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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
Mozart's Very First Horn Concerto
48 HISTORIC BRASS SOCIETY JOURNAL MOZART'SVERY FIRST HORN CONCERTO Herman Jeurissen (Translated by Martha Bixler, Ellen Callmann and Richard Sacksteder) olfgang Amadeus Mozart's four horn concertos belong to the standard repertory of every horn player today. There are, in addition, some fragments indicating that Mozart had in mind at least two more concertos. All of these worksw stem from Mozart's years in Vienna from 1781 to the end of his life. Mozart sketched out the Rondo KV 371 on March 21,178 1, five days after he had left Munich at the command of his patron, Archbishop Hieronymus Colloredo, to join the court musicians of Salzburg in Vienna to give musical luster to the festivities in honor of the newly crowned emperor, Joseph 11. He must havecomposed thedraft of an opening allegro, KV 370b, for a horn concerto in E-flat major at about the same time. In all probability, the Rondo KV 371 formed its finale. The themes of this experimental concerto, KV370b+371, are completely characteristic of Mozart: the march-like open- ing of the first movement occurs frequently in the piano concertos and the rondo theme set in 214 time anticipates the second finale of Figaro (Ex. 1). No trace has been found of plans he probably had for a second movement. Example 1 The Allegro KV 370b In 1856, Mozart's son Carl Thomas (1784-1858), in connection with his father's 100th birthday, cut up a large part of this first movement and distributed the pieces as "Mozart relics." Today, 127 measures of this movement survive, in which, as in the Rondo, the horn part is fully worked out while the accompaniment is only partially indicated. -
Interpretation of Mozart Concertos with an Historical View
Kurs: CA 1004 30 hp 2018 Master in Music 120 ECTS Institutionen för Klassisk musik Handledare: Katarina Ström-Harg Examinator: Ronny Lindeborg Mónica Berenguer Caro Interpretation of Mozart concertos with an historical view 1 Preface The basis of this research originally came from my passion for my instrument. I started to think about the importance of Mozart's concertos about 4 years ago, when I began taking orchestra auditions and competitions. A horn player will perform Mozart concertos through his entire musical career, so I think it is necessary to know more about them. I hope to contribute to knowledge for new and future students and I hope that they will be able to access to the content of my thesis whenever they need it. In fact, I may have not achieved my current level of success without a strong support group. First, my parents, who have supported me with love and understanding. Secondly there are my teachers, Katarina Ström-Harg and Annamia Larsson, each of whom has provided patient advices and guidance throughout the research process. Thank you all for your unwavering support. 2 Abstract This thesis is an historical, technical and stylistic investigation of Mozart horn concertos. It includes a description of Mozart’s life; the moment in his life where the concertos were developed. It contains information about Ignaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limitations of this instrument, as well as the way of the interpretation of these pieces had been facilitated by the arrival of the chromatic horn. -
(1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements
Wolfgang Amadeus Mozart's (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements Item Type text; Electronic Thesis Authors Koner, Karen Michelle 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 10/10/2021 21:25:51 Link to Item http://hdl.handle.net/10150/193304 1 Wolfgang Amadeus Mozart’s (1756-1791) Completed Wind Concertos: Baroque and Classical Designs in the Rondos of the Final Movements By Karen Koner __________________________________ Copyright © Karen Koner 2008 A Thesis Submitted to the Faculty of the School of Music In Partial Fulfillment of the Requirements for the Degree of Master of Music In the Graduate College The University of Arizona 2008 2 STATEMENT BY THE AUTHOR This thesis has been submitted in partial fulfillment of requirements 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 acknowledgement 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 copyright holder. Signed: Karen Koner Approval By Thesis Director This thesis has been approved on the date shown below: J. Timothy Kolosick 4/30/2008 Dr. -
