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On the Question of the Baroque Instrumental Concerto Typology
Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used. -
The Double Keyboard Concertos of Carl Philipp Emanuel Bach
The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R. -
Bach 759 - J.S
BACH 759 - J.S. BACH: The Six TRIO SONATAS on the Pedal Harpsichord ______________________________________________________________________________ The Trio Sonata is very much a “Baroque” form, if not a Baroque invention. A three- or four-movement piece, tuneful and light, suitable for family home entertainment, the Trio Sonata normally featured two treble instruments: for example, violin and flute or oboe, with a bass instrument and harpsichord to fill out the harmonies. Instruments used would be whatever was available - home music-making was a popular pastime, and reached a high standard of proficiency. Bach was not satisfied, however, to relegate the bass line to simple accompaniment. An early example of Bach’s Trio Sonatas may be found, surprisingly perhaps, in his Sonatas for Violin and Clavier, BWV 1014-1019 (Baroque Music Collection BACH 719-20), in which the “Trio” consists of Violin, plus the two hands of the Clavier score, each of the three having equal prominence, each participating equally in the fun, with the melody and counterpoint passing freely from one to the other. The Six Trio Sonatas for Two Keyboards and Pedal (für zwey Claviere und Pedal) were composed much later, and in addition to equality between the three parts, provide an extra feature in the form of a severe technical challenge. Forkel, Bach’s first biographer, who drew heavily on the reminiscences of Carl Philip Emmanuel Bach, states categorically that Bach composed these Trio Sonatas in order to perfect the pedal technique of his son Wilhelm Friedemann, an objective which, as Forkel adds, appears to have been admirably achieved. Thus, despite the lively, tuneful character of these almost dance-like pieces, they do in fact conceal a wealth of technical difficulties - almost traps - for the player, particularly in demanding total independence of hands and feet. -
Symphony 04.22.14
College of Fine Arts presents the UNLV Symphony Orchestra Taras Krysa, music director and conductor Micah Holt, trumpet Erin Vander Wyst, clarinet Jeremy Russo, cello PROGRAM Oskar Böhme Concerto in F Minor (1870–1938) Allegro Moderato Adagio religioso… Allegretto Rondo (Allegro scherzando) Wolfgang Amadeus Mozart Clarinet Concerto in A Major, K. 622 (1756–1791) Allegro Adagio Rondo: Allegro Edward Elgar Cello Concerto, Op. 85 (1857–1934) Adagio Lento Adagio Allegro Tuesday, April 22, 2014 7:30 p.m. Artemus W. Ham Concert Hall Performing Arts Center University of Nevada, Las Vegas PROGRAM NOTES The Concerto in F minor Composed 1899 Instrumentation solo trumpet, flute, oboe, two clarinets, bassoon, four horns, trumpet, three trombones, timpani, and strings. Oskar Bohme was a trumpet player and composer who began his career in Germany during the late 1800’s. After playing in small orchestras around Germany he moved to St. Petersburg to become a cornetist for the Mariinsky Theatre Orchestra. Bohme composed and published is Trumpet Concerto in E Minor in 1899 while living in St. Petersburg. History caught up with Oskar Bohme in 1934 when he was exiled to Orenburg during Stalin’s Great Terror. It is known that Bohme taught at a music school in the Ural Mountain region for a time, however, the exact time and circumstances of Bohme’s death are unknown. Bohme’s Concerto in F Minor is distinguished because it is the only known concerto written for trumpet during the Romantic period. The concerto was originally written in the key of E minor and played on an A trumpet. -
L'estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi
L’Estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi (1678 – 1741) The first decade of the eighteenth century was an exciting one for Vivaldi. In 1703 he became fully ordained as a priest and obtained a teaching post at the Ospedale della Pietài. His duties still left him time to freelance as a violinist (often with his father, Giovanni Battista Vivaldiii) and to compose a moderate amount of music. His works had so far generated a modest amount of local success with two sets of sonatas being published by the Venetian publishing houses of Giuseppe Sala in 1705 and Antonio Bortoli in 1709iii. In addition to various sonatas and concertos, Vivaldi received a commission to compose his first (known) vocal work, a