Mmandolini, Tradizione E Musica
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CLASSICAL MANDOLIN SOCIETY of AMERICA PRESENTS Dorina Frati, Mandolin and Daniele Roi, Harpsichord Gravenstein Mandolin Ensemble Mazurka Madness
CLASSICAL MANDOLIN SOCIETY OF AMERICA PRESENTS Dorina Frati, mandolin and Daniele Roi, harpsichord Gravenstein Mandolin Ensemble Mazurka Madness Thursday, November 15, 2018, 7:30 pm Ballroom, Flamingo Resort & Spa, Santa Rosa CA PROGRAM GRAVENSTEIN MANDOLIN ENSEMBLE Gus Garelick, Music Director El Zopilote Mojado Mexican Mariachi tune Tres Piezas Luis Gianneo (1942) Violin solo: Gus Garelick Vidala - Cancion Incaica - Chacarera Cadiz Isaac Albeniz (1886) Klezmer Medley: Grey Eyes/ Bulgar Jalousie (tango) Jacob Gade (1926) Presto! Franz Joseph Haydn (ca.1780) La Partida Trad. Venezuelan waltz Brejeiro (choro) Ernest Nazareth (1893) Flute and pandeira: Sandy Feldhorn MAZURKA MADNESS Bruce Zweig, piano; Julie Smolin, violin; Gus Garelick and Matt Vuksenich, mandolins; David Wise, bouzouki Alma Andaluza Flamenco paso doble (trad) Tra Veglia e Sonno (mazurka) L.Canoro/P.Denza (1913) Medley of Polkas: Nancy’s Polka Italian Trad. Il Pensiero Giovanni Biondi (1902) Las Perlitas Mexican Trad. Mazurka per Caterina Matteo Casserino (1975) Mandolira Andrini Brothers (ca.1950) La Zingana (Hungarian Mazurka) Carl Bohm (1895) Dengoso Ernesto Nazareth (1917) ― INTERMISSION ― DORINA FRATI & DANIELE ROI Dorina Frati, mandolino; Daniele Roi, clavicembalo Divertimento per camera I in A major Giuseppe Gaetano Boni (ca.1650 – 1732) Preludio(largo) - Corrente(allegro) - Sarabanda - Allegro Divertimento per camera IX in D major Giuseppe Gaetano Boni (ca.1650 – 1732) Allegro – Adagio – Allegro Sonata V in e minor Roberto Valentini (1680–1759) Adagio – Allegro- Largo – Allegro - 2 - Program (cont.) Concerto in C major RV 425 Antonio Vivaldi (1678 –1741) Allegro – Largo – Allegro Sonata in d minor K89 Domenico Scarlatti (1685 –1757) Allegro – Grave - Allegro PERFORMERS Now considered one of the greatest contemporary virtuosos of the mandolin, Dorina Frati began studying the instrument at the age of six under the guidance of various mandolin teachers in Brescia. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
Vivaldi Explosion Program
The following program notes may only be used in conjunction with the one-time streaming term for the corresponding Chamber Music Society of Lincoln Center (CMS) Front Row National program, with the following credit(s): Program notes by Laura Keller, CMS Editorial Manager © 2020 Chamber Music Society of Lincoln Center Any other use of these materials in connection with non-CMS concerts or events is prohibited. VIVALDI EXPLOSION PROGRAM ANTONIO VIVALDI (1678-1741) Sonata in A minor for Cello and Continuo, RV 43 (c. 1739) Largo Allegro Largo Allegro Efe Baltacigil, cello; Dane Johansen, cello; Paul O’Dette, lute; John Gibbons, harpsichord VIVALDI Concerto in G minor for Flute, Oboe, and Bassoon, RV 103 Allegro ma cantabile Largo Allegro non molto Sooyun Kim, flute; Stephen Taylor, oboe; Bram van Sambeek, bassoon VIVALDI Concerto in F major for Three Violins, Strings, and Continuo, RV 551 (1711) Allegro Andante Allegro Todd Phillips, violin; Bella Hristova, violin; Chad Hoopes, violin; Sean Lee, violin; Aaron Boyd, violin; Pierre Lapointe, viola; Timothy Eddy, cello; Anthony Manzo, bass; Michael Sponseller, harpsichord --INTERMISSION (Discussion with artists)-- VIVALDI Sonata in D minor for Two Violins and Continuo, RV 63, “La Follia” (published c. 1705) Adam Barnett-Hart, violin; Aaron Boyd, violin; Brook Speltz, cello; Jason Vieaux, guitar VIVALDI Concerto in D major for Mandolin, Strings, and Continuo, RV 93 (1730-31) Chamber Music Society of Lincoln Center Allegro giusto Largo Allegro Avi Avital, mandolin; Paul Huang, violin; Danbi Um, violin; Ani Kavafian, violin; Chad Hoopes, violin; Mihai Marica, cello; Daniel McDonough, cello; Anthony Manzo, bass; Jiayan Sun, harpsichord NOTES ON THE PROGRAM Violin virtuosity reached a new height around the year 1700. -
