Season Repertoire List

Total Page:16

File Type:pdf, Size:1020Kb

Season Repertoire List 2020–2021 SEASON REPERTOIRE LIST Abrahamsen, Hans Horn Concerto (Seattle Symphony Co-commission & North American Premiere) Adams, John I Still Dance Arensky, Anton String Quartet No. 2 Arnold, Malcolm Quintet No. 1 Bach, Carl Philipp Emanuel Cello Concerto in A major Bach, Johann Sebastian Cantatas Concerto for Two Violins Barber, Samuel Toccata Festiva Bartók, Béla Concerto for Orchestra Piano Concerto No. 3 String Quartet No. 6 Violin Concerto No. 2 Beach, Amy Symphony No. 2, “Gaelic” Beethoven, Ludwig van Coriolan Overture Missa solemnis Piano Concerto No. 4 String Quartet No. 10, “Harp” Symphony No. 9, “Choral” Berlioz, Hector Symphonie fantastique Boulanger, Lili Vieille prière bouddhique Brahms, Johannes Horn Trio Hungarian Dances Symphony No. 4 Bray, Charlotte At the Speed of Stillness (West Coast Premiere) Listing as of February 20, 2020 does not include programming for: Octave 9: Raisbeck Music Center, Education and Community Engagement, or presentations. Britten, Benjamin Sinfonia da Requiem Bunch, Kenji String Circle Chapela, Enrico Violin Concerto (Seattle Symphony Co-commission & U.S. Premiere) Debussy, Claude La mer Prélude à l’après-midi d’un faune Préludes, Books I and II Dvořák, Antonín Serenade for Strings Symphony No. 6 Symphony No. 9, “From the New World” Elgar, Edward Cello Concerto Esmail, Reena New Work (Seattle Symphony Co-commission & World Premiere) Sitar Concerto (Seattle Symphony Commission & World Premiere) Franck, César Symphony in D Gibson, Sarah warp & weft Glinka, Mikhail Trio pathétique Handel, George Frederic Concerto Grosso, Op. 6, No. 5 Messiah Organ Concerto, Op. 7, No. 1 Haydn, Franz Joseph Piano Concerto in F major Symphony No. 13 Symphony No. 104, “London” Hindemith, Paul Trumpet and Bassoon Concerto Janáček, Leoš Sinfonietta Jolas, Betsy A Little Summer Suite Kabeláč, Miloslav Symphony No. 4, “Camerata” (U.S. Premiere) Kendall, Hannah Kanashibari Listing as of February 20, 2020 does not include programming for: Octave 9: Raisbeck Music Center, Education and Community Engagement, or presentations. Kodály, Zoltán Dances of Galánta Kurtág, György Homage to R. Schumann Ligeti, György San Francisco Polyphony Lutosławski, Witold Symphonic Variations Mahler, Gustav Symphony No. 5 Marsalis, Wynton A Fiddler’s Tale Suite Mendelssohn, Felix The Hebrides (“Fingal’s Cave”) Piano Trio No. 1 Violin Concerto Mozart, Wolfgang Amadeus Piano Concerto No. 9, “Jeunehomme” Piano Concerto No. 20 Piano Concerto No. 24 Piano Concerto No. 26, “Coronation” Serenade No. 12, “Nachtmusik” Sinfonia concertante for Winds Violin Concerto No. 3 Muhly, Nico/ Helbig, Sven/ Long, Zhou Three Continents Cello Concerto (North American Premiere) Nielsen, Carl Serenata in vano Symphony No. 6, “Sinfonia semplice” Prokofiev, Sergey Piano Concerto No. 2 Violin Concerto No. 2 Rachmaninov, Sergey Rhapsody on a Theme of Paganini Rameau, Jean-Philippe Selections from Les Boréades Ravel, Maurice Mother Goose Piano Concerto in G Rorem, Ned String Quartet No. 4 Schumann, Robert Konzertstück for Four Horns String Quartet No. 2 Symphony No. 3, “Rhenish” Listing as of February 20, 2020 does not include programming for: Octave 9: Raisbeck Music Center, Education and Community Engagement, or presentations. Seo, Juri Lost Songs Shaw, Caroline Entr’acte Shostakovich, Dmitri Piano Concerto No. 1 String Quartet No. 8 Strauss, Richard Le bourgeois gentilhomme Suite Stravinsky, Igor The Firebird Suite Pétrouchka Suk, Josef Meditation on the Old Czech Chorale “Saint Wenceslas” Tan, Dun Buddha Passion Elegy: Snow in June Taneyev, Sergey String Trio, Op. 21 Tchaikovsky, Piotr Ilyich Piano Concerto No. 1 Rococo Variations Suite No. 3 Symphony No. 6, “Pathétique” Traditional Venetian Gondolier Songs Tüür, Erkki-Sven Phantasma (North American Premiere) Vivaldi, Antonio Cello Concerto in G minor, RV 416 Cello Concerto in A minor, RV 419 Concerto for Two Cellos The Four Seasons Wagner, Richard Selections from The Ring Widmann, Jörg Con brio Wolfgang, Gernot Impressions Zorn, John Obscure Object of Desire Listing as of February 20, 2020 does not include programming for: Octave 9: Raisbeck Music Center, Education and Community Engagement, or presentations. .