Case Study of Mozart's Clarinet Concerto K622, a Research System of the Origin of a Musical Work Has Been Developed in This Paper
Interdisciplinary Description of Complex Systems 10(2), 204-212, 2012 RESEARCH SYSTEM OF THE ORIGIN OF A MUSICAL WORK: CASE STUDY OF MOZART’S CLARINET CONCERTO K622 Mihael Paar* Woodwind Department, Conservatory of Music Ferdo Livadić Samobor, Croatia Regular article Received: 23. March 2012. Accepted: 30. May 2012. ABSTRACT Revealing the origin of a musical work represents a process of data gathering. Therefore, it requires a well-developed system of their aquistion, verification and synthetisation. Based on and derived from the case study of Mozart's Clarinet Concerto K622, a research system of the origin of a musical work has been developed in this paper. By employing its structural elements it is possible to make a solid framework within which the comprehensive review of the origin of the work can be given. The system bears general features and it is applicable for any of the musical works. It proved to be efficient platform for the case study of Mozart’s Concerto. KEY WORDS research system, origin of a musical work, case study, Mozart, basset clarinet CLASSIFICATION JEL: Z00 PACS: 51.40.+p *Corresponding author, : [email protected]; +385 1 3363 855; *Conservatory of Music ‘Ferdo Livadić’, Trg matice hrvatske 3, HR – 10430 Samobor, Croatia Research system of the origin of a musical work: Case study of Mozart’s Clarinet Concerto INTRODUCTION Research in the field of origin of a musical composition represents the necessity for scholars and performers alike. Various reasons form the urge to explore the background of the respective piece: new insights into the composer himself, his style and the period of time he belonged to, better understanding of the music for performers and listeners, its reception at the time and today, valuable insights for music publishers and instrument builders. -
Janser- Thesis
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC A FATHER’S ROLE IN THE DEVELOPMENT OF COMPOSITIONAL TECHNIQUE: A STUDY OF TWO CONCERTOS EMILY JANSER Spring 2011 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Reviewed and approved* by the following: Marie Sumner Lott Assistant Professor, Musicology Thesis Supervisor Joanne Rutkowski Professor, Music Education Honors Adviser * Signatures are on file in the Schreyer Honors College. Abstract This thesis investigates paternal influence in the compositional techniques of Wolfgang Amadeus Mozart (1756-1791) and Richard Strauss (1864-1949). Although the two composers lived a century apart, similarities in their relationship with their fathers, Leopold Mozart and Franz Strauss are apparent. In Part One, research demonstrates paternal involvement in both composers’ upbringing and education. Part Two of this thesis will analyze two concertos, one by each composer: Wolfgang Mozart’s Violin Concerto No. 1 in B-flat Major, K. 207 (1773) and Richard Strauss’s Horn Concerto No. 1 in E-flat Major, Op. 11 (1883). In each concerto, similarities between the compositional techniques of the composer and his respective father show the extent of paternal influence in composition. Finally, comparisons examine the similarities and differences between the two father-son relationships. Through the investigation of these relationships, we may acquire a clearer understanding of their music, making performance -
Chamber Music
New Mozart Edition VIII/19/2 Quintets with Wind Instruments WOLFGANG AMADEUS MOZART Series VIII CHAMBER MUSIC WORK GROUP 19: STRING QUINTETS AND QUINTETS WITH WIND INSTRUMENTS SECTION 2: QUINTETS WITH WIND INSTRUMENTS PRESENTED BY ERNST FRITZ SCHMID 1958 International Mozart Foundation, Online Publications III New Mozart Edition VIII/19/2 Quintets with Wind Instruments Neue Mozart-Ausgabe (New Mozart Edition)* WOLFGANG AMADEUS MOZART The Complete Works BÄRENREITER KASSEL BASEL LONDON En coopération avec le Conseil international de la Musique Editorial Board: Dietrich Berke Wolfgang Plath Wolfgang Rehm Agents for BRITISH COMMONWEALTH OF NATIONS: Bärenreiter Ltd. London BUNDESREPUBLIK DEUTSCHLAND: Bärenreiter-Verlag Kassel SWITZERLAND and all other countries not named here: Bärenreiter-Verlag Basel As a supplement to each volume a Critical Report (Kritischer Bericht) in German is available The editing of the