What Handel Taught the Viennese About the Trombone
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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Joshua Bynum, Trombone Anatoly Sheludyakov, Piano Joshua Bynum
Presents a Presents a Faculty Recital Faculty Recital Joshua Bynum, trombone Joshua Bynum, trombone Anatoly Sheludyakov, piano Anatoly Sheludyakov, piano October 16, 2019 6:00 pm, Edge Recital Hall October 16, 2019 6:00 pm, Edge Recital Hall Radiant Spheres David Biedenbender Radiant Spheres David Biedenbender I. Fluttering, Fast, Precise (b. 1984) I. Fluttering, Fast, Precise (b. 1984) II. for me, time moves both more slowly and more quickly II. for me, time moves both more slowly and more quickly III. Radiant Spheres III. Radiant Spheres Someone to Watch Over Me George Gershwin Someone to Watch Over Me George Gershwin (1898-1937) (1898-1937) Arr. Joseph Turrin Arr. Joseph Turrin Simple Song Leonard Bernstein Simple Song Leonard Bernstein (1918-1990) (1918-1990) Zion’s Walls Aaron Copland Zion’s Walls Aaron Copland (1900-1990) (1900-1990) -intermission- -intermission- I Was Like Wow! JacobTV I Was Like Wow! JacobTV (b. 1951) (b. 1951) Red Sky Anthony Barfield Red Sky Anthony Barfield (b. 1981) (b. 1981) **Out of respect for the performer, please silence all electronic devices throughout the performance. **Out of respect for the performer, please silence all electronic devices throughout the performance. Thank you for your cooperation. Thank you for your cooperation. ** For information on upcoming concerts, please see our website: music.uga.edu. Join ** For information on upcoming concerts, please see our website: music.uga.edu. Join our mailing list to receive information on all concerts and our mailing list to receive information on all concerts and recitals, music.uga.edu/enewsletter recitals, music.uga.edu/enewsletter Dr. Joshua Bynum is Associate Professor of Trombone at the University of Georgia and trombonist Dr. -
Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker. -
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. -
MUSIC in the BAROQUE 12 13 14 15
From Chapter 5 (Baroque) MUSIC in the BAROQUE (c1600-1750) 1600 1650 1700 1720 1750 VIVALDI PURCELL The Four Seasons Featured Dido and Aeneas (concerto) MONTEVERDI HANDEL COMPOSERS L'Orfeo (opera) and Messiah (opera) (oratorio) WORKS CORELLI Trio Sonatas J.S. BACH Cantata No. 140 "Little" Fugue in G minor Other Basso Continuo Rise of Instrumental Music Concepts Aria Violin family developed in Italy; Recitative Orchestra begins to develop BAROQUE VOCAL GENRES BAROQUE INSTRUMENTAL GENRES Secular CONCERTO Important OPERA (Solo Concerto & Concerto Grosso) GENRES Sacred SONATA ORATORIO (Trio Sonata) CANTATA SUITE MASS and MOTET (Keyboard Suite & Orchestral Suite) MULTI-MOVEMENT Forms based on opposition Contrapuntal Forms FORMS DESIGNS RITORNELLO CANON and FUGUE based on opposition BINARY STYLE The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST TRAITS and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC. Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc) Opera "Tu sei morta" from L'Orfeo Trio Sonata Trio Sonata in D major, Op. 3, No. 2 1607 by Claudio MONTEVERDI (1567–1643) Music Guide 1689 by Arcangelo CORELLI (1653–1713) Music Guide Monteverdi—the first great composer of the TEXT/TRANSLATION: A diagram of the basic imitative texture of the 4th movement: Baroque, is primarily known for his early opera 12 14 (canonic imitation) L'Orfeo. This work is based on the tragic Greek myth Tu sei morta, sé morta mia vita, Violin 1 ed io respiro; of Orpheus—a mortal shepherd with a god-like singing (etc.) Tu sé da me partita, sé da me partita Violin 2 voice. -
Haydn's the Creation
Program Notes In the fall of 1790, a man appeared at Haydn’s rooms in Vienna with the abrupt introduction, “I am Salomon of London and have come to fetch you. Tomorrow we will arrange an accord.” Johann Peter Salomon’s meeting with the 58-year old Haydn was a turning point in Haydn’s long career. Under the impresario’s canny direction, Haydn’s two extended visits to London were not only extremely lucrative, but also musically invigorating, and he wrote some of his greatest works including his last twelve symphonies and his last six concert masses after 1791. And his sojourn in London directly led to what is perhaps his most popular work, the extraordinary and daringly original oratorio The Creation. Salomon’s proposal came at a particularly appropri- ate time for Haydn. Haydn was arguably the most renowned composer in Europe, despite having spent the last 30 years in the service of the House of Es- terházy. Prince Nikolaus entertained lavishly and took every opportunity to showcase his increasingly famous Kapellmeister, arranging elaborate musical evenings and even building an amphitheater where Haydn could present operas. The prince gave Haydn the opportunity to accept outside commissions and to publish, and there arose such an insatiable de- mand for Haydn’s music that pirated editions flourished and unscrupulous publishers actually affixed Haydn’s name to music written by his brother Michael, his pupils, and even random composers. But Prince Nikolaus sud- denly died in 1790, and his successor Prince Anton disbanded most of the Esterházy musical establishment. Haydn retained his nominal position as Kapellmeister, but had no official duties and was no longer required to be in residence. -
