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6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord
Valerio Losito Baroque violin 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 harpsichord Telemann GEORG PHILIPP TELEMANN (1681–1767) Six Sonatas for Solo Violin, 1715 6 Sonatas ‘Frankfurt 1715’ for solo violin and harpsichord “My Lord, I am not without fear in dedicating these sonatas to Your Highness. It is, Sire, that without mentioning the vivacity of your sublime mind, you also have such certain taste in this fine art, which is the only one with the advantage of begin eternal, Sonata No.1 in G minor TWV41:g1 Sonata No.4 in G TWV41:G1 though it is very hard to create in a work worthy of your approbation. My Lord, I 1. Adagio 1’43 13. Largo 1’12 flatter myself that with this gift of the first pieces that I have had published you will 2. Allegro 2‘45 14. Allegro 2’18 find acceptable my intention of recognizing in some way the favour with which you 3. Adagio 1’08 15. Adagio 2’48 have hitherto honoured me. If, my Lord, my work is thus fortunate enough to meet 4. Vivace 3’03 16. Allegro 2’30 with your pleasure, then I am assured of the support of all connoisseurs, because no one can hope to achieve such understanding as yours. The beauty of the Concertos Sonata No.2 in D TWV41:D1 Sonata No.5 in A minor TWV41:a1 that you yourself have written at such a young age is admired by all those who have 5. Allemanda, Largo 3’52 17. Allemanda, Largo 2’37 seen them, and this is a guarantee for me in my aim. -
BUXTEHUDE by ARRANGEMENT the Stradal Transcriptions
BUXTEHUDE BY ARRANGEMENT The Stradal Transcriptions Prelude and Fugue in A minor, BuxWV153 8:58 1 Prelude 1:55 Fugue 7:03 2 Fugue 1 3:42 3 Fugue 2 2:00 4 Toccata 1:21 5 Chaconne in E minor, BuxWV160 6:55 Prelude and Fugue in E minor, BuxWV143 6:20 6 Prelude 1:56 Fugue 4:24 7 Fugue 1 3:00 8 Fugue 2 – Adagio 1:24 Prelude and Fugue in E minor, BuxWV142 9:48 9 Prelude 1:12 Fugue 8:36 10 Fugue 1 1:51 11 Fugue 2 3:14 12 Fugue 3 3:31 13 Passacaglia in D minor, BuxWV161 9:01 Prelude and Fugue in D minor, BuxWV140 7:36 14 Prelude 1:41 Fugue 5:55 15 Fugue 1 2:40 16 Fugue 2 3:15 2 Prelude and Fugue in G minor, BuxWV150 8:59 17 Prelude 1:13 Fugue 7:46 18 Fugue 1 3:39 19 Fugue 2 1:21 20 Fugue 3 2:46 21 Chaconne in C minor, BuxWV159 8:01 Prelude and Fugue in F major, BuxWV145 7:41 22 Prelude 2:42 23 Fugue 4:59 Prelude and Fugue in F sharp minor, BuxWV146 10:11 24 Prelude 2:50 Fugue 7:21 25 Fugue 4:27 26 Toccata 2:54 Meilin Ai, piano TT 83:31 FIRST RECORDINGS 3 BUXTEHUDE/STRADAL: ORGAN TRANSCRIPTIONS by William Melton The early life of Dieterich Buxtehude is punctuated with uncertainties of detail.1 He was born about 1637 in either Helsingborg in southern Sweden or Oldesloe in the Danish Duchy of Holstein (presently Bad Oldesloe in the German federal state of Schleswig-Holstein). -
Musicweb International December 2020 NAXOS RELEASES: LATE
NAXOS RELEASES: LATE 2020 By Brian Wilson It may be that I’ve been particularly somnolent recently, but a particularly fruitful series of Naxos releases in late 2020 has made me take notice of what I’ve been missing earlier this year, so I’ve included some of them, too. Index [page numbers in brackets] ALYABIEV Piano Trios (+ GLINKA, RUBINSTEIN: Russian Piano Trios 1) [5] Corelli’s Band: Violin Sonatas by Corelli and followers [2] FREDERICK II (Frederick The Great): Flute Sonatas [4] GERSHWIN Concerto in F (+ PISTON Symphony No.5, etc.) [11] GLINKA Trio pathétique (see ALYABIEV) [5] GOMPPER Cello Concerto, Double Bass Concerto, Moonburst [15] Michael HAYDN Missa Sancti Nicolai Tolentini; Vesperæ [5] HUMPERDINCK Music for the Stage [7] KORNGOLD Suite, Op.23; Piano Quintet [10] Laudario di Cortona excerpts (see PÄRT) [13] NOVÁK V Tatrách (In the Tatra Mountains); Lady Godiva; O věčné touze (Eternal Longing) [8] - Jihočeská suita (‘South Bohemian Suite’); Toman a lesní panna (‘Toman and the Wood Nymph’) [9] PÄRT And I heard a voice…, etc. ( … and … with SHAW, WOLFE, Laudario di Cortona) [13] PISTON Symphony No.5 (see GERSHWIN) [11] RUBINSTEIN Piano Trio (see ALYABIEV) [5] RUTTER Anthems, Hymns and Gloria for Brass Band [12] SCHMITT La Tragédie de Salomé, etc. [8] SCHUMANN Robert and Clara Music for violin and piano [6] VILLA-LOBOS Complete Symphonies [9] WALTON Piano Quintet and other Chamber Works with Violin and Piano [11] WEINBERG Clarinet Concerto; Clarinet Sonata; Chamber Symphony No.4 [12] WIDOR Organ Symphonies 4 (Nos. 8 and 10) [7] * The Art of Classical Guitar Transcription Christophe Dejour [15] Carmina predulcia (C15 Songbook) [1] Christmas Concertos [2] Heaven Full of Stars (contemporary choral) [13] Stille Nacht: Christmas Carols for Guitar [14] *** Carmina predulcia (‘very sweet songs’) is a recording of music from the fifteenth-century Schedelschen Liederbuch (Schedel Songbook). -
Le Monde Galant
The Juilliard School presents Le Monde Galant Juilliard415 Nicholas McGegan, Director Recorded on May 1, 2021 | Peter Jay Sharp Theater FRANCE ANDRÉ CAMPRA Ouverture from L’Europe Galante (1660–1744) SOUTHERN EUROPE: ITALY AND SPAIN JEAN-MARIE LECLAIR Forlane from Scylla et Glaucus (1697–1764) Sicilienne from Scylla et Glaucus CHRISTOPH WILLIBALD GLUCK Menuet from Don Juan (1714–87) MICHEL RICHARD DE LALANDE Chaconne légère des Maures from Les Folies (1657–1726) de Cardenio CHARLES AVISON Con Furia from Concerto No. 6 in D Major, (1709-70) after Domenico Scarlatti CELTIC LANDS: SCOTLAND AND IRELAND GEORG PHILIPP TELEMANN L’Eccossoise from Overture in D Major, TWV55:D19 (1681–1767) NATHANIEL GOW Largo’s Fairy Dance: The Fairies Advancing and (1763–1831) Fairies Dance Cullen O’Neil, Solo Cello TELEMANN L’Irlandoise from Overture in D Minor, TVW55:d2 EASTERN EUROPE: POLAND, BOHEMIA, AND HUNGARY ARR. TELEMANN Danse de Polonie No. 4, TWV45 Polonaise from Concerto Polonois, TWV43:G7 Danse de Polonie No. 1, TWV45 La Hanaquoise, TWV55:D3 TRADITIONAL Three 18th-century Hanák folk tunes RUSSIA TELEMANN Les Moscovites from Overture in B-flat Major, TWV55:B5 Program continues 1 EUROPE DREAMS OF THE EAST: THE OTTOMAN EMPIRE TELEMANN Les Janissaries from Overture in D Major, TWV55:D17 Mezzetin en turc from Overture-Burlesque in B-flat Major, TWV55:B8 PERSIA AND CHINA JEAN-PHILIPPE RAMEAU Air pour Borée from Les Indes galantes (1683–1764) Premier Air pour Zéphire from Les Indes galantes Seconde Air pour Zéphire from Les Indes galantes Entrée des Chinois -
Musica Britannica
T69 (2020) MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Vauxhall Pleasure Gardens c.1750 Stainer & Bell Ltd, PO Box 110, Victoria House, 23 Gruneisen Road, London N3 IDZ England Telephone : +44 (0) 20 8343 3303 Fax: +44 (0) 20 8343 3024 email: [email protected] www.stainer.co.uk MUSICA BRITANNICA A NATIONAL COLLECTION OF MUSIC Musica Britannica, founded in 1951 as a national record of the British contribution to music, is today recognised as one of the world’s outstanding library collections, with an unrivalled range and authority making it an indispensable resource both for performers and scholars. This catalogue provides a full listing of volumes with a brief description of contents. Full lists of contents can be obtained by quoting the CON or ASK sheet number given. Where performing material is shown as available for rental full details are given in our Rental Catalogue (T66) which may be obtained by contacting our Hire Library Manager. This catalogue is also available online at www.stainer.co.uk. Many of the Chamber Music volumes have performing parts available separately and you will find these listed in the section at the end of this catalogue. This section also lists other offprints and popular performing editions available for sale. If you do not see what you require listed in this section we can also offer authorised photocopies of any individual items published in the series through our ‘Made- to-Order’ service. Our Archive Department will be pleased to help with enquiries and requests. In addition, choirs now have the opportunity to purchase individual choral titles from selected volumes of the series as Adobe Acrobat PDF files via the Stainer & Bell website. -
