Music Certificate Repertoire Lists: Piano

Total Page:16

File Type:pdf, Size:1020Kb

Music Certificate Repertoire Lists: Piano MUSIC CERTIFICATE REPERTOIRE LISTS: PIANO FOUNDATION 1. J S Bach Prelude in C minor BWV999 Any reliable edition Bartok A Joke (also called Jest), no.27 from For 2. Bartók Faber Children vol.1 (from Keynotes Grades 2-3) 3. Bartók Minuet (from The First Term at the Piano) Any reliable edition 4. Beach Weaving Song (from Fingerprints) Faber 5. Beethoven Allemande in A, WoO 81 Any reliable edition 6. Beethoven Fur Elise (complete) Any reliable edition Broekmans & van 7. Cimarosa Sonata no.1 (from 11 Sonatas book 1) Poppel 8. Clementi Sonatina in C op.36 no.3, 3rd movt Any reliable edition 9. Einaudi Le Onde Any reliable edition 10. Gallupi Allegro from Sonata no.26 in A Any reliable edition 11. Gurlitt Allegretto (from Sonatina in G) Any reliable edition 12. Harris Twilight (from Fingerprints) Faber Capriccio (from Succeeding with the Masters: 13. Hässler FJH Music Company The Festival Collection book 4) Allegro (4th movt from Piano Sonata in G Hob. 14. Haydn Any reliable edition XVI/8) Haydn arr. 15. Vivace (from Finale to Symphony no.96 in D) Any reliable edition Salomon Easy improvisation no.1 (from 13 Easy Broekmans & van 16. Hengeveld Improvisations) Poppel Andante Cantabile (from Sonatina in G op. 55 17. Kuhlau Kjos KJ15968 no.2) (from Sonatinas op.20 & op.55) Marching Tune (lower version) (from Keynotes 18. Lenehan Faber Grades 1-2) 19. L Mozart Allegro in G (no.41 from Notebook for Nannerl) Any reliable edition Andante no.37 from The Chelsea Notebook 20. Mozart Faber (from Keynotes Grades 2-3) Any Performance Etude (with improvisation) (from American Popular Piano Book 3 - Etudes Novus Via 21. Norton book.) Accompanied by the backing CD or Publications second piano part contained in American Popular Piano Book 3 - Repertoire book. 22. Pasquini Aria (from Keynotes Grades 1-2) Faber 23. Scarlatti attrib. Sonata in G (from Keynotes Grades 3-4) Faber Wild Rider (also called The Wild Horseman) 24. Schumann from Album for the Young op.68 (from Faber Keynotes Grades 2-3) Sea Chant from Two Easy Pieces (from 25. Sculthorpe Faber Keynotes Grades 3-4) 26. Smetana Toccata (from Keynotes Grades 1-2) Faber 1 Williams arr. Hedwig's Theme (from Harry Potter and the Warner Bros/IMP 27. Coates Prisoner of Azkaban - Easy Piano) AFM0407 28. Zamecnik Burglar Music (from Keynotes Grades 2-3) Faber 2 PIANO: BAROQUE INTERMEDIATE Solo for the Cembalo BWV Anh 129 (from 1. C P E Bach Trinity/Faber Baroque Real Repertoire) 1st movt: Allegro Moderato from Brandenburg 2. J S Bach Concerto no.3 in G, BWV 1048 [Die Hard] (from Any reliable edition Cult Classics) 3. J S Bach Gigue (from French Suite No.6 in E, BWV 817) Any reliable edition Les Petits moulins à vent (from Hours With The 4. Couperin Bosworth Masters book 4) L'amusante (from The Little Piano Book vol.2: 5. Daquin Peters EP 4452 The Age of J S Bach - Intermediate Piano book) 6. Daquin Le coucou (from Baroque Real Repertoire) Trinity Faber 7. Galuppi