Recommended publications
  • Handel' S Organ Concerto S Reconsidered
    Handel' s Organ ConcertoConcertos s Reconsidered By NIELS KARL NIELSEN Due to the solid foundatiansfoundations provided by the research carried out by Chrysan­ der, W. Dean, O. E. Deutsch, J. P. Larsen, W. C. Smith and others the study of Randel'sHandel's works has been rendered much easier to-day than it was a mere twenty years ago; this, however, does not mean that all the problems have been solved. On the contrary, many still await exhaustive treatment. Whereas a vast number of books have been written ab out Randel'sHandel's vocal compositions, and the Oratorios in particular, a detailed study of his Organ Concertos, based on the autograph scores and other contemporary sources has not yet been made. Ehrlinger's dissertation 1 contains many valuable observa­ tions; nevertheless its importance is reduced considerably by the faetfact that he did not incorporate the original sources in his research. Accordingly, in the present study I intend to remedy this gap in our knowl­ edge of RandelHandel and his work, by discussing problems such as-date of composi­ tion-sources-original versions-style afof performance, and last but not least, the inevitable question of Randel'sHandel's borrowings. Some of these problems have of course been dealt with before, but I still find it worthwhile to try and collate as much information as possibiepossible about these aspects of Randel'sHandel's wark.work. RandelHandel embarked upon his concertos for organ and orchestra in dose con­ nection with his efforts to introduce the oratorio as a parallel to the produetionproduction of operas which had dominated his work in London up to the beginning of the 1730's.
    [Show full text]
  • Audition Requirements
    Master of Music Audition Requirements Woodwinds Voice Flute Oboe Strings Clarinet Violin Saxophone Viola Bassoon Cello Double Bass Brass Guitar Horn Trumpet Conducting Tenor Trombone Choral Bass Trombone Instrumental (Wind) Tuba Instrumental (Orchestral) Percussion Piano Master of Music applicants with areas of specialization in Composition, Jazz Composition, Music Education, Musicology, and Piano Pedagogy can find entrance requirements in the School of Music Graduate Student Handbook. Flute Faculty: Dr. Suyeon Ko; Email: [email protected] • Mozart: Concerto in G Major or D Major, K. 313 or K. 314 (Movements I and II) • A 19th- or 20th-century French work from Flute Music by French Composers or equivalent • An unaccompanied 20th- or 21st-century work • Five orchestral excerpts from Baxtresser, Orchestral Excerpts for Flute, or equivalent • Sight reading Oboe Faculty: Emily Hart; Email: [email protected] • Choose two from the following: ◦ Saint-Saëns or Poulenc sonata (Movement I) ◦ Mozart or Haydn concerto (Movement III) ◦ Any Telemann or Vivaldi concerto or sonata (Movements I and II) ◦ Britten Six Metamorphoses (any three movements) • Choose two of the following orchestral excerpts (all excerpts may be found in the Rothwell books, Difficult Passages, published by Boosey and Hawkes): ◦ Brahms: Violin Concerto (slow movement excerpt) ◦ Rossini: La Scala di Seta (slow and fast excerpts) ◦ Beethoven: Symphony No. 3 (excerpts from Movements III and IV) ◦ Prokofiev: Symphony No. 1 (excerpts from Movements III and IV) • Sight reading Clarinet Faculty: Eric Ginsberg; Email: [email protected] • Choose two movements from one of the following: ◦ Mozart: Concerto in A Major, K. 622 ◦ Weber: Concerto No. 1 in F Minor, Op.
