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Frescobaldi Gesualdo Solbiati
Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8. -
FRENCH CONNECTIONS with Avery Gagliano, Piano
FRENCH CONNECTIONS with Avery Gagliano, piano February 13, 2021 | 7:30 PM Welcome to OMP's Virtual Concert Hall! Bonjour et bienvenue! Thank you to our loyal donors and season subscribers for your continued support, and a warm welcome to those who are joining us in our "Virtual Concert Hall" for the first time. Your contributions have made it possible for OMP to present our third virtual chamber orchestra performance in HD audio and video! We hope you enjoy this programme musical français featuring First Prize and Best Concerto Prize winner of the 2020 10th National Chopin Piano Competition Avery Gagliano! THANK YOU TO THESE GENEROUS GRANTING ORGANIZATIONS: Get the PremiumExperience! Level A Subscription Seat Access to Virtual Premium Special Concerts and additional OMP content or concerts. Receive "Kelly's Recommendation" in headphones: Bose® SoundLink around-ear headphones II with contactless shipping Select a personally autographed CD or DVD of "A Virtual Recital", featuring 2015 Young Soloist Competition Winner John Fawcett, violin and Kelly Kuo, piano. Complimentary, contactless wine delivery upon virtual reception advanced reservation Current 2020-21 Subscribers can use the amount of their tickets as a credit toward their purchase of an OMP Premium Experience Package! Give the gift of with OMP and Bose at oregonmomzaurstipclayers.org/tickets Orchestra Kelly Kuo, Artistic Director & Conductor VIOLIN Jenny Estrin, acting concertmaster Yvonne Hsueh, principal 2nd violin Stephen Chong Della Davies Sponsored by Nancy & Brian Davies Julia Frantz Sponsored by James & Paula Salerno Nathan Lowman Claudia Miller Sponsored by Jeffrey Morey & Gail Harris Sophie Therrell Sponsored by W. Mark & Anne Dean Alwyn Wright* VIOLA Arnaud Ghillebaert principal viola Lauren Elledge Kimberly Uwate* CELLO Dale Bradley acting principal cello Sponsored by Larissa Ennis & Lindsay Braun Eric Alterman Noah Seitz BASS Nicholas Burton, principal bass HARPSICHORD/PIANO Thank you to our additional musician sponsors: John Jantzi, Theodore W. -
Girolamo Frescobaldi Aria Detta La Frescobalda
Girolamo Frescobaldi 1583 - 1644 Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) für Gitarre bearbeitet von / arranged for Guitar by Thomas Königs Aria detta la Frescobalda Aus dem II. Buch der Toccaten, Canzonen ... (Rom 1637) Für Gitarre bearbeitet Girolamo Frescobaldi von Thomas Königs (1998) (1583-1644) Prima Parte CII 4 3 3 3 3 3 4 4 4 4 2 0 0 # Ó œ œ œ œ ˙ ˙ ˙ œ œ œ œ 0 # c 1 w 1 ˙ ˙ 1wŒ œ ˙# ˙ œ œ œn œ V 2 w 0 w w 1 w ˙ 1 ˙ œ w w ˙# œ 2 ˙n ˙ 3 ˙ w ˙ . œ ˙ 1 4 4 2 3 1 4 Ó j 0 œ œ. œ œ œ # œ œ œ 0 œ ˙ wœ. œ œ œ # 2 œ œn É . J ˙ V 3 w œ ˙˙ ˙ . Œ ˙ w œ w ˙ 1 ˙ ˙ w ˙n . ˙ ˙ 2 0 4 4 4 3 0 2 U # #˙ 3 3 œn 1 œ 2 œ# ˙ ˙ 3 ˙ á # ˙ ˙œ 4 1 œ œ œ œ œ ˙ œ á V œ 2 œ# œ 1 œ 1œ ˙ á w ˙ œ ˙n œ w á Ó á Seconda Parte 4 4 3 3 3 # œ œ œ œ 0 œ ˙. ˙. œ ˙ # 6 2 œ œ œ œ œ œ œ ˙. ˙. V 4 1 ˙. œ œ œ ˙. ˙. ˙. ˙# . œ œn œ ˙. ˙. œ œ œ 4 3 Œ 0 Œ œ # ˙. ˙. ( ) 0 0 ˙. # ˙n . ˙. ˙# œ 0 œ œ 1 œ œ3 œ V 2 Œ œ ˙ œ 1 ˙. Œ œ 4 2 2 ˙. œn œ œ œ œ œ ˙. ˙. ˙. ˙. 3 4 # œ œ œ V # œn ˙. -
RAFAEL PUYANA Harpsichordist
1965 Eighty-seventh Seaso n 1966 UNIVERSITY MUSICAL SOCIETY THE UNIVERSITY OF MICHIGAN Charles A. Sink, President Gail W. Rector, Executive Director Lester McCoy, Conductor Second Program Third Annual Chamber Arts Series Complete Series 3488 RAFAEL PUYANA Harpsichordist SUNDAY EVENING, OCTOBER 31, 1965, AT 8:30 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Five Galliards GIROLAMO FRESCOBALDI (1583-1643) More Palatino JAN PIETERSZOON SWEELINCK (1562-1621) The Scottish Gigue Anonymous, England, 17th Century Le Moutier . JACQUES CHAMPION DE CHAMBONNIERES (Variation by LOUIS COUPERIN) (c. 1602-167 2) Pavanne LOUIS COUPERIN (1626-1661) Concerto in D major (after Vivaldi) J. S. BACH