serenata titled Le gare del dovereiv for a performance in Rovigo in 1708. The publication of L’Estro Armonico three years later proved to be one of the major turning points in his career, and his concerto style took Europe by storm. Vivaldi chose the Amsterdam firm of Estienne Roger to publish L’Estro Armonico, whose printing presses used a more modern technology than their Venetian counterpartsv. In addition, Roger had a fantastic distribution network, particularly in Northern Europe where, at various times he had agents in Berlin, Brussels, Cologne, Halle, Hamburg, Leipzig, Liège, London and Rotterdam; Roger’s state-of-the-art technology combined with Vivaldi’s cutting- edge concerto style proved to be an immediate success. In search of an influential patron, Vivaldi dedicated L’Estro Armonico to the Grand Prince of Tuscany, Ferdinando de’Medicivi, son of Cosimo III de’Medici. -
9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op. -
What Handel Taught the Viennese About the Trombone
291 What Handel Taught the Viennese about the Trombone David M. Guion Vienna became the musical capital of the world in the late eighteenth century, largely because its composers so successfully adapted and blended the best of the various national styles: German, Italian, French, and, yes, English. Handel’s oratorios were well known to the Viennese and very influential.1 His influence extended even to the way most of the greatest of them wrote trombone parts. It is well known that Viennese composers used the trombone extensively at a time when it was little used elsewhere in the world. While Fux, Caldara, and their contemporaries were using the trombone not only routinely to double the chorus in their liturgical music and sacred dramas, but also frequently as a solo instrument, composers elsewhere used it sparingly if at all. The trombone was virtually unknown in France. It had disappeared from German courts and was no longer automatically used by composers working in German towns. J.S. Bach used the trombone in only fifteen of his more than 200 extant cantatas. Trombonists were on the payroll of San Petronio in Bologna as late as 1729, apparently longer than in most major Italian churches, and in the town band (Concerto Palatino) until 1779. But they were available in England only between about 1738 and 1741. Handel called for them in Saul and Israel in Egypt. It is my contention that the influence of these two oratorios on Gluck and Haydn changed the way Viennese composers wrote trombone parts. Fux, Caldara, and the generations that followed used trombones only in church music and oratorios. -
How Its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz
Music of the Baroque period: how its styles and techniques changed music Item Type Thesis Authors Felis, Lauren Rights Attribution-NonCommercial-NoDerivs 3.0 United States Download date 26/09/2021 16:07:48 Item License http://creativecommons.org/licenses/by-nc-nd/3.0/us/ Link to Item http://hdl.handle.net/20.500.12648/1382 Running head: MUSIC OF THE BAROQUE PERIOD 1 Music of the Baroque Period: How its Styles and Techniques Changed Music Honors Thesis Lauren Felis State University of New York at New Paltz MUSIC OF THE BAROQUE PERIOD 2 Table of Contents Table of Contents 2 Abstract 3 Introduction 4 A Brief History 4 Doctrine of Affections 5 Musical Style 6 Baroque Dance 7 Baroque String Instruments 7 Baroque Composers 8 Arcangelo Corelli 9 La Folia 9 Suzuki 10 Process of Preparing Piece 10 How I Chose the Piece 10 How I prepared the Piece 11 Conclusion 11 Appendix A 14 Appendix B 15 Appendix C 16 Appendix D 17 Appendix E 18 MUSIC OF THE BAROQUE PERIOD 3 Abstract This paper explores the music of the Baroque era and how its unique traits made it diverge from the music that preceded it, as well as pave the way for music styles to come. The Baroque period, which is generally agreed to range from around 1600 to 1750, was a time of great advancement not only in arts and sciences, but in music as well. The overabundance of ornamentation sprinkled throughout the pieces composed in this era is an attribute that was uncommon in the past, and helped distinguish the Baroque style of music. -
Euphonium Repertoire List Title Composer Arranger Grade Air Varie