Adagio from Sonata in D, op.1 no.4 Any reliable edition Allemande from Suite for Keyboard no.16 in G 8. Handel Any reliable edition minor 9. Handel Pasacaille from Suite no.7 in G minor, HWV 432 Any reliable edition Toccata in G minor (from Classics to moderns 10. Leo Yorktown YK20048 book 4) ADVANCED Prelude from English Suite no.5 in E minor, BWV 1. J S Bach Any reliable edition 810 (from English Suites BWV 806-811) Prelude and Fugue in G, BWV 860 or Prelude and Fugue in E, BWV 854 or Prelude and Fugue 2. J S Bach Any reliable edition in F#, BWV 858 (from The Well-Tempered Clavier book 1) Prelude and Fugue in C minor, BWV 871 or 3. J S Bach Prelude and Fugue in Eb, BWV 876 (from The Any reliable edition Well-Tempered Clavier book 2) 4. J S Bach Fantasia in C minor, BWV 906 Any reliable edition 5. D Scarlatti Sonata in A minor, KP.175 Any reliable edition 6. D Scarlatti Sonatas in A Kp.208 and Kp.209 Any reliable edition Fugue in G minor, K.30 (The Cat Fugue) (from 7. D Scarlatti Schott ED 7200 Schott Piano Collection - D. Scarlatti) 3 PIANO: CLASSICAL INTERMEDIATE Bagatelle in C, op.119 no.2 (from Complete 1. Beethoven Henle HN158 Bagatelles) Bagatelle in G minor, op.119 no.1 (from 2. Beethoven Henle HN158 Complete Bagatelles) Scherzando (3rd movt from Sonatina in D major) 3. Beethoven Any reliable edition (no.3 of 3 Sonatinas WoO 47) Broekmans & van 4. Cimarosa Sonata in Bb (from 11 Sonatas book 1) Poppel Sonatine in C op.55 no.3, 1st movt: Allegro con 5. Kuhlau Kjos KJ15968 spirito (from Sonatinas op.20 & op.55) First movement from Viennese sonatina no.2 in 6. Mozart Schott ED 9021 A, KV 439b (from 6 Viennese Sonatinas) Sonata in D (from Bärenreiter Sonatina Album 7. Myslivecek Bärenreiter BA 6549 vol.2) 8. Schubert Moment Musical in F Minor, op.94 no.3, D780 Henle HN375 Andantino from Sonata on themes from the 9. Vogel Faber Magic Flute op.48 (from Keynotes Grade 4-5) ADVANCED 1st movt: Allegro or 4th movt: Prestissimo from 1. Beethoven Any reliable edition Sonata in F minor, op.2 no.1 2. Beethoven Andante Favori in F, WoO 57 Henle HN 21 3. Beethoven Rondo in C, op.51 no.1 Henle HN 140 Sonata in C, op.34 no.1, 1st movt: Allegro con 4. Clementi Peters EP 146a spirito (from 24 Sonatas vol. 1) 5. Field Nocturne no.6 in F (from Nocturnes) Peters EP 491 6. Haydn Fantasy in C, Hob. XVII/4 Henle HN 69 7. Haydn Sonata in E Hob. XVI/31, first movement Any reliable edition 8. Hummel Rondo in Eb, op.11 Peters EP 7045 Theme with 10 Variations (from 18th-century Bärenreiter Praha H 9. Lipavský Bohemian Variations) 4136 Any reliable 10. Mozart Allegro, 1st movt from Sonata in F K.332 edition 11. Mozart Fantasy in C minor, K. 475 Henle HN 345 12. Schubert Impromptu in Ab, op.142 no.2 (D. 935) Any reliable edition No.1, Allegro assai (from Drei Klavierstücke D. 13. Schubert Any reliable edition 946) PIANO: ROMANTIC 4 INTERMEDIATE Trainspotting (Habañera from Carmen] (from 1. Bizet Faber Cult Classics) Andante Con Larghezza, no.6 from 6 2. Bruch Breitkopf EB8114 Klavierstüke, op.12 3. Chopin Mazurka in A minor, op.7 