Race and Record Cover Design in American Jazz, 1950 to 1970 Carissa Kowalski Dougherty
The Coloring of Jazz: Race and Record Cover Design in American Jazz, 1950 to 1970 Carissa Kowalski Dougherty The thread of race runs throughout the business, culture, and designers were involved with album cover design—even in aesthetics of jazz. Just as jazz has been called a typically musical genres that have been traditionally linked to black American music, it shares the typically American problem of culture and roots. The motivation and means of expression racial tensions that accompany its more positive aspects of for African-American artists and musicians developed paral- freedom and diversity. This is not to say that all interactions lel to each other, but came together infrequently in album cover between black and white jazz figures were negative; if any- design. Although black artists and musicians shared a com- thing, jazz helped foster relationships between groups that mon tension between the expression of their racial identity might not have collaborated, otherwise. However, the fact re- and the desire to be appreciated as skilled individuals, they mains that the time period in question—from 1950 to 1970— rarely collaborated in the commercial art world. An album was a difficult and critical juncture for race relations in the cover like the one for Jelly Roll Morton’s Back o’ Town Blues United States.1 (Figure 1), which used a painting by African-American artist Although jazz-inspired artwork has been explored by sev- Jacob Lawrence, is the exception rather than the rule. This eral authors, the more commercial aspect of jazz visual art— disparity can be accounted for in the power structure of the album cover design—is a largely unexplored topic. -
Handel's Oratorios and the Culture of Sentiment By
Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. My dissertation explores how the pervasive sentimentalism in England, reaching first maturity right when Handel committed himself to the oratorio, influenced his last masterpieces as much as it did other artistic products of the mid- eighteenth century. When searching for relationships between music and sentimentalism, historians have logically started with literary influences, from direct transferences, such as operatic settings of Samuel Richardson’s Pamela, to indirect ones, such as the model that the Pamela character served for the Ninas, Cecchinas, and other garden girls of late eighteenth-century opera. -
Mozart's Piano
MOZART’S PIANO Program Notes by Charlotte Nediger J.C. BACH SYMPHONY IN G MINOR, OP. 6, NO. 6 Of Johann Sebastian Bach’s many children, four enjoyed substantial careers as musicians: Carl Philipp Emanuel and Wilhelm Friedemann, born in Weimar to Maria Barbara; and Johann Christoph Friedrich and Johann Christian, born some twenty years later in Leipzig to Anna Magdalena. The youngest son, Johann Christian, is often called “the London Bach.” He was by far the most travelled member of the Bach family. After his father’s death in 1750, the fifteen-year-old went to Berlin to live and study with his brother Emanuel. A fascination with Italian opera led him to Italy four years later. He held posts in various centres in Italy (even converting to Catholicism) before settling in London in 1762. There he enjoyed considerable success as an opera composer, but left a greater mark by organizing an enormously successful concert series with his compatriot Carl Friedrich Abel. Much of the music at these concerts, which included cantatas, symphonies, sonatas, and concertos, was written by Bach and Abel themselves. Johann Christian is regarded today as one of the chief masters of the galant style, writing music that is elegant and vivacious, but the rather dark and dramatic Symphony in G Minor, op. 6, no. 6 reveals a more passionate aspect of his work. J.C. Bach is often cited as the single most important external influence on Wolfgang Amadeus Mozart. Mozart synthesized the wide range of music he encountered as a child, but the one influence that stands out is that of J.C. -
9914396.PDF (12.18Mb)
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Quartet Dimensions
concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales.