Latin recordari , ‘to remember’; thus a recorder was a rememberer or relater, such as a minstrel or, by extension, his instrument (E.
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J a N U a R Y 2 0
January 2010 Published by the American Recorder Society, Vol. LI, No. 1 • www.americanrecorder.org NEW! Enjoy the recorder Denner great bass Mollenhauer & Friedrich von Huene “The Canta great bass is very intuitive to play, making it ideal for use in recorder “The new Mollenhauer Denner orchestras and can be great bass is captivating with recommended .” its round, solid sound, stable in every register. Its key mechanism Dietrich Schnabel is comfortable and especially (conductor of recor- well designed for small hands. An der orchestras) instrument highly recommended for both ensemble and orchestral playing.” Daniel Koschitzky Canta knick great bass (member of the ensemble Spark) Mollenhauer & Friedrich von Huene G# and Eb keys enable larger finger holes and thus an especially stable sound. The recorder case with many extras With adjustable support spike … saves an incredible amount of space with the two-part middle joint … place for music … integrated recorder stand Order-No. 2646K Order-No. 5606 www.mollenhauer.com A Care and Maintenance Manual Chapter 1 - Where It All For the Recorder Started • A Brief History Your Recorder, like a pet, can "purr like a well fed pussycat, or an uncontrollable • How It Works and unpredictable beast…" • The Birth of a Recorder "This book, like the late Barbara Woodhouse, will show you how to take your recorder on walkies in respectable society and still stand proud!" Chapter 2 - Basic Training • Keeping its coat shiny • Maintaining the inner pet – cleaning the bore. • Block Cleaning • Windway Cleaning • Block Replacement Chapter 3 - Advanced Training • Recorder Voicing • Looking and Seeing Chapter 4 - Really Major Surgery • The Windway • The Labium Chapter 5 - Tuning the bore and finger holes • DYI Tuning • Diagrams for note, finger and pitch influence, bore diameter and pitch.
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Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol
Performance Practice Review Volume 5 Article 8 Number 1 Spring Music for the Cimbalo Cromatico and the Split- Keyed Instruments in Seventeenth-Century Italy Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1992) "Music for the Cimbalo Cromatico and the Split-Keyed Instruments in Seventeenth-Century Italy," Performance Practice Review: Vol. 5: No. 1, Article 8. DOI: 10.5642/perfpr.199205.01.08 Available at: http://scholarship.claremont.edu/ppr/vol5/iss1/8 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early Baroque Keyboard Instruments Music for the Cimbalo Cromatico and Other Split- Keyed Instruments in Seventeenth-Century Italy* Christopher Stembridge The Concept of the Cimbalo Cromatico Although no example of such an instrument is known to have survived intact, the cimbalo cromatico was a clearly defined type of harpsichord that apparently enjoyed a certain vogue in Italy during the late sixteenth and early seventeenth centuries.1 The earliest use of the term is found in the titles of two toccatas per il cimbalo cromatico included by Ascanio Mayone in his Secondo Libro di Diversi Capricci per Sonare published in Naples in 1609.2 Subsequently the term was used in publications by This is the first of three related articles. The second and third, to be published in subsequent issues of Performance Practice Review, will deal with the instruments themselves.
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18-08-07 EVE De Profundis.Indd
VANCOUVER BACH FESTIVAL 2018 tuesday august 7 at 7:30 pm | christ church cathedral the artists de profundis: 17th-century sacred music for solo bass Stephan MacLeod bass Heinrich Schütz (1585–1672): Attendite, popule meus Veronika Skuplik violin Giovanni Picchi (c.1571–1643): Matthew Jennejohn cornetto Sonata XV from Canzoni da sonar con ogni sorte d’istromenti (1625) – edited by Nathan Wilkes Romina Lischka viola da gamba Johann Walter (1496–1570), Francis Jacob (c.1494–1541) organ Lupus Hellinck , Balthasar Resinarius (c.1485–1544): Lucas Harris lute Three settings of Martin Luther, Aus tiefer Not (adapted from Psalm 130, De profundis) Cappella Borealis: Sisto Reina (d.after 1664): Jeremy Berkman De profundis Alex Fisher Ellen Marple Heinrich Schütz (1585–1672): Nathan Wilkes Fili mi, Absalon sackbuts interval Supported by Biagio Marini (1594–1663): Canzon terza à 4 Tarquinio Merula (c.1595–1665): Credidi, propter locutus sum Visiting Foreign Artists Program Thomas Selle (1599–1663): Domine exaudi Supported by Bryan & Gail Atkins Giovanni Martino Cesare (c.1590–1667): La Ioannina Pre-concert chat with Andreas Hammerschmidt (1611–1675): host Matthew White at 6:45: Gott sey mir gnädig Alex Fisher Heinrich I. F. von Biber (1644–1704): Nisi Dominus THE UNAUTHORISED USE OF (1625–1673) ANY VIDEO OR AUDIO RECORDING Johann Rudolf Ahle : DEVICE IS STRICTLY PROHIBITED Herr, nun lässt du deinen Diener earlymusic.bc.ca De Profundis: 17th-century sacred music for solo bass Vancouver Bach Festival 2018 1 programme notes by alex fisher 400 years ago, religious war broke out on the European continent. The uneasy settlement reached in the mid-sixteenth century by the Holy Roman Empire’s Catholics and Protestants failed to hold, and a foul mixture of political intrigue and religious resentment led to thirty years of horror in the German theatre.