no.2 Any reliable edition The Fifth Element [Mad Scene' from Lucia di 4. Donizetti Faber Lammermoor] (from Cult Classics) 5. Gade Scherzo in E (from Aquarelles, op.19) Peters EP3532 L. A. Confidential [Overture from The Hebrides] 6. Mendelssohn Faber (from Cult Classics) Venetian Gondoliers Song, op.19 no.6 (from 7. Mendelssohn Trinity Faber Romantic Real Repertoire) Natural Born Killers [Theme from Night on a 8. Mussorgsky Faber Bare Mountain] (from Cult Classics) Fatal Attraction ['Un bel di' from Madama 9. Puccini Faber Butterfly] (from Cult Classics) Albumblatt (from Little Piano Book vol 4, The 10. Wagner Peters EP 4454 Romantic Period) ADVANCED Intermezzo in Eb, op.117 no.1 (from 1. Brahms Henle HN 121 Drei Intermezzi op.117) Intermezzo in A minor, op.116 no.2 2. Brahms Henle HN 120 (from Fantasien op.116) Intermezzo in E minor, op.116 no.4 3. Brahms Henle HN 120 (from Fantasien op.116) Intermezzo in B minor, op.119 no.1 4. Brahms Henle HN 123 (from Klavierstücke op.119) 5. Brahms Ballade in D minor, op.10 no.1 Any reliable edition Brahms arr. Cradle Song (from Free Settings of 6. Schott ED 12778 Grainger Favourite Melodies) Ronde Champêtre (from Works for 7. Chabrier Dover Piano) Etude no.1 in F minor (from Trois 8. Chopin Any reliable edition Nouvelles Etudes) 9. Chopin Mazurka in A minor, op.59 no.1 Any reliable edition Nocturne in C# minor, op. posth. no. 10. Chopin Any reliable edition 20a 11. Chopin Nocturne in F minor, op.55 no.1 Any reliable edition 12. Chopin Valse no.14 in E minor, op. posth. Any reliable edition 13. Chopin Valse Brillante no.4 in F, op.34 no.3 Any reliable edition March of the Trolls op.54 no.3 (from 14. Grieg Any reliable edition Lyric Pieces) Wedding Day at Troldhaugen op.65 15. Grieg Peters EP 2922 no.6 16. Lavallée Le Papillon (The Butterfly) op.18 Arthur P Schmidt Prelude in Db, op.57 no.1 (from 17. Liadov Peters EP 9193 Selected Pieces) 18. Liszt Consolation no.2 Any reliable edition Notturno no.1 in Ab, Hohe Liebe (from 19. Liszt Henle HN 634 Liebesträume, 3 Notturnos) 20. Martucci Scherzo op.53 no.2 Ricordi 128001 Song without Words in Ab major, op. 21. Mendelssohn Any reliable edition 38 no.6, Duetto 5 Prelude and Fugue in D, op.35 no.2 22. Mendelssohn Any reliable edition (from Selected Pieces) Arabeske op.18 (from Arabeske and 23. Schumann Wiener Urtext UT50059 Blumenstücke) Aufschwung (Soaring) (from 25. Schumann Any reliable edition Fantasiestücke op.12) 26. Smith La Traviata fantasie brilliante op.103 www.sydneysmitharchive.org.uk 27. Smith Lucia di Lammermoor op.7 www.sydneysmitharchive.org.uk PIANO: EARLY MODERN 6 INTERMEDIATE Adagio from Three Early Pieces (from Keynotes 1. Frank Faber Grades 3 - 4) Rumba Toccata from Twentieth Century Real 2. Harvey Trinity Faber Repertoire To A Wild Rose, no.1 from Woodland Sketches, 3. MacDowell Trinity Faber op.51 (from Real Repertoire) Spillevǽrket [The Musical Clock] from 4.
Recommended publications
  • Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
    Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano.