Download Booklet
Delicate Delights BEST LOVED classical mandolin and lute music Delicate Delights Best loved classical mandolin and lute music 1 Johann Sebastian BACH (1675–1750) 6 Isaac ALBÉNIZ (1860–1909) Concerto in the Italian Style, 4:10 Suite española No. 1, Op. 47 – 6:23 BWV 971 ‘Italian Concerto’ – No. 5. Asturias (arr. for mandolin I. Allegro (arr. for mandolin and guitar) and guitar) Dorina Frati, Mandolin Jacob Reuven, Mandolin Piera Dadomo, Guitar (CDS514) Eyal Leber, Guitar (8.573566) 2 Antonio VIVALDI (1678–1741) 7 Tom G. FEBONIO (b. 1950) Mandolin Concerto in C major, 2:52 Water Ballads, Op. 47 – II. Sprite 2:29 RV 425 – I. Allegro Daniel Ahlert, Mandolin Paul O'Dette, Mandolin Birgit Schwab, Guitar (8.559686) The Parley of Instruments • Peter Holman (8.552101-02) 8 Johann HOFFMANN Mandolin Concerto in D major – 4:24 3 Johann HOFFMANN (1770–1814) III. Rondo Mandolin Sonata in D minor – 3:24 Elfriede Kunschak, Mandolin III. Allegro Vienna Pro Musica Orchestra Daniel Ahlert, Mandolin Vinzenz Hladky (CD3X-3022) Birgit Schwab, Archlute (8.557716) 9 Silvius Leopold WEISS (1686–1750) 4 Ludwig van BEETHOVEN (1770–1827) Lute Sonata No. 14 in G minor – 4:07 Mandolin Sonatina in C major, 3:02 VI. Chaconne WoO 44 Daniel Ahlert, Mandolin Elfriede Kunschak, Mandolin Birgit Schwab, Baroque lute (8.557716) Maria Hinterleitner, Harpsichord (CD3X-3022) 10 Antonio VIVALDI Concerto for 2 Mandolins in G major, 3:12 5 Johann Sebastian BACH RV 532 – II. Andante Lute Suite in G minor, BWV 995 – 3:57 Silvia Tenchini and Dorina Frati, Mandolin III. Courante Mauro and Claudio Terroni Mandolin Orchestra Konrad Ragossnig, Lute (CD3X-3022) Dorina Frati, Conductor (CDS7787) 8.578183 2 11 Johann Sebastian BACH 16 Ermenegildo CAROSIO (1886–1928) Lute Partita in E major, BWV 1006a – 3:29 Flirtation Rag 4:18 III. -
Spoleto Festival Usa Program History 2017 – 1977
SPOLETO FESTIVAL USA PROGRAM HISTORY 2017 – 1977 Spoleto Festival USA Program History Page 2 Table of Contents, Organized by Year 2017 .................................... 3 2016 .................................... 6 1996 .................................... 76 2015 .................................... 10 1995 .................................... 79 2014 .................................... 13 1994 .................................... 82 2013 .................................... 16 1993 .................................... 85 2012 .................................... 20 1992 .................................... 88 2011 .................................... 24 1991 .................................... 90 2010 .................................... 27 1990 .................................... 93 2009 .................................... 31 1989 .................................... 96 2008 .................................... 34 1988 .................................... 99 2007 .................................... 38 1987 .................................... 101 2006 .................................... 42 1986 .................................... 104 2005 .................................... 45 1985 .................................... 107 2004 .................................... 49 1984 .................................... 109 2003 .................................... 52 1983 .................................... 112 2002 .................................... 55 1982 .................................... 114 2001 ................................... -
Practical Treatise on the Mandolin and Kindred Instruments.