    [Show full text]
  • Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
    SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]
  • Classical Series 1 2019/2020
    classical series 2019/2020 season 1 classical series 2019/2020 Meet us at de Doelen! Bang in the middle of Rotterdam’s vibrant city centre and at a stone’s throw from the magnificent Central Station, you find concert hall de Doelen. A perfect architectural example of the Dutch post-war reconstruction era, as well as a veritable people’s palace, featuring international programming and festivals. Built in the sixties, its spacious state- of-the-art auditoria and foyers continue to make it look and feel like a timelessly modern and dynamic location indeed. De Doelen is home to the Rotterdam Philharmonic Orchestra, with the very young and talented conductor Lahav Shani at its helm. But that is not all! With over 600 concerts held annually, our programming is delightfully varied, ranging from true crowd-pullers to concerts catering to connoisseurs, and from children’s concerts to performances of world music, jazz and hip-hop. What’s more, de Doelen is the beating heart of renowned cultural festivals such as the IFFR, Poetry International, Rotterdam Unlimited, HipHopHouse’s Make A Scene and RPhO’s Gergiev Festival. Check this brochure for this season’s programme. You will hopefully be as thrilled as we are with what’s on offer. Meet us at de Doelen and enjoy! Janneke Staarink, director & de Doelen team Janneke Staarink © Sanne Donders classical series 3 contents classical series 2019/2020 season preface 3 Pierre-Laurent Aimard © Marco Borggreve Grupo Ruta de la Esclavitud © Claire Xavier classical series 6 - 29 suggestions per subject 30 chronological overview 32 piano great baroque ordering information 36 From classics to cross-overs: the versatility of the This series features great themes and signature baroque floor plans 38 piano takes centre stage.
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • CONCERTO NIGHT 2020 from the DIRECTOR of MUSIC PERFORMANCE PROGRAMME Numerous Rituals and Rites Associated with Year 12
    CONCERTO NIGHT 2020 FROM THE DIRECTOR OF MUSIC PERFORMANCE PROGRAMME numerous rituals and rites associated with Year 12. Their year has been Kate Zhao met with the pandemic that swept Concerto in D Minor for Cello, Movement III, Introduction. Andante – Allegro Vivace the globe. We thank God that our Édouard Lalo challenges and disappointments Conductor: Brendon Pearn | MLC Symphony Orchestra pale in comparison with many communities around the world, April Ward Bassoon Concerto in F Major, Op. 75, Movement I, Allegro ma non troppo where again and again we have been reminded of the power of Carl Maria von Weber music to provide social connection, Conductor: Robert Faulkner | MLC Symphony Orchestra to regulate our personal well-being Sophie Butler and mental health, even to mourn. Cello Concerto No. 1, Op 33, Movement II, Allegro non troppo and Movement III, Molto allegro We are reminded that we don’t make Camille Saint-Saëns music just for the Europe Music Tour, Conductor: Brendon Pearn | MLC Symphony Orchestra however magical that experience may be. We don’t make music to Evelyn Carapetis Concerto Night is one of the great Through successes and challenges, collect certificates, diplomas or win Légende Op. 17 highlights of the MLC musical that journey demands a dedication awards, however satisfying that sense Henryk Wieniawski journey. After thousands of hours and resilience that can only be of achievement. We make music Conductor: Jasmin Parkinson-Stewart | MLC Symphony Orchestra of practice and hundreds of early explained by the incomprehensible because it helps us to live well, to morning rehearsals, young women, way in which music moves us.
    [Show full text]
  • Download Booklet
    Awesome Organ BEST LOVED WOLFGANG RÜBSAM 8.578179 classical organ music Awesome Organ recognise in Buxtehude’s music many 14 Widor: Symphony No. 5 in F minor, Best loved classical organ music of the elements of the ‘praeludium’ Op. 42, No. 1 – III. Toccata – Allegro style that Bach would perfect. The F How many thousands of newly-wed 1 Johann Sebastian BACH (1685–1750) 7 Charles-Marie WIDOR (1844–1937) major Prelude shows the lighter side couples have been accompanied Toccata and Fugue in D minor, 2:53 Organ Symphony No.1 in C minor, 8:20 of Buxtehude’s musical character with down the aisle by the final movement BWV 565 – Toccata Op. 13, No.1: V. Marche Pontificale a whimsical Fugue subject giving of Widor’s fifthOrgan Symphony? This Bertalan Hock • Wolfgang Rübsam (8.553859) Robert Delcamp (8.570310) the performer plenty of opportunity iconically famous work is a prime 2 Johann Sebastian BACH 8 Georg BÖHM (1661–1733) for antiphonal effects using different example of the French organ toccata Toccata and Fugue in D minor, 7:09 Prelude and Fugue in C major 5:09 divisions of the organ. form: an exuberant repeating pattern BWV 565 – Fugue Christiaan Teeuwsen (8.555857) in the manuals accompanies a bold Bertalan Hock • Wolfgang Rübsam (8.553859) 13 Dupré: Variations sur un Noël, Op. 20 – melodic line played in the pedals; a 9 Johann PACHELBEL (1653–1706) Theme and Variations I to X quieter development section follows 3 George Frideric HANDEL (1685–1759) Toccata in E minor 1:49 In 1906, Widor appointed a new before the original material returns Organ Concerto in B flat major, 5:25 Wolfgang Rübsam (8.554380) assistant at Saint-Sulpice, the precociously with even more elaborate manual Op.