The Program E E
W the program E E 24 K june RISING STAR SERIES 4 y a d s Daria Rabotkina, piano e u T 8 PM “FLOW MY TEARES” (1600) John Dowland (1563-1626)/arr. Daria Rabotkina SONATA IN E MAJOR, K. 162 (1756-57) Domenico Scarlatti (1685-1757) Andante—Allegro—Andante—Allegro SELECTIONS FROM ORDRE 18ÈME DE CLAVECIN IN F MAJOR (1722) François Couperin (1668-1733) ITALIAN CONCERTO, BWV 971 ( ca . 1735) Johann Sebastian Bach (1685-1750) [without tempo designation] Andante Presto :: intermission :: SONATINE (1903-05) Maurice Ravel (1875-1937) Modéré Mouvement de menuet Animé SONATA NO. 3 IN A MINOR FOR PIANO, OP. 28 (1917) Sergei Prokofiev (1891-1953) Allegro tempestoso—Moderato—Allegro tempestoso—Moderato—Più lento—Più animato—Allegro I—Poco più mosso FANTASY SUITE AFTER BIZET’S CARMEN , 1ST MOVEMENT Sergei Rabotkin (b. 1953) This concert is made possible in part through the generosity of Pat Petrou. Ms. Rabotkina is a winner of the Concert Artists Guild International Competition and is represented by Concert Artists Guild. concertartists.org 33RD SEASON | ROCKPORT MUSIC :: 51 “FLOW MY TEARES” John Dowland (b. London, 1563; d. London, February 20, 1626)/arr. Daria Rabotkina Composed 1600 Non otthees program In addition to wide-ranging “traditional” piano repertoire, Daria Rabotkina has acquired a substantial store of piano works borrowed and adapted from far-flung places in the music by world, including her own concert arrangement* of ragtime legend “Luckey” Roberts’s “Pork Sandra Hyslop and Beans.” As the opening offering on this evening’s concert—in contrast to the fantasy on Bizet’s stormy opera Carmen with which she closes—Ms. -
MEDITERRANEO with DANIEL PINTENO Feel the Fervour of Southern Spain
PRINCIPAL PARTNER MEDITERRANEO WITH DANIEL PINTENO Feel the fervour of southern Spain ONE WORLD PREMIERE | TWO AUSTRALIAN PREMIERES | BOLDLY BAROQUE PROGRAM NOTES In 1737 the castrato Farinelli, the greatest singer produced by Farinelli in the magnificent gardens royal family were offended by Facco’s refusal, a recurring ritornello (refrain) alternating with in Europe, was appointed by King Philip V of of the Buen Retiro royal palace at Madrid. because when Maria Bárbara married the heir contrasting episodes featuring the soloist. After Spain, as ‘my servant, who answers only to me or to the Spanish throne and moved to Madrid, a short expressive second movement built on to the queen, my very beloved wife, for his unique What to listen for accompanied by Scarlatti, Facco’s standing slowly changing harmonies, the last movement talent and skill in the art of singing’. Philip gave within the court dramatically declined. begins with a short fugue in four parts before him an extremely generous salary, ‘a decent and This overture is described as a più stromenti – for launching into a buoyant saltarello, a dance form suitable Lodging for his person and family as well many instruments – but this seems a misnomer, Facco composed a number of operas for the based on a hopping figure. in all my Royal Seats as in any other place where as it is a showcase for the solo violin, with two Spanish court, and was the first composer to he may be ordered to attend on my Person’, two other violin parts, supported by continuo. It is in write an opera in the new modern Italian style ANTONIO VIVALDI (1678–1741) mules for city travel and six mules for the country, three short movements, the last being marked but with a Spanish libretto. -
The Lute's Influence on Seventeenth-Century Harpsichord