    [Show full text]
  • The Preludes in Chinese Style
    The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Jingbei Li, D.M.A. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Steven M. Glaser, Advisor Dr. Arved Ashby Dr. Edward Bak Copyrighted by Jingbei Li, D.M.A 2019 ABSTRACT The piano was first introduced to China in the early part of the twentieth century. Perhaps as a result of this short history, European-derived styles and techniques influenced Chinese composers in developing their own compositional styles for the piano by combining European compositional forms and techniques with Chinese materials and approaches. In this document, my focus is on Chinese piano preludes and their development. Having performed the complete Debussy Preludes Book II on my final doctoral recital, I became interested in comprehensively exploring the genre for it has been utilized by many Chinese composers. This document will take a close look in the way that three modern Chinese composers have adapted their own compositional styles to the genre. Composers Ding Shan-de, Chen Ming-zhi, and Zhang Shuai, while prominent in their homeland, are relatively unknown outside China. The Three Piano Preludes by Ding Shan-de, The Piano Preludes and Fugues by Chen Ming-zhi and The Three Preludes for Piano by Zhang Shuai are three popular works which exhibit Chinese musical idioms and demonstrate the variety of approaches to the genre of the piano prelude bridging the twentieth century.
    [Show full text]
  • The Well-Tempered Clavier
    J.S. BACH The Well-Tempered Clavier Alexandra Papastefanou The Well-Tempered Clavier, Book I (24 Preludes and Fugues: Nos. 1-12, BWV 846-857) CD1 Prelude & Fugue No. 1 in C major, BWV 846 [4:04] Prelude & Fugue No. 7 in E flat major, BWV 852 [5:47] 1 Prelude [1:54] D Prelude [4:10] 2 Fugue [2:06] E Fugue [1:36] Prelude & Fugue No. 2 in C minor, BWV 847 [2:58] Prelude in E flat minor & Fugue in D sharp minor No. 8, BWV 853 3 Prelude [1:28] [9:08] 4 Fugue [1:29] F Prelude [3:37] G Fugue [5:30] Prelude & Fugue No. 3 in C sharp major, BWV 848 [3:41] 5 Prelude [1:23] Prelude & Fugue No. 9 in E major, BWV 854 [2:40] 6 Fugue [2:17] H Prelude [1:28] I Fugue [1:10] Prelude & Fugue No. 4 in C sharp minor, BWV 849 [8:05] 7 Prelude [2:57] Prelude & Fugue No. 10 in E minor, BWV 855 [3:29] 8 Fugue [5:06] J Prelude [2:17] K Fugue [1:10] Prelude & Fugue No. 5 in D major, BWV 850 [3:08] [ ] 9 Prelude [1:14] Prelude & Fugue No. 11 in F major, BWV 856 2:12 L [ ] A Fugue [1:52] Prelude 1:00 M Fugue [1:10] Prelude & Fugue No. 6 in D minor, BWV 851 [3:31] Prelude & Fugue No. 12 in F minor, BWV 857 [7:02] B Prelude [1:24] N Prelude [2:07] C Fugue [2:05] O Fugue [4:52] Total timing: [ 56:19] ̶ 2 ̶ The Well-Tempered Clavier, Book I (24 Preludes and Fugues: Nos.
    [Show full text]
  • Dmitry Shostakovich's <I>Twenty-Four Preludes and Fugues</I> Op. 87
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Spring 4-23-2010 Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance Denis V. Plutalov University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Composition Commons Plutalov, Denis V., "Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance" (2010). Student Research, Creative Activity, and Performance - School of Music. 27. https://digitalcommons.unl.edu/musicstudent/27 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. DMITRY SHOSTAKOVICH'S TWENTY-FOUR PRELUDES AND FUGUES, OP. 87: AN ANALYSIS AND CRITICAL EVALUATION OF THE PRINTED EDITION BASED ON THE COMPOSER'S RECORDED PERFORMANCE by Denis V. Plutalov A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Mark Clinton Lincoln, Nebraska May 2010 Dmitry Shostakovich's Twenty-Four Preludes and Fugues op. 87: An Analysis and Critical Evaluation of the Printed Edition Based on the Composer's Recorded Performance Denis Plutalov, D.