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CHAN 0761 Sacred Garland: Devotional Chamber Music from the Age of Monteverdi
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Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
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Rafael Puyana Will Present a Program of Baroque Music for the Harpsichord in La Jolla on May 5
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CHAN 0670 Front.Qxd 9/7/07 11:53 Am Page 1
CHAN 0670 Front.qxd 9/7/07 11:53 am Page 1 CHAN 0670 CHANDOSCHACONNE CHANDOS early music CHAN 0670 BOOK.qxd 9/7/07 11:54 am Page 2 Capriccio stravagante, Volume 2 Alessandro Stradella (1644 –1682) 1 Sinfonia 17 7:07 two violins, bass violin and organ Lebrecht Music Collection Music Lebrecht Giovanni Battista Vitali (1632 –1692) 2 Passagallo primo from ‘Varie partite del passemezo, ciaccona, capricij, e passagali, a tre’, Op. 7 2:13 two violins, bass violin and harpsichord Michelangelo Rossi (1601/2 –1656) 3 Toccata decima from ‘Toccate e corenti d’intavolatura d’organo e cimbalo’ (Rome, c. 1634) 5:53 organ Biagio Marini (c. 1587–1663) 4 Canzon seconda from ‘Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli’, Op. 8 2:46 violin, two violas, bass violin and organ Dario Castello (1590 –1644) 5 Sonata sesta from ‘Sonate concertate in stil moderno, Title page of the third printing of libro secondo’ 4:59 Salamone Rossi’s Terzo libro (1623) violin, trombone, organ and chitarrone 3 CHAN 0670 BOOK.qxd 9/7/07 11:54 am Page 4 Girolamo Frescobaldi (1583–1643) Girolamo Frescobaldi 6 Balletto, Corrente del Balletto and Passacagli from 11 Canzon terza from ‘Canzoni da sonare, libro primo’ 3:17 ‘Toccate d’intavolatura di cimbalo et organo, libro two violins, bass violin and organ primo’ (Rome, 1637) 1:47 harpsichord Giovanni Battista Vitali 12 Capriccio sopra dodici figure from Op. 7 3:00 Biagio Marini two violins, bass violin and organ 7 Sonata septima sopra A voi dò vinto il cor from Op.
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Dario Castello's Music for Sackbut
DARIO CASTELLO’S MUSIC FOR SACKBUT: THE SONATE CONCERTATE IN STIL MODERNO (1629) Jason M. Hausback, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2013 APPROVED: Jan Kagarice, Major Professor Tony Baker, Committee Member Eugene Corporon, Committee Member John Holt, Director of the Division of Instrumental Studies John Murphy, Interim Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Hausback, Jason M. Dario Castello’s Music for Sackbut: The Sonate Concertate in Stil Moderno (1629). Doctor of Musical Arts (Performance), May 2013, 56 pp., 13 examples, 1 table, references, 56 titles. Dario Castello’s Sonate concertate in stil moderno is a collection of 29 trio sonatas in two volumes, with 10 of them employing the sackbut. These works represent a significant repertoire for the sackbut in an era where specific instrumentation was only starting to become a convention. While these pieces are often studied, performed and recorded in Europe, most American trombonists are not aware of their existence. This study seeks to acquaint the American trombonist with the sonatas of Castello and to provide performance suggestions for those less familiar with this genre. Chapter 1 presents a survey of the current literature on Castello. Chapter 2 provides an historical background for music in Venice in the early 17th century, while Chpater 3 focuses on the composer and his music for sackbut. Chapter 4 investigages the sonata in early 17th century Venice. Chapter 5 provides an insight into early baroque performance practice by discussing principles such as affect, tempo, ornamentation, diminution and articulation.
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The Trombone in A: Repertoire and Performance
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Recercare, Vol. XXVII (1-2) 2015
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