Audrey S. Rutt 12 April 2017 A BLEND OF TRADITIONS: THE LUTE’S INFLUENCE ON SEVENTEENTH-CENTURY HARPSICHORD REPERTOIRE The Harpsichord ◦ Mechanically, a hybrid instrument ◦ Like the organ: ◦ chromatic keyboard with one pitch per key ◦ well-suited for polyphony and accompaniment ◦ Like the lute: ◦ plucked string instrument ◦ must account for quick sound decay by forms of arpeggiation ◦ Existent by the fifteenth century ◦ Not widely manufactured until the sixteenth century The Organ’s Influence ◦ The early harpsichord style was not distinct from the organ’s ◦ Pieces not designated specifically for either keyboard instrument ◦ Early works were simply transcriptions of vocal or ensemble pieces ◦ Obras de musica para tecla, arpa, y vihuela (Antonio Cabezón, 1510-1566) ◦ vocal transciptions arranged generally for polyphonic string instruments ◦ The broadness of this collection could include the harp, the Spanish vihuela, and the keyboard ◦ suggests that “the stringed keyboard instruments had not developed enough of a basic style to warrant independent compositions of their own” ◦ Early harpsichord composers were also organists, so idioms of the organ tradition were assumed The Organ Tradition ◦ For many centuries, the primary keyboard instrument ◦ Robertsbridge Codex (1320) is first example of newly-composed repertoire but follows vocal tradition closely ◦ Development of a true organ style ◦ Conrad Paumann (1410-1473), Paul Hofhaimer (1459-1537), Andrea Gabrieli (1533-1585) ◦ Fundamentum organisandi ◦ used florid, rhythmically varying upper -
John Stanley a Miracle of Art and Nature
John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor James Davies Professor Susan Schweik Fall 2011 Abstract John Stanley, “A Miracle of Art and Nature”: The Role of Disability in the Life and Career of a Blind Eighteenth-Century Musician by John Richard Prescott Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair This dissertation explores the life and career of John Stanley, an eighteenth-century blind organist, composer, conductor and impresario. Most historians of blindness discuss Stanley but merely repeat biographical material without adding any particular insights relating to his blindness. As for twentieth-century musicologists, they have largely ignored Stanley’s blindness. The conclusion is that Stanley’s blindness, despite being present in most of his reception, is not treated as a defining factor. This study pursues new questions about Stanley’s blindness. His disability is given pride of place, and perspectives from the fields of disability studies and minority studies are central to the work. A biographical sketch precedes a discussion of the role of Stanley’s blindness in his reception. The central role of Stanley’s amanuensis and sister-in-law, Anne Arlond, leads to a discussion of issues of gender, and the general invisibility of caregivers. Chapter 2 explores those aspects of Stanley’s life that required an engagement with literate music. -
Programme Note ANETA MARKUSZEWSKA
Programme note ANETA MARKUSZEWSKA Following the death of John III and a failed attempt by the Sobieski dynasty to retain the crown, Marie Casimire decided to leave the Polish-Lithuanian Commonwealth and make her way to Rome. She arrived in the Eternal City in March 1699, after a journey lasting almost half a year. The official reason for her arrival in the city was the jubilee year 1700, celebrated in the capital of Christianity with great pomp. In the end the Widow-Queen remained in Rome for fifteen years. Marie Casimire soon became known as an esteemed patron of music. Her residence in the Palazzo Zuccari in Trinità de’ Monti (next to the Spanish Steps, which did not yet exist) was a venue for renditions of commemorative cantatas and serenatas celebrating the memory of her distinguished husband, as well as performances of improvised comedies and dance. In 1709 Marie Casimire Sobieski organised in her palace a private opera theatre, where operas to librettos by Carlo Sigismondo Capece with music by the young Domenico Scarlatti were staged until 1714. One of the works presented at the time was the dramma per musica Tolomeo e Alessandro, ovvero la corona disprezzata by Capece-Scarlatti. The opera had its premiere on 17th January 1711. About the performance an anonymous chronicler wrote: ‘On Monday evening in her residence on Trinità de’ Monti, the Queen of Poland opened performances of an opera featuring female singers and good musicians [instrumentalists] which was generally acknowledged as superior to others.’ In a letter to her eldest son Jakub Sobieski, who was staying in Oława, Marie Casimire related that: ‘the whole work was composed in three weeks . -
Ton Koopman Marks Telemann's 250Thanniversary at the 16Th Itinéraire Baroque Festival
Ton Koopman marks Telemann’s 250thanniversary at the 16th Itinéraire Baroque festival Launch concert: 13 May Itinéraire Baroque Festival French Perigord 27 – 31 July www.itinerairebaroque.com At this summer’s Itinéraire Baroque, Ton Koopman is marking the 250th anniversary of German composer Georg Philipp Telemann during his annual festival in the Dordogne. The composer’s works form the backbone of the 4-day programme alongside Koopman’s trademark Bach Cantatas with the Amsterdam Baroque Choir and Orchestra. Set in the picturesque medieval villages and towns around Riberac, the festival runs from Thursday 27 July to Sunday 30 July 2017. The annual highlight is the Saturday ‘itinéraire’, starting with an organ recital by Koopman followed by five ‘taster’ concerts - in circuit that takes in small forgotten Romanesque churches. The performers remain in the same church offering a 40-minute concert to each group of concert-goers, while audiences travel between the churches in search of the next baroque “amuse-bouche”. One of the great composers of the baroque period, Telemann (1681-1712) was a lifelong friend of Johann Sebastian Bach and godfather to Bach’s child, Carl Philipp Emanuel. Although he was almost completely self-taught, Telemann is one of the most prolific composers in music history, having left an oeuvre of more than 3,000 works (only half have survived), including 35 operas. Starting his professional career regularly composing for the Thomaskirche in Leipzig, he became director of the city’s opera house. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus. -
J. S. Bach Christmas Oratorio
J. S. BACH CHRISTMAS ORATORIO Bach Collegium Japan Masaaki Suzuki BACH, Johann Sebastian (1685–1750) Weihnachtsoratorium, BWV 248 142'19 (Christmas Oratorio) Disc 1 Part I: Jauchzet, frohlocket! auf, preiset die Tage 24'57 Christmas Day (25th December 1734) 1 1. Chor. Jauchzet, frohlocket! auf, preiset die Tage … 7'35 2 2. Rezitativ (Tenor [Evangelist]). Es begab sich aber zu der Zeit … 1'14 3 3. Rezitativ (Alt). Nun wird mein liebster Bräutigam … 0'56 4 4. Arie (Alt). Bereite dich, Zion … 5'05 5 5. Choral. Wie soll ich dich empfangen … 1'05 6 6. Rezitativ (Tenor [Evangelist]). Und sie gebar ihren ersten Sohn … 0'24 7 7. Choral und Rezitativ (Sopran, Bass). Er ist auf Erden kommen arm … 2'46 8 8. Arie (Bass). Großer Herr, o starker König … 4'30 9 9. Choral. Ach, mein herzliebes Jesulein … 1'10 Part II: Und es waren Hirten in derselben Gegend 28'31 Second Day of Christmas (26th December 1734) 10 10. Sinfonia 5'42 11 11. Rezitativ (Tenor [Evangelist]). Und es waren Hirten in derselben Gegend … 0'43 12 12. Choral. Brich an, du schönes Morgenlicht … 1'01 13 13. Rezitativ (Tenor, Sopran [Evangelist, Der Engel]). Und der Engel sprach … 0'42 14 14. Rezitativ (Bass). Was Gott dem Abraham verheißen … 0'39 2 15 15. Arie (Tenor). Frohe Hirten, eilt, ach eilet … 3'35 16 16. Rezitativ (Tenor [Evangelist]). Und das habt zum Zeichen … 0'20 17 17. Choral. Schaut hin! dort liegt im finstern Stall … 0'38 18 18. Rezitativ (Bass). So geht denn hin, ihr Hirten, geht … 0'57 19 19.