Euphonium Repertoire List Title Composer Arranger Grade Air Varie Pryor Smith 1 Andante and Rondo Capuzzi Catelinet 1 Andante et Allegro Ropartz Shapiro 1 Andante et Allegro Barat 1 Arpeggione Sonata Schubert Werden 1 Beautiful Colorado DeLuca 1 Believe Me If All Those Endearing Young Charms Mantia Werden 1 Blue Bells of Scotland Pryor 1 Bride of the Waves Clarke 1 Buffo Concertante Jaffe Centone 1 Carnival of Venice Clark Brandenburg 1 Concert Fantasy Cords Laube 1 Concert Piece Nux 1 Concertino No. 1 in Bb Major Op. 7 Klengel 1 Concertino Op. 4 David 1 Concerto Capuzzi Baines 1 Concerto in a minor Vivaldi Ostrander 1 Concerto in Bb K.191 Mozart Ostrander 1 Eidolons for Euphonium and Piano Latham 1 Fantasia Jacob 1 Fantasia Di Concerto Boccalari 1 Fantasie Concertante Casterede 1 Fantasy Sparke 1 Five Pieces in Folk Style Schumann Droste 1 From the Shores of the Mighty Pacific Clarke 1 Grand Concerto Grafe Laude 1 Heroic Episode Troje Miller 1 Introduction and Dance Barat Smith 1 Largo and Allegro Marcello Merriman 1 Lyric Suite White 1 Mirror Lake Montgomery 1 Montage Uber 1 Morceau de Concert Saint-Saens Nelson 1 Euphonium Repertoire List Morceau Symphonique Op. 88 Guilmant 1 Napoli Bellstedt Simon 1 Nocturne and Rondolette Shepherd 1 Partita Ross 1 Piece en fa mineur Morel 1 Rhapsody Curnow 1 Rondo Capriccioso Spears 1 Sinfonia Pergolesi Sauer 1 Six Sonatas Volume I Galliard Brown 1 Six Sonatas Volume II Galliard Brown 1 Sonata Whear 1 Sonata Clinard 1 Sonata Besozzi 1 Sonata White 1 Sonata Euphonica Hartley 1 Sonata in a minor Marcello -
Corelli'stonalmodels
Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music. -
Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord
Friday Evening, December 8, 2017, at 7:30 The Juilliard School presents Juilliard415 Robert Mealy , Director and Violin Eunji Lee , Harpsichord The Pleasure Garden: Music From Handel’s London GEORGE FRIDERIC HANDEL (1685–1759) Concerto grosso in G major, Op. 6, No. 1, from Twelve Grand Concertos in Seven Parts , Op. 6 (1740) A tempo giusto Allegro e forte Adagio Allegro Allegro ROBERT MEALY and SARAH JANE KENNER , Violin Concertino MORGAN LITTLE , Cello Concertino HANDEL Concerto grosso in B-flat major, Op. 6, No. 7 , HWV 325 (1739) Largo Allegro Largo Andante Hornpipe MICHAEL CHRISTIAN FESTING (1705–52) Concerto in G major, Op. 3, No. 9, from Twelve Concertos in Seven Parts (1742) Largo Allegro Largo Allegro Assai Hornpipe—Andante—Hornpipe JONATHAN SLADE and BETHANNE WALKER, Flute Concertino Program continues on next page Juilliard’s full-scholarship Historical Performance program was established and endowed in 2009 by the generous support of Bruce and Suzie Kovner. The taking of photographs and the use of recording equipment are not permitted in this auditorium. Information regarding gifts to the school may be obtained from the Juilliard School Development Office, 60 Lincoln Center Plaza, New York, NY 10023-6588; (212) 799-5000, ext. 278 (juilliard.edu/giving). Alice Tully Hall Please make certain that all electronic devices are turned off during the performance. THOMAS ARNE (1710–78) Concerto No. 5 in G minor from Six Favourite Concertos for the Organ, Harpsichord, or Piano Forte (1793) Largo Allegro spirito Adagio Vivace EUNJI LEE , -
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV
15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (For Unit 6: Further Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653–1713) is one of the most important and influential composers of the Baroque period. This is all the more remarkable for the fact that his output was very small, being just four sets of twelve trio sonatas, twelve solo sonatas and twelve concerti grossi, plus a handful of other works. All of his music was written for instrumental forces (almost entirely string ensemble) and the form and style of these works were highly regarded by the later generation of Baroque composers such as Handel and Bach. His music was widely recognised and circulated through publishing with as many as 35 different editions of his Op.1 Trio Sonatas being published during the eighteenth-century alone. The compositional techniques Corelli employed are frequently cited as a model for students of Baroque counterpoint and harmony today. Corelli was born into a prosperous landowning family in Fusignano in Northern Italy, although sadly his father died before Arcangelo was born. He studied for four years at nearby Bologna at a time when Italians reigned as the best instrument makers, teachers and performers of string music in the whole of Europe. In 1675, he moved to Rome where he remained for the rest of his life earning his living as a violinist and composer. Queen Christine of Sweden was an early patron of Corelli (he dedicated his Op.1 Trio Sonatas to her) but the Op.3 Trio Sonatas were dedicated in 1689 to Duke Francesco II of Modena.