    [Show full text]
  • KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Sunday, April 22, 2018, at 3Pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO
    KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Sunday, April 22, 2018, at 3pm Foellinger Great Hall PROGRAM KRANNERT CENTER DEBUT ARTIST: LISHAN XUE, PIANO Johann Sebastian Bach Prelude and Fugue No. 4 in C-sharp Minor, BWV 873 (1685-1750) Wolfgang Amadeus Mozart Rondo in A Minor, K. 511 (1756-1791) Johannes Brahms Fantasien, Op. 116 (1833-1897) I. Capriccio in D Minor. Presto energico II. Intermezzo in A Minor. Andante III. Capriccio in G Minor. Allegro passionato IV. Intermezzo in E Major (Notturno in autograph). Adagio V. Intermezzo in E Major. Andante con grazia ed intimissimo sentimento VI. Intermezzo in E Major. Andantino teneramente VII. Capriccio in D Minor. Allegro agitato 20-minute intermission 2 Six Études Frédéric Chopin Étude in A-flat Major, Op. 10, No. 10 (1810-1849) Sergei Rachmaninoff Études-Tableaux in E-flat Minor, Op. 39, No. 5 (1873-1943) György Ligeti Étude No. 10, Der Zauberlehrling (1923-2006) Frédéric Chopin Étude in C Major, Op. 10, No. 1 (1810-1849) Sergei Rachmaninoff Études-Tableaux in E-flat Minor, Op.33, No.5 (1873-1943) György Ligeti Étude No. 6 Automne à Varsovie (1923-2006) Two Chinese Works Transcribed by Peixun Chen Autumn Moon over a Calm Lake (1921-2006) Transcribed by Jianzhong Wang Five Yunnan Folk Songs (1933-2016) I. Dali Girl II. Love Duet III. Guess a riddle IV. Mountain song V. Dragon Lantern Tune Maurice Ravel “Alborada del gracioso” from Miroirs (1875-1937) 3 THANK YOU FOR SPONSORING THIS PERFORMANCE Krannert Center honors the spirited generosity of donors who make these performances possible.
    [Show full text]
  • A COMPARATIVE ANALYSIS of the EXPOSITIONS in the FUGUES THOSE of PAUL HINDEMITH in LDUS T-ONALIS THESIS Presented to the Graduat
    sis' A COMPARATIVE ANALYSIS OF THE EXPOSITIONS IN THE FUGUES OF J. S. BACK IN.ThS j-TEMPESED CLVLSR AND THOSE OF PAUL HINDEMITH IN LDUS T-ONALIS THESIS Presented to the Graduate Council of the North Texas State Ufiversity in Partial Fulfillment of the Requirements For the Degree of MSTE- OF MUSIC By Dorothy N; Foster, B. ft. S. Denton, Texas August, 1973 Foster*Dorothy N., A maative A z if 2, e ) xp sitions ntLg. ht- eipe nd those __ Hindemithinuds Master of Music (Theory)s Au t., 1973 170 pp. 23 tables, 64 figures, biblio- graphy, 105 titles. The problem with, which this thesis is coneerned is tha o alyzin nd comparing the fugal writing and contrapuntal style Of J. 0. Bach in the fugue expositions of W -Tempere4 Clvirand thatof Paul Hndmith in the fugue expositionsof the gll s. This comparison is made on the bassOfa comprehensive analysis ofthe fugal expositions both ol- lections of fugues mentioned ( e -S edC.Uvieg by Bah and the J g To is by Hindemith). Chapter I includes a discussion of the careers and compo- sitional teehniques of Bach and aindenith. An emphasis is placed on a comparison of Bach's fugal writing with that of s immediate predecessors (composers of the seventeenth and early egkteh 6et ies who were writing in the fugal ayle) and on a comparison Of Hindemithstheory of tonality, as expressed in The C Somgsition, with that of the traditional harmoniceaon- cept of Bach's day. Chapter U deals witthe evolution of the fugal concept. In this chapter, imitative formsofo imposition which gradually evolved toward the fugue are traced from their very early begin- rungs through the siXteenth, seventeenth, eighteenth, nineteenth, 2 and twentieth centuries.
    [Show full text]
  • Das Wohltemperierte Akkordeon Mie Miki
    DAS WOHLTEMPERIERTE AKKORDEON MIE MIKI BIS-2217 BIS-2217 booklet cover.indd 1 2016-12-07 12:13 BACH, Johann Sebastian (1685–1750) Das Wohltemperierte Akkordeon Selected Preludes and Fugues from Das Wohltemperierte Klavier, Books I and II Performed according to the Urtext Edition published by Henle Verlag Prelude and Fugue in C major, BWV846 4'08 1 Prelude 2'09 – 2 Fugue a 4 voci 1'59 Prelude and Fugue in C minor, BWV847 2'57 3 Prelude 1'39 – 4 Fugue a 3 voci 1'18 Prelude and Fugue in B flat minor, BWV891 8'37 5 Prelude 3'06 – 6 Fugue a 4 voci 5'31 Prelude and Fugue in D major, BWV850 2'59 7 Prelude 1'02 – 8 Fugue a 4 voci 1'57 Prelude and Fugue in F major, BWV880 4'58 9 Prelude 3'26 – 10 Fugue a 3 voci 1'32 Prelude and Fugue in B flat minor, BWV867 6'03 11 Prelude 3'06 – 12 Fugue a 5 voci 2'57 2 Prelude and Fugue in F sharp major, BWV858 2'54 13 Prelude 1'00 – 14 Fugue a 3 voci 1'54 Prelude and Fugue in F sharp minor, BWV883 4'55 15 Prelude 2'30 – 16 Fugue a 3 voci 2'25 Prelude and Fugue in G major, BWV884 3'20 17 Prelude 2'06 – 18 Fugue a 3 voci 1'14 Prelude and Fugue in G minor, BWV861 4'09 19 Prelude 1'55 – 20 Fugue a 4 voci 2'14 Prelude and Fugue in D major, BWV874 8'15 21 Prelude 4'55 – 22 Fugue a 4 voci 3'20 Prelude and Fugue in B minor, BWV869 11'25 23 Prelude 5'44 – 24 Fugue a 4 voci 5'41 TT: 66'20 Mie Miki accordion Instrumentarium: Accordion: Giovanni Gola / Hohner 1972 Accordion tuning: Wolfgang Bratz 3 Between Timelessness and Silence After five years of intensive preparation I finally arrived at the point where I could commit to recording this selection from Johann Sebastian Bach’s Well-Tempered Clavier on the accordion.
    [Show full text]
  • Davitt Moroney, Harpsichord 14
    CAL PERFORMANCES PRESENTS PROGRAM A Saturday, October 24, 2009, 8pm Hertz Hall 13. Prelude and Fugue in F-sharp major, bwv 858 Davitt Moroney, harpsichord 14. Prelude and Fugue in F-sharp minor, bwv 859 harpsichord by John Phillips (Berkeley, 1995), 15. Prelude and Fugue in G major, bwv 860 after the historical instrument in the Musée instrumental, Citée de la Musique, Paris, 16. Prelude and Fugue in G minor, bwv 861 built by Andreas Ruckers (Antwerp, 1646), rebuilt by François-Étienne Blanchet (Paris, 1756) and Pascal Taskin (Paris, 1780) 17. Prelude and Fugue in A-flat major, bwv 862 18. Prelude and Fugue in G-sharp minor, bwv 863 19. Prelude and Fugue in A major, bwv 864 20. Prelude and Fugue in A minor, bwv 865 PROGRAM 21. Prelude and Fugue in B-flat major,bwv 866 22. Prelude and Fugue in B-flat minor,bwv 867 Johann Sebastian Bach (1685–1750) 23. Prelude and Fugue in B major, bwv 868 24. Prelude and Fugue in B minor, bwv 869 Das Wolhtemperirte Clavier (“The Well-Tempered Clavier”), bwv 846–893 Book 1 (1722) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. 1. Prelude and Fugue in C major, bwv 846 2. Prelude and Fugue in C minor, bwv 847 3. Prelude and Fugue in C-sharp major, bwv 848 4. Prelude and Fugue in C-sharp minor, bwv 849 5. Prelude and Fugue in D major, bwv 850 6. Prelude and Fugue in D minor, bwv 851 Sightlines 7. Prelude and Fugue in E-flat major,bwv 852 8.