1 1'=\ 'tZ. 7 -71> ,?/ rt/' A Descriptive and <z) Practical Treatise on the Mandolin and Kindred Instruments. - Iltustrated from Orlginal Drawings and Photographs. OF IT' S TURN Appeared originally ir TsE CADENza Music Iuagazine Nunlbers of JaDuary, February, Llarch, April al]d IIat' I9o1' and reprinted by courtesy of the C. L. P^rtee Company, PublisLers, New York. L URING the past twentv years no musicll instrument in modern times hts atlt'ancetl so rapidly in popular favor in tr)uro|e antl in this country as the Nerpolitan mondo- . lin. In Germany and in Eugland, lrhere n few yelrs ago the instrument was virtually unknowlr, and in Paris only in a very modest way, to-dl,y the mand<-rlin is phyed by thousonds, &nd it ranks as I n especiall.v elegant and artistic instrument. Titled cmateurs give it first prominencc in their exclusive dr&wing-room musit:alcs lntl rcceptions. Francc has innumerable Societics l\Ianclolinistcs scrttcred all ovcr the country. England has its mrDJ'mt!n- tlolin bancls; Germany its malrilolin orchestras. Thc ilstnt- ment is becoming extremely popular in the large citics of South America. Nlusicinns are taking it up in far-off Attstrrllir. Italy has its greai i\Iandolinisii Circolos; its cclebrltcd soloists tr:rvel about the Continent, givilg conccrts tncl recitols. The Drofessols of Paris have established conservltories for the instrument, and with their assistants are having more thtn they can attend to. In London, Paris, and Berlin, where onlv a iew years ago there was absolutely no music being published lor thc mantlo- Iin, to-day hundreds ol beautiiul compositiors of the very highest class are being written by ihe best comltosers, mo-st' of them original compositions, and many of thcm arrangetl for fuil mandolin orchestra. -
Vivaldi Explosion Program
Program notes by Laura Keller, CMS Editorial Manager © 2020 Chamber Music Society of Lincoln Center VIVALDI EXPLOSION PROGRAM ANTONIO VIVALDI (1678-1741) Sonata in A minor for Cello and Continuo, RV 43 (c. 1739) Largo Allegro Largo Allegro Efe Baltacigil, cello; Dane Johansen, cello; Paul O’Dette, lute; John Gibbons, harpsichord VIVALDI Concerto in G minor for Flute, Oboe, and Bassoon, RV 103 Allegro ma cantabile Largo Allegro non molto Sooyun Kim, flute; Stephen Taylor, oboe; Bram van Sambeek, bassoon VIVALDI Concerto in F major for Three Violins, Strings, and Continuo, RV 551 (1711) Allegro Andante Allegro Todd Phillips, violin; Bella Hristova, violin; Chad Hoopes, violin; Sean Lee, violin; Aaron Boyd, violin; Pierre Lapointe, viola; Timothy Eddy, cello; Anthony Manzo, bass; Michael Sponseller, harpsichord --INTERMISSION (Discussion with artists)-- VIVALDI Sonata in D minor for Two Violins and Continuo, RV 63, “La Follia” (published c. 1705) Adam Barnett-Hart, violin; Aaron Boyd, violin; Brook Speltz, cello; Jason Vieaux, guitar VIVALDI Concerto in D major for Mandolin, Strings, and Continuo, RV 93 (1730-31) Allegro giusto Largo Chamber Music Society of Lincoln Center Allegro Avi Avital, mandolin; Paul Huang, violin; Danbi Um, violin; Ani Kavafian, violin; Chad Hoopes, violin; Mihai Marica, cello; Daniel McDonough, cello; Anthony Manzo, bass; Jiayan Sun, harpsichord NOTES ON THE PROGRAM Violin virtuosity reached a new height around the year 1700. From the start of the Baroque Period a hundred years earlier, skilled craftsmen like Gasparo da Salò advanced string instrument building technique until it reached its apex with the instruments of Antonio Stradivari and Giuseppe Guarneri. The burgeoning music publishing industry also inspired composers to write pieces that would stand out and establish their international reputations. -