Allegro (1685-1750) Larghetto Allegro INTERMISSION Passacaglia in D minor J. K. F. FISCHER (c. 1665- 1746) Sonata in C major (Longo 102 , Kirkpatrick 423) DOMENICO SCARLATTI (1685-1757) Sonata in D major (Longo 14, Kirkpatrick 492) DOMEN ICO SCARLATTI Sonatas . ANTONIO SOLER F -sharp major (1729-1783) C-sharp minor D-flat major Les Folies d'Espagne CARL PHILIPP EMANUEL BACH (1714- 17 88) M erwry Records A R S LON G A V I T A BREVIS UNIVERSITY MUSICAL SOCIETY INTERNATIONAL PRESENTATIONS T he twenty-sixth annual Chamber Music Festival Three concerts THE NEW YORK CHAMBER SOLOISTS FRIDAY, FEBRUARY 18, 8:30 Selections from the Notebook of Anna Magdalene Bach BACH Duo in B-flat major, for violin and viola . MOZART Cantata No.1 on Elizabethan Texts HUGH AITKEN Five Blake Songs for tenor and oboe . VAUGHAN WILLIAMS Trio in B-flat major for violin, viola, and cello SCHUBERT -
Douglas Cleveland University of Alabama Keyboard Festival January 22, 2016 7:30 Pm
Douglas Cleveland University of Alabama Keyboard Festival January 22, 2016 7:30 pm Grand Dialogue in C Major Louis Marchand (1669-1732) Homage to Francois Couperin (2014) David P. Dahl Tierce en taille (b. 1937) Prelude and Fugue in E-flat Major, BWV 552 Johann Sebastian Bach (1685-1750) Scherzetto Joseph Jongen Petite Prelude (1873-1953) Prelude on “The Lone Wild Bird” (2015) George Baker (b. 1951) Four Concert Etudes (2006) David Briggs Introduction (b. 1960) Etude I Octaves Etude II Accordes alternees Etude III Sarabande avec double-pedal Etude IV Tierces David Buice University of Alabama Keyboard Festival January 23, 2016 2:15 pm Poets & Madmen – Last Words Touchstones of the Stylus Fantasticus, from Sweelinck to J. S. Bach Praeludium in g minor Dietrich Buxtehude (1637-1707) Fantasia in a Aeolian Jan Pieterszoon Sweelinck (1562-1621) Toccata in g minor Girolamo Frescobaldi (1583-1643) Toccata in a minor Johannes Froberger (1626-1661) Prelude non mesuré in a minor Louis Couperin à l’Imitation de Monsieur Froberger (1626-1661) Praeludium in g minor Georg Böhm (1661-1733) Chorale Fantasia in G Major on Dietrich Buxtehude Wie schön leuchtet der Morgenstern (1637-1707) Toccata in D Major Johann Sebastian Bach (1685-1750) ~ Harpsichord in meantone temperament by William Dowd, after 17th-Century Italian & Flemish Examples. Harpsichord in meantone temperament by William Dowd, 1967, after late 18th-century Parisian examples. Lautenwerck in meantone temperament by Anden Houben, 1994 Performance Notes The development of the North European “fantastic style” can be seen as a logical progression from the “modern” early seventeenth century Italian keyboard toccatas of Frescobaldi combined with the influence of Jan Sweelinck’s great polyphonic keyboard fantasies of the late sixteenth century. -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
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. -
Harpsichord History and Construction
Harpsichord History and Construction The harpsichord is a stringed instrument with a keyboard, and can be considered an ancestor of the modern piano. The harpsichord developed in several countries in Europe from the time it first appeared in the late 1300’s, until the mid- 1800’s when the piano began to take precedence. The development of the instrument, its music, and the stylistic practises for playing the harpsichord varied widely depending on the country and its musical characteristics and style. Even the names were different: virginal in England; clavecin in France, cembalo in Italy and clavicimbalo in Spain. Important composers in the development of music for the harpsichord include: Girolamo Frescobaldi and Domenico Scarlatti (Italy); François Couperin and Jean-Philippe Rameau (France); John Bull and Henry Purcell (England); Johann Jakob Froberger and Georg Philipp Telemann (Germany). Harpsichords are still used today, especially to perform music of the Renaissance and Baroque eras, most commonly the music of J.S. Bach and G. F. Handel. Most harpsichords have a range of 4-5 octaves (often 59 notes). The metal strings of the harpsichord are plucked by a plectrum, originally a sturdy feather quill from a crow or raven, now usually a piece of plastic. This plectrum is held in a narrow piece of wood called a jack, which is attached to the key mechanism. Each string has its own plectrum. When the key is depressed, the plectrum is raised so it plucks the string and then pivots out of the way so it does not touch the string on the way down. -