    [Show full text]
  • Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK
    I believe Prokofiev is the most imaginative orchestrator of all time. He uses the percussion and the special effects of the strings in new and different ways; always tasteful, never too much of any one thing. His Symphony No. 5 is one of the best illustrations of all of that. JANET HALL, NCS VIOLIN Cello Concerto in B Minor, Op. 104 ANTONÍN DVORÁK BORN September 8, 1841, near Prague; died May 1, 1904, in Prague PREMIERE Composed 1894-1895; first performance March 19, 1896, in London, conducted by the composer with Leo Stern as soloist OVERVIEW During the three years that Dvořák was teaching at the National Conservatory of Music in New York City, he was subject to the same emotions as most other travelers away from home for a long time: invigoration and homesickness. America served to stir his creative energies, and during his stay, from 1892 to 1895, he composed some of his greatest scores: the “New World” Symphony, the Op. 96 Quartet (“American”), and the Cello Concerto. He was keenly aware of the new musical experiences to be discovered in the land far from his beloved Bohemia when he wrote, “The musician must prick up his ears for music. When he walks he should listen to every whistling boy, every street singer or organ grinder. I myself am often so fascinated by these people that I can scarcely tear myself away.” But he missed his home and, while he was composing the Cello Concerto, looked eagerly forward to returning. He opened his heart in a letter to a friend in Prague: “Now I am finishing the finale of the Cello Concerto.
    [Show full text]
  • A Pedagogical Analysis of Dvorak's Cello Concerto in B Minor, Op
    A Pedagogical Analysis of Dvorak’s Cello Concerto in B Minor, Op. 104 by Zhuojun Bian B.A., The Tianjin Normal University, 2006 M.Mus., University of Victoria, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cello) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2017 © Zhuojun Bian, 2017 Abstract I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra. In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges. Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto.
    [Show full text]
  • Rep List 1.Pub
    Richmond Symphony Orchestra League Student Concerto Competition Repertoire Please choose your repertoire from the approved selections below. Guitar & percussion students are welcome to participate; Please contact Anne Hoffler, contest coordinator, at aahoffl[email protected] for repertoire approval no later than November 30. VIOLIN Faure Elegy, Op. 24 Bach All Violin concerti Haydn Cello Concerto No. 1 in C major Beethoven Violin Concerto in D major Haydn Cello Concerto No. 2 in D major Beethoven Romance No. 1 in G major Kabalevsky Cello Concerto No. 1 in G minor, Op. 49 Beethoven Romance No. 2 in F major Lalo Cello Concerto in D minor Bériot Scéne de Ballet, Op. 100 Rubinstein Cello Concerto No. 2 in D minor, Op.96 Bériot Violin Concerto No. 7 in G major Saint-Saëns Cello Concerto No. 1 in A minor, Op.33 Bériot Violin Concerto No. 9 in A minor Saint-Saëns Cello Concerto No. 2 in D minor, Op. 119 Bruch Violin Concerto No. 1 in G minor Schumann Cello Concerto in A minor Haydn All Violin concerti Shostakovich Concerto for Cello No. 1 Kabalevsky Violin Concerto in C Major, Op. 48 Stamitz All Cello concerti Lalo Symphonie Espagnole R. Strauss Romanze in F major Massenet Méditation from Thaïs Tchaikovsky Variations on a Rococo Theme, Op.33 Mendelssohn Violin Concerto in E minor, Op.64 Vivaldi All Cello concerti Mozart Violin Concerto No. 1 in B-flat major Mozart Violin Concerto No. 2 in D major BASS Mozart Violin Concerto No. 3 in G major Bottesini Double Bass Concerto No.2 in B minor Mozart Violin Concerto No.
    [Show full text]
  • 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.
    [Show full text]