CLASSICAL MANDOLIN SOCIETY of AMERICA PRESENTS Dorina Frati, Mandolin and Daniele Roi, Piano Takumi Mamiya, Mandolin CMSA En Masse Orchestra
CLASSICAL MANDOLIN SOCIETY OF AMERICA PRESENTS Dorina Frati, mandolin and Daniele Roi, piano Takumi Mamiya, mandolin CMSA En Masse Orchestra Saturday, November 17, 2018, 7:30 pm Ballroom, Flamingo Resort & Spa, Santa Rosa CA PROGRAM TAKUMI MAMIYA mandolin Piccola gavota Rafaele Calace 2.Jongara Yasuo KUWAHARA 3.Deep Obsession Kzo ISHIBASHI DORINA FRATI & DANIELE ROI Dorina Frati, mandolino; Daniele Roi, pianoforte Adagio ma non troppo in E flat major WoO 43B Ludwig van Beethoven (1770-1827) Andante con variazioni in D major WoO 44B Ludwig van Beethoven (1770-1827) Plenilunio Eugenio Sorrentino (1865-1943) Gavota Paolo Serrao (1830-1907) Romanza senza parole in e minor Franco Margola (1908-1992) Burleta (allegro assai) Armin Kaufmann (1902-1980) Mitoka Dragomirna (vivo) Armin Kaufmann (1902-1980) ― INTERMISSION ― CMSA EN MASSE ORCHESTRA Jim Bates, Conductor Tzigana Peter Tarzia Tanz Suite Nr. 2 Op. 21 Takashi Kubota Cobalt-blue Miracle Rie Muto Canestro di Fiori Giacomo Sartori Adagio Misterioso Achille Bocus Musical entertainment in the Lobby prior to tonight’s concert by La Scuola - 2 - PERFORMERS Now considered one of the greatest contemporary virtuosos of the mandolin, Dorina Frati began studying the instrument at the age of six under the guidance of various mandolin teachers in Brescia. When Italy’s first chair of mandolin was founded at the Conservatory of Padua, she enrolled to complete her training under an exceptional maestro, Giuseppe Anedda - perhaps the greatest mandolin player of the past century and the holder of the chair - and became the first person in the country to graduate in mandolin studies. Her concert career began shortly aferwards. -
Inhoudelijke Richtlijnen Kaderopleiding Mandoline
Inhoudelijke richtlijnen kaderopleiding Mandoline Rapport voor Kunstfactor Utrecht Sebastiaan de Grebber, Daniëlle de Rover, Martine Sikkenk en Alex Timmerman Colofon © Kunstfactor Utrecht, september 2012 Inhoudelijke richtlijnen kaderopleiding Mandoline is een uitgave van Kunstfactor, sectorinstituut amateurkunst. Tenzij anders overeengekomen, geeft Kunstfactor u als lezer toestemming deze uitgave voor eigen gebruik te downloaden en af te drukken. Het is niet toegestaan om inhoudelijk, tekstueel of anderszins wijzigingen aan te brengen. Bij citeren is bronvermelding verplicht. Overdracht aan derden van het gebruiksrecht is uitgesloten. Het gebruiksrecht geldt niet voor commerciële doeleinden. De overdracht van de rechten van intellectueel eigendom, waaronder het auteursrecht, rustend op de door Kunstfactor opgestelde of ontworpen werken zijn bij het gebruiksrecht niet inbegrepen. Kunstfactor, sectorinstituut amateurkunst, zet zich in voor een sterke amateurkunstsector. Dit doen we vanuit de overtuiging dat actieve kunstbeoefening een bijdrage levert aan de persoonlijke ontwikkeling van mensen en aan een creatieve, harmonieuze samenleving. Inhoudsopgave Inleiding 5 Deel A algem een deel 7 1. Verkenning 7 1.1 Wie is die amateurkunstenaar? 7 1.2 Welke aanbieders zijn actief? 7 1.3 Actuele sociaalculturele ontwikkelingen 7 1.4 Marktdenken 8 2. Richtlijnen voor kaderopleidingen 9 2.1 Wat zijn kaderopleidingen? 9 2.2 Doel van de richtlijnen 9 2.3 Wat staat er in de richtlijnen? 9 3. Visie op leren en kunsteducatie 10 3.1 Facetten van amateurkunst 10 3.2 Soorten van leren 10 3.3 Leertheorie: het constructivisme 11 3.4 Leerstijlen 12 3.5 Methodisch didactische benaderingswijzen 13 4. De invulling van het docentschap 14 4.1 Meestergezel 14 4.2 Docentleerling 14 4.3 De docent als coach 14 4.4 Peer education 14 5. -
Ore 21.00 Giovedì 4 Ottobre 2018