A Musical Journey Through Italian Renaissance with Monteverdi
ON THE OCCASION OF THE 20TH ANNIVERSARY OF LE POÉME HARMONIQUE A musical journey through Italian Renaissance withIl Monteverdi, Viaggio Castaldi & Uccellini Eva Zaïcik Le Poème Harmonique conducted by Vincent Dumestre Palazzo Farnese, Rome A musical journey through Italian Renaissance Ilwith Monteverdi,Viaggio Castaldi & Uccellini Luigi Rossi Sinfonia Bellerofonte Castaldi La lettera d’Heleazaria Bellerofonte Castaldi Francese lamentevole Giovanni Battista Buonamente Aria di Fiorenza Bellerofonte Castaldi Echo notturno Marco Uccellini Sinfonia La gran battaglia Marco Uccellini La Bergamasca Girolamo Frescobaldi Ti lascio anima mia Claudio Monteverdi Addio Roma from L’Incoronazione di Poppea Vincent Dumestre and his ensemble Le Poème Harmonique take Claudio Monteverdi Oblivion soave us on a musical journey through the music of the Italian Renais- from L’Incoronazione di Poppea sance to the beautiful Palazzo Farnese in Rome. th Claudio Monteverdi Voglio di vita uscir On the occasion of its 20 anniversary, the baroque ensemble Bellerofonte Castaldi Chi vidde più lieto together with French mezzo-soprano Eva Zaïcik pays homage Bellerofonte Castaldi Dolci miei martiri to the unique musicality and sensitivity of Bellerofonte Castaldi and his contemporaries Monteverdi and Frescobaldi, as well as Rossi, Buonamente and Uccellini. A wandering poet and Mezzo-soprano Eva Zaïcik Orchestra Le Poème Harmonique composer exiled from Modena for a revenge murder, Castaldi’s Conductor Vincent Dumestre life may be the ideal subject for a novel, but his music remained more or less unknown. Video Director Jean-Pierre Loisil This extensive programme not only testifies to Le Poème Harmo- nique’s unbroken curiosity for little played repertoire, but also to its fondness for fabulous musical journeys. -
Download Program
Byron Schenkman Friends season five 2017-2018 2017-2018 season Welcome to the fifth season ofByron Schenkman & Friends! 2017 has been a challenging year for many of us. I am very grateful for the power of music to bring us together in community, for healing and for joy. This season our repertoire ranges from early 17th- century canzonas by Girolamo Frescobaldi and Claudia Francesca Rusca to masterpieces of 19th-century Romanticism by Robert and Clara Schumann, with Corelli, Vivaldi, Handel, Mozart, Beethoven, Schubert, and more in between. May this wonderful music nourish our minds, hearts, and souls, giving us the strength to continue moving joyfully forward! byron schenkman, artistic director page 3 Byron Schenkman & Friends announces a new CD R The Art of the Harpsichord Byron Schenkman on eight historical harpsichords in the National Music Museum Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum contents Oct 15 Bach Double Harpsichord Concertos program & notes ..................................... 6-7 Nov 12 Schumann: The Poet Speaks program & notes ..................................... 8-9 Dec 28 An Evening of Viennese Classics program & notes ................................... 12-13 BISCHOFBERGER Feb 18 Handel: From theWar of Love VIOLINS program & notes ................................... 14-15 Mar 18 Beethoven: Kreutzer and Pathétique Sonatas Professional Repairs, program & notes ...................................18-19 Appraisals, & Sales April 22 Vivaldi and the High Baroque 1314 E. John St. program & notes .................................. 20-21 Seattle, WA 206-324-3119 musician bios ............................................................ 22-26 www.bviolinsltd.com page 4 Thank you for joining us for this Fifth Byron Schenkman & Friends Season of Byron Schenkman & Friends! Your support makes all 2017-2018 this wonderful and inspirational music possible. -