    [Show full text]
  • 26 July 1906, Kirzhach - 22 February 1989, Moscow) ​
    Transcription Publication records/information on where mention of work can found Vladimir Sergeevich Belov (26 July 1906, Kirzhach - 22 February 1989, Moscow) ​ Allemande from Partita for solo Bach, Johann Sebastian. Sitsyliana i Allemanda [Sicilienne ​ ​ flute in A minor, BWV 1013* and Allemande], arranged by Vladimir Belov. Moscow: Muzgiz, 1952. Sicilienne from Flute Sonata Bach, Johann Sebastian. Sitsyliana i Allemanda [Sicilienne ​ ​ No. 2, BWV 1031* and Allemande], arranged by Vladimir Belov. Moscow: Muzgiz, 1952. Issaya Aleksandrovich Braudo (9 August 1896, Boyarka - 11 March 1970, Leningrad) ​ Recitative from Concerto No. 3 Braudo, Isayya Aleksandrovich. Shest’ polifonicheskih pyes ​ in C major (after A. Vivaldi), Bukstehude, Baha i Vyerna [Six ​ BWV 594* polyphonic pieces of Buxtehude, Bach and Vierne]. Leningrad: Triton, 1927. Chorale Prelude Alle Menschen Braudo, Isayya Aleksandrovich. Shest’ polifonicheskih pyes ​ ​ müssen sterben (I), BWV 643* Bukstehude, Baha i Vyerna [Six polyphonic peces of ​ ​ Buxtehude, Bach and Vierne]. Leningrad: Triton, 1927. Boris Borisovich Borodin (born 1951) ​ Crucifixus and Et incarnates Borodin, Boris Borisovich. Kontsertnyye obrabotki dlya ​ ​ ​ from Mass in B minor BWV fortepiano proizvedeniy I. S. Baha, V. A. Motsarta, G. 232* Malera, R. Shtrausa, S. V. Rahmaninova, K. Debyussi, J. Offenbaha. Shedevry fortepiannoy transkriptsyi. Vypusk 27 [Concert arrangements for piano of works of J. S. Bach, W. A. Mozart, G. Mahler, R. Strauss, S. V. Rachmaninov, C. Debussy, J. Offenbach. Masterpieces of the piano transcription. Volume 27]. Moscow: Deka-VS, 2018. Stanislav Stanislavovich Bunin (born 25 September 1966, Moscow) ​ Largo [‘Arioso’] from Concerto Audio CD: The most relaxing Bach album in the ​ No.5 in F minor, BWV 1056 world...ever! Capitol Records, 2006.
    [Show full text]
  • Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers
    Document generated on 09/27/2021 11:47 p.m. Man and Nature L'homme et la nature Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music Jacobus Kloppers Volume 3, 1984 URI: https://id.erudit.org/iderudit/1011830ar DOI: https://doi.org/10.7202/1011830ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 0824-3298 (print) 1927-8810 (digital) Explore this journal Cite this article Kloppers, J. (1984). Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music. Man and Nature / L'homme et la nature, 3, 131–162. https://doi.org/10.7202/1011830ar Copyright © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 1984 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ 9. Musical Rhetoric and Other Symbols of Communication in Bach's Organ Music1 This paper illustrates certain communicative devices in Bach's organ music. Such devices are usually designated by the term 'symbol.' This term is employed in the present paper in the broadest sense; it denotes a means to communicate something — directly and indirectly.