NMA is supported by City of Augsburg City of Salzburg Administration Land Salzburg City of Vienna Konferenz der Akademien der Wissenschaften in der Bundesrepublik Deutschland, represented by Akademie der Wissenschaften und der Literatur Mainz, with funds from Bundesministerium für Forschung und Technologie, Bonn and Bayerisches Staatsministerium für Unterricht und Kultus Ministerium für Kultur der Deutschen Demokratischen Republik Bundesministerium für Unterricht und Kunst, Vienna * Hereafter referred to as the NMA. The predecessor, the "Alte Mozart-Edition" (Old Mozart Edition) is referred to as the AMA. International Mozart Foundation, Online Publications IV New Mozart Edition VIII/19/2 Quintets with Wind Instruments CONTENTS Editorial Principles ……………..………………………………………………..…….. VI Foreword………….…………………….………………………………………….…… VII Facsimile: Entry relating to the Clarinet Quintet in A KV 581 from the work catalogue in Mozart’s own hand XIV Facsimile: Title page of the first printing of the Clarinet Quintet in A KV 581………………………………… XIV Facsimile: First page of the autograph for a fragment of a Clarinet Quintet in B b KV App. -
Noteson the Program
11-04 Myers.qxp_Layout 1 10/23/15 2:45 PM Page 27 NOTES ON THE PROGRAM By James M. Keller, Program Annotator The Leni and Peter May Chair Divertimento in D major, K.125a/136 Horn Concerto No. 2 in E-flat major, K.417 Serenade No. 10 in B-flat major, Gran Partita, K.361/370a Wolfgang Amadeus Mozart ust what is this piece supposed to be, any - Then, too, this work has long been claimed Jway, this Divertimento in D major ? It’s one as a piece of chamber music, and among the of three roughly similar works that, in the com - available recordings music lovers will find poser’s manuscript, are headed with the words readings by such revered ensembles as the “di Wolfgango Amadeo Mozart Salisburgo 1772.” That leaves no doubt that Mozart wrote all three IN SHORT in his hometown of Salzburg (Italianized as “Salisburgo”), and historical evidence suggests Born: January 27, 1756, in Salzburg, Austria that they must date from the early months of that year — when he was 15 going on 16, and a Died : December 5, 1791, in Vienna decade along in his composing career. Each of the three pieces is also headed with the inscrip - Works composed and premiered: Diverti - tion Divertimento I (or II or III), but that is writ - mento, composed early in 1772, in Salzburg; ten in a hand other than Mozart’s. It was in no premiere unknown. Horn Concerto No. 2 com - way unreasonable to call such pieces diverti - pleted in Vienna on May 27, 1783; premiere un - mentos; the term had no very specific meaning known. -
Programnotes Dewaart Mozart
Please note that Christoph von Dohnányi has had to postpone his arrival in Chicago due to his recovery from a minor eye surgery. The CSO welcomes Edo de Waart, who has graciously agreed to lead this week’s concerts. PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, June 2, 2016, at 8:00 Friday, June 3, 2016, at 8:00 Saturday, June 4, 2016, at 8:00 Tuesday, June 7, 2016, at 7:30 Edo de Waart Conductor Daniel Gingrich Horn Mozart Symphony No. 38 in D Major, K. 504 (Prague) Adagio—Allegro Andante Presto Mozart Horn Concerto No. 3 in E-flat Major, K. 447 Allegro Romanza: Larghetto Allegro DANIEL GINGRICH INTERMISSION Beethoven Symphony No. 2 in D Major, Op. 36 Adagio molto—Allegro con brio Larghetto Scherzo: Allegro Allegro molto These performances are generously sponsored by the Randy L. and Melvin R. Berlin Family Fund for the Canon. CSO Tuesday series concerts are sponsored by United Airlines. The Chicago Symphony Orchestra is grateful to 93XRT, WBEZ 91.5 FM, and RedEye for their generous support as media sponsors of the Classic Encounter series. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Wolfgang Mozart Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Symphony No. 38 in D Major, K. 504 (Prague) There are more sketches he opening of the Prague Symphony is for the Prague Symphony highly dramatic music, full of power than any other by and that peculiarly alarming Mozartean Mozart—starts and stops undercurrentT of tragedy. -
Notes on the Program