The Worship of God August 1, 2021 the Tenth Sunday After Pentecost
AUGUST 1, 2021 WATTS STREET BAPTIST CHURCH DURHAM, NORTH CAROLINA THE WORSHIP OF GOD AUGUST 1, 2021 THE TENTH SUNDAY AFTER PENTECOST GATHERING Chimes Welcome – Dorisanne Cooper Minister: The Lord be with you. People: And also with you. Prayer of Thanksgiving for the Light Prelude: “Toccata before the Sunday Mass” ................................... Girolamo Frescobaldi PRAISING GOD Call to Worship Minister: Hungering and thirsting, we come to the Lord. People: Jesus is the living bread! Minister: O God, Feed us with your love and healing power. People: Give us the bread of hope and compassion that we may also feed others. Minister: Praise be to you, O God, for your compassion for us. People: Praise be to you for your steadfast love. Hymn 419: “All Who Hunger, Gather Gladly” ................... HOLY MANNA PRAYING TOGETHER Minister: The God revealed to us in the scriptures is a welcoming and inclusive God who directs us to love one another. We seek to remove all the barriers that keep us from that love. Come now to confess all that separates us from one another and from God. Prayers of Confession in Silence Corporate Confession: We come believing in our emptiness, believing that we will never have enough, believing that what we have is unworthy. We come fearful of sharing, fearful of losing our tenuous grip on security, fearful of touching and knowing the pain of others. We come overwhelmed by the hunger, overwhelmed by the suffering of children near and far, overwhelmed by the endless tales of senseless violence, greed, and death. We come aching from the weight of the responsibility, aching from the chilling challenge of knowing our abundance, aching from the gnawing awareness that we have much to share. -
California State University, Northridge Graduate
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE GRADUATE RECITAL IN HARPSICHORD PERFORMANCE An abstract submitted in partial fulfillment ofthe requirements for the degree ofMaster ofMusic, Music Performance by James Dorsa June 2004 The abstract of James Dorsa is approved: Robert Danes ~ ~ CALIFORNIA STATE UNIVERSITY, NORTHRIDGE ii ACKNOWLEDGMENTS I would like to thank my family for their support. Dr. Timothy Howard for his patience, advice and encouragement. Ann Baltz for inspiring performance confidence. Dr. David Whitwell for giving me the knowledge and desire to improvise. Dr. Scott Kleinman who encouraged me to connect literature and music. Y oungsin Myoung for her invaluable emotional support. 111 TABLE OF CONTENTS Signature page 11 Acknowledgments 111 v Abstract Program Vlll lV , ABSTRACT GRADUATE RECITAL IN HARPSICHORD PERFORMANCE by James Dorsa Master of Music, Music Performance The harpsichord and its literature covers nearly three hundred years of musical composition and development. This ended around 1810 when the increasingly popular piano completely replaced the harpsichord as the standard keyboard medium. The harpsichord was brought out of antiquity during the mid-1930s in answer to a growing desire by musicians to perform baroque music on original instruments. These musicians found that this antique instrument did not play much like a piano but was something entirely different, leading a number of patient keyboard pioneers to try to recreate the technique and style of playing the harpsichord following limited and often conflicting accounts of historical witnesses and theorists. In what had begun as almost blind obedience to the score, harpsichordists were beginning to interpret the manuscript as a guideline for elaborate improvisation.