    [Show full text]
  • 1 ORGAN WORKS by COMPOSERS from AFRICA and the AFRICAN-DIASPORA BIBLIOGRAPHY: See Also Calvert Johnson, Compi
    1 ORGAN WORKS BY COMPOSERS FROM AFRICA AND THE AFRICAN-DIASPORA BIBLIOGRAPHY: see also www.agoatlanta.org Calvert Johnson, compiler (2013) AFRICAN-AMERICAN COMPOSERS Adams, H. Leslie (b. Cleveland, 1932). Infinitas (1999). ______. Offering of Love [Offertory] (1991). Westlake OH: HCM, 1992. In Abbington vol. 1. ______. Prelude & Fugue for Organ (1978). Pullman WA: Vivace Press, 1998. http://www.hleslieadams.com; http://chevalierdesaintgeorges.homestead.com/Adams.html ARCHIVES: Leslie Adams Music Archives, Special Collections, Cleveland Public Library EDUCATION: BME, Oberlin (1955), studying composition with Herbert Elwell and Joseph Wood; further private study with Robert Starer and Vittorio Giannini; MM, California State University-Long Beach (1967) studying composition with Leon Dallin and Robert Tyndall; PhD, Ohio State University (1973), studying with Marshall Barnes. CAREER: Choral director, Stillman College (AL); Pianist for dance companies (1957-62); High School teacher, Soehl Jr High, Linden NJ (1962-63); Associate Musical Director, Karamu House, Cleveland OH (1964-65); Music teacher, New Mexico School for Performing Arts, Raton NM (1966-67);Assistant Professor, Florida A&M University (1968); Associate Professor, Choral director, University of Kansas (1970-78); Composer-in- residence, Karamu House, Cleveland OH (1979-80); Scholar-in –residence, Rockefeller Foundation, Bellagio Italy (1979); Fellowship, Yaddo Artists Colony, Saratoga Springs (1980, 1984); Cleveland Foundation Fellow (1980); Jennings Foundation Fellow (1981); Guest composer, Cuyahoga Community College OH (1980); Composer-in residence, Cleveland Music School Settlement (1981-84, 1991); Founder and President, Accord Associates (1980-1986); Executive Vice-President, Composer-in-Residence, Accord Associates (1986-92); Artist-in-residence, Creative Arts (1997-present); National Association of Negro Musicians Composer Award (2004); Composer Legacy Award, National Opera Association (2006); Distinguished Alumnus Award, California State University, Long Beach (2006); Gems of Cleveland Award (2007).
    [Show full text]
  • Program Notes.Docx
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUN ScholarWorks CALIFORNIA STATE UNIVERSITY, NORTHRIDGE Pipe Organ Recital An abstract submitted in partial fulfillment of the requirements For the degree of Master of Music, Performance By Hae-Yul Grace Chung August 2014 The abstract of Hae-Yul Grace Chung is approved: _________________________________________ ______________ Dr. Elizabeth Sellers Date _________________________________________ ______________ Dr. Liviu Marinescu Date _________________________________________ ______________ Dr. Timothy Howard, Chair Date California State University, Northridge ii TABLE OF CONTENTS Signature Page ii Abstract iv 1. Johann Sebastian Bach (1685-1750) 1 1.1 Analysis of Prelude and Fugue in A Minor, BWV 543 7 2. Dan Locklair (b.1949) 11 2. 1 Analysis of In Mystery and Wonder 12 3. Louis Vierne (1870-1937) 15 3. 1 Analysis of Troisième Symphonie Pour Grand Orgue 19 Bibliography 23 Appendix A: Map of Bach’s Travels 25 Appendix B: The Record of Bach’s Recommendations to repair 26 Appendix C: Specifications of the Notre Dame Organ 27 Appendix D: Themes in Troisième symphonie pour grand orgue 28 Appendix E: Recital Program 32 Appendix F: Recital Program Notes 35 iii ABSTRACT Pipe Organ Recital By Hae-Yul Grace Chung Master of Music, Performance The contributions made by Johann Sebastian Bach, Louis Vierne, and Dan Locklair hold a very distinct landmark in the development of organ music. Bach creatively brought Baroque music to its culmination, and is known for his expert contrapunctal craftsmanship that has proven itself through the ages. In the French Romantic period the zenith of symphonic organ music was achieved by Vierne through his six organ symphonies.
    [Show full text]