FRANCESCO DARMANIN nasce a Firenze nel 1995. È ammesso al Conservatorio Luigi Cherubini di Firenze chiamato a tenere un corso in occasione delle celebrazioni del centenario segoviano. Nel 1998, gli è stato nel settembre del 2009 nella classe del M° Fabio Battistelli, ottenendo il diploma nel settembre del 2014 conferito il premio “Marengo Musica” del Conservatorio di Alessandria. Mercoledì 3 ottobre 2018 – ore 21.00 con il massimo dei voti, lode e menzione d'onore. Si perfeziona poi con il Maestro F. Meloni. Prende parte Come musicologo, ha ritrovato il manoscritto originale delle incompiute Variazioni per chitarra di Ottorino a numerosi concorsi, tra i quali "Concorso strumentistico Nazionale Calcit" 1° premio assoluto, "Concorso Respighi e ha recuperato un vasto corpus di composizioni scritte per Andrés Segovia da autori spagnoli, strumentistico Nazionale Silver Città di Vinci" 1° Premio, "Concorso Internazionale Premio Crescendo" 1° francesi e britannici negli anni venti e trenta, opere mai eseguite, che si riteneva fossero andate perdute Sala del Buonumore “Pietro Grossi” premio con PremioCrescendo sezione Fiati e 1° assoluto e Premio Speciale "Chiarappa" sezione Musica per sempre. da Camera in Duo con il pianista Mattia Fusi, “Concorso Lions Aldobrandeschi, Grosseto” 1° Premio, Concorso Dal 2002, si cura della pubblicazione di tali opere nella collana The Andrés Segovia Archive, pubblicata nazionale “Riviera Etrusca”1° Premio assoluto. Partecipa a numerose rassegne musicali, tra le quali "Livorno dalle Edizioni Musicali Bèrben. Ha -
The Band, Led by the World Famous Italian Mandolin Player and Scholar
The band, led by the world famous Italian mandolin player and scholar Carlo Aonzo, presents a very interesting repertoire of Italian musics, chosen among the evergreens of the Italian national tradition, arranged with the unique personal ‘Carlo Aonzo Trio’ style. The Trio, featuring Carlo Aonzo on the Italian mandolin, Lorenzo Piccone on the guitar and Luciano Puppo on the double bass, made a real trip around the world musical genres with the release, in 2016, of their first album “A Mandolin Journey”. This work celebrates the Mandolin as icon of the Italian culture in the world following its evolution through centuries and continents and was presented during a very intense musical tour through many Italian towns and the United States where it was warmly welcomed by both audience and critics. The new project “Mandolitaly” is focuses now on the roots of the Italian music. All the tracks of the cd are arranged according to the eclectic taste of Carlo and his musicians. Some special guests also participated in this work, who contributed by adding new sounds and colors. Carlo Aonzo Trio presented his projects all over Italy, Germany and Switzerland. In the last four years the Trio has toured throughout the U.S.A., playing in cities such as Washington, Chicago, NYC, Philadelpia, Reno, Baltimore, Hampton, Montclair, Asheville, Nashville, Knoxville, Bethlehem, Milwaukee, Pittsburgh, Saratoga Springs, Akron, Durham, Portsmouth, Epsom, Ketchum, Portland, Backer City, Missoula... In July 2017 the Trio participated in the prestigious international music festival of Cervo (Liguria – Italy) Carlo Aonzo Trio has been a guest on several radio and television broadcasts, among which “La Stanza della Musica” (RAI Radio3), “Radio1 Music Club” (RAI Radio1), “Caterpillar” (RAI Radio2), “E' la Rai, bellezza!” RAI Isoradio, Tg3 Liguria (Rai3), Radio Colonia (D), WUWM Milwaukee Public Radio (Wisconsin), WYPR Radio Baltimore MD, CBS Pittsburgh Today Live PA.. -
Programmfahne Deutschlandradio Kultur 10. Woche
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