Notes on the program WOLFGANG AMADEUS MOZART (1756–1791) Divertimento in D, K.136/125a (1772) By the age of 16, when he wrote this D major Divertimento, Mozart had already spent over two years away from his home town of Salzburg. He had lived in London and Paris and travelled throughout Austria, Germany, France, the Netherlands and Italy. In addition to giving concerts at court in order to fill his family's pockets with gold rings, snuffboxes and watches, he met many of the famous musicians of the time and had opportunities to study and hear their music. Musical styles and traditions were different in every country and Mozart's early compositions are often case-studies in where his travels had most recently taken him. He wrote the three Divertimentos, K.136-8 in Salzburg, after the second of three extended trips to Italy. A final trip to Italy was already in the planning and the Italian influence on Mozart's writing is strong. We can’t be certain whether he wrote the Divertimentos for a specific occasion and even the title ‘Divertimento’ was added by another hand, probably that of his father, Leopold. The three divertimentos are published in the complete Mozart Edition as a sort of appendage to the string quartets and their performance either by a one-on-a-part string quartet, as today, or by a larger string ensemble, work equally well. The three-movement structure follows the pattern of the Italian Sinfonia, while the writing also nods in the direction of the widely respected Joseph Haydn and Johann Christian Bach – whom Mozart had met in London and whom he regarded as both friend and mentor. -
MOZART the Four Horn Concertos
111070 bk BrainMozart EU 26-10-2006 8:51 Pagina 5 the four. The orchestral writing is both richer and had adopted and expanded the revolutionary new elegance and an infectious wit. The orchestra and shy, modest of his remarkable talents, and with a darker with the use of clarinets and bassoons. The technique of hand-stopping that entailed the use of Karajan’s accompaniment may seem rather plush and boyish sense of humour: who else would have solo part in the slow movement bears a striking inserting the right hand into the bell of the display a somewhat romantic style to today’s ears but played part of a Leopold Mozart concerto at a MOZART similarity to a 1795 Romance for horn and string instrument to alter and increase the number of notes that was deemed essentially Mozartian in manner. Hoffnung Festival concerto on a garden hosepipe? quartet by Michael Haydn. The finale is a lively then available thereby making the horn a properly Originally Dennis Brain played on a French At the time of his death he had taken up conducting, gallop, full of hunting calls and the chase and its melodic instrument. Raoux-Millereau instrument, a twin of his father’s, and it is fascinating to surmise what he might have The Four Horn Concertos hazards. In the case of these Mozart concertos, Dennis but in 1951 he changed to a German Alexander achieved. K. 495 was composed in Vienna and completed Brain was the first soloist to record all four, although model in order to achieve a more robust sound. -
An Annotated Guide and Interactive Database for Solo Horn Repertoire Sarah Schouten
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 An Annotated Guide and Interactive Database for Solo Horn Repertoire Sarah Schouten Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED GUIDE AND INTERACTIVE DATABASE FOR SOLO HORN REPERTOIRE By SARAH SCHOUTEN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Sarah Schouten defended this treatise on December 7, 2011. The members of the supervisory committee were: Michelle Stebleton Professor Directing Treatise Richard Clary University Representative Deborah Bish Committee Member Alexander Jiménez Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I would like to thank my doctoral committee members, Professor Michelle Stebleton, Professor Richard Clary, Dr. Deborah Bish, and Dr. Alexander Jiménez for their time, valuable input, and support. I am especially grateful to Professor Michelle Stebleton for the suggestion of this topic and for her support and guidance during the past four years. I would like to thank all of my teachers for their kindness, generosity, and encouragement throughout my education. I am indebted to Cheryl Staats for her support and editing skills. I owe a debt of gratitude to my parents, Richard and Marian Schouten, for supporting all my academic and musical endeavors. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract .........................................................................................................................................