String Duo Song List

Total Page:16

File Type:pdf, Size:1020Kb

String Duo Song List Hire SFCM Musicians String Duo Wedding Guide Processionals Sheep May Safely Graze BACH Canon in D PACHELBEL Jesu, Joy of Man’s Desiring BACH Wedding March (Lohengrin) WAGNER Air (Water Music) HANDEL Air on G String HANDEL Prelude (Te Deum) CHARPENTIER Wachet Auf BACH Trumpet Voluntary CLARKE Winter (Four Seasons) VIVALDI Mid-Ceremony Music Meditations, Candle Lightings, Presentations, etc. Ave Maria BACH/GOUNOD Ave Maria SCHUBERT Arioso BACH Meditation (Thaïs) MASSENET Recessionals Trumpet Tune PURCELL Entrance of the Queen of Sheba (Solomon) HANDEL Rondeau MOURET La Réjouissance (Royal Fireworks Music) H ANDEL Hornpipe (Water Music in F) HANDEL Bourrée (Water Music in F) H ANDEL Wedding March (Midsummer Night’s Dream) MENDELSSOHN Ode to Joy BEETHOVEN All music can be used for wedding ceremonies. Other Classical & Romantic Baroque & Classical Andante (Quartet in A minor, Op.29) SCHUBERT J.S. Bach: Bridal Chorus (Lohengrin) WAGNER Air (French Suite 4) Meditation (Thaïs) MASSENET Air (Suite 3 in D Major) Menuet & Romanza (Eine Kleine Nachtmusik) MOZART Andante (Brandenberg #2) Sicilienne BRAHMS Two Bourrées (English Suite 1) St. Anthony Chorale BRAHMS Bourrée (French Suite 6) Traumerei (Kinderscenen, Op. 15) SCHUMANN Gavotte (French Suite 4) Gigue (French Suite 4) Gigue (Suite 3 in D Major) Waltzes March in D Major (Anna Magdalena) Artists Life J. STRAUSS My Heart Ever Faithful Grand Valse Brilliant CHOPIN Polonaise (French Suite 6) Merry Widow Waltz FRANZ LEHAR Rondeau (Suite 2 in B minor) The Skaters Waltz WALDTEUFEL Vienna Life J. STRAUSS Valse Lente (Coppelia) DELIBES Telemann: Waltz (Album for the Young) TCHAIKOVSKY Allegro (Fantasia 2 & 4) You and You (Die Fledermaus) J. STRAUSS Minuet, Andante, Gigue (Dance Suite in G) Gavotte & Bourrée (Dance Suite in F) Presto (Sonatina in F) Vivace (Sonata in F) Cocktail Music Ragtime American Tunes Alexander’s Ragtime Band IRVING BERLIN Arkansas Traveler The Easy Winners SCOTT JOPLIN Bill Cheatham The Entertainer SCOTT JOPLIN Chicken Reel Maple Leaf Rag SCOTT JOPLIN Devil’s Dream Pine Apple Rag SCOTT JOPLIN Dusty Miller The Strenuous Life SCOTT JOPLIN Fisher’s Hornpipe Old Joe Clark Gilbert & Sullivan Irish Music (Airs and Jigs) A Magnet Hung in a Hardware Shop Patience Coleraine As Some Day It May Happen The Mikado Gary Owen I am the Very Model of a Modern Pirates of Penzance The Irish Washerwomen Major-General Kesh Jig I’m Called Little Buttercup HMS Pinafore Si Bheag, Si Mhor Never Mind the Why & Wherefore HMS Pinafore Swallowtail Jig Poor Wandering One Pirates of Penzance The Wearing of the Green Willow, Tilt-Willow The Mikado New Additions All of Me JOHN LEGEND All You Need Is Love THE BEATLES A Thousand Years CHRISTINA PERRI Better Together JACK JOHNSON Can’t Help Falling in Love ELVIS PRESLEY Fall For You LEELA JAMES Happier MARSHMELLO/BASTILLE Happy Birthday TRADITIONAL Here Comes the Sun THE BEATLES Heroes (We Could Be) ALESSO Imperial March (Star Wars) JOHN WILLIAMS Just The Way You Are BRUNO MARS Love Story TAYLOR SWIFT Main Theme (Star Wars) JOHN WILLIAMS Marry You BRUNO MARS Perfect ED SHEERAN Say You Won’t Let Go JAMES ARTHUR Simple Gifts TRADITIONAL Sky Full of Stars COLDPLAY Thinking Out Loud ED SHEERAN Yellow COLDPLAY Your Song ELTON JOHN Zelda’s Lullaby (The Legend KOJI KONDO of Zelda) .
Recommended publications
  • Music, Dance and Theatre (MDT) 1
    Music, Dance and Theatre (MDT) 1 MDT 510 Latin American Music (3 Credits) MUSIC, DANCE AND THEATRE A course in the music of selected Latin America countries offering music and Spanish-language majors and educators perspectives into the (MDT) musical traditions of this multifaceted region. Analysis of the music will be discussed in terms that accommodate non specialists, and all lyrics MDT 500 Louis Armstrong-American Hero (3 Credits) will be supplied with English translations. A study of the development of jazz with Louis Armstrong as the vehicle: MDT 511 Vocal Pedagogy (3 Credits) who he influenced and how he did it. Comparative analytical studies with This course is to provide the student of singing a deeper understanding his peers and other musicians are explored. of the vocal process, physiology, and synergistic nature of the vocal MDT 501 Baroque Music (3 Credits) mechanism. We will explore the anatomical construction of the voice as This course offers a study of 17th and 18th century music with particular well as its function in order to enlighten the performer, pedagogue and emphasis on the works of Johann Sebastian Bach, Dietrich Buxtehude, scholar. Each student will learn to codify a practical knowledge of, and Arcangelo Corelli, Francois Couperin, Andrea and Giovanni Gabrieli, skill in, teaching voice. George Frederick Handel, Jean-Baptiste Lully, Claudio Monteverdi, Jean- MDT 520 Musical On B'Way&Hollywood I (3 Credits) Philippe Rameau, Alessandro and Domenico Scarlatti, Gerog Telemann, This course offers an analysis of current Broadway musicals with special and Antonio Vivaldi. seminars with those connected with one or two productions.
    [Show full text]
  • A Quantitative Analysis of the Songs of Cole Porter and Irving Berlin
    i DEVELOPMENT OF CREATIVE EXPERTISE IN MUSIC: A QUANTITATIVE ANALYSIS OF THE SONGS OF COLE PORTER AND IRVING BERLIN A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Richard W. Hass January, 2009 ii ABSTRACT Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20 th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin’s and Porter’s songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures.
    [Show full text]
  • The New Sound Orchestra the Music of Richard Rodgers and Irving Berlin Mp3, Flac, Wma
    The New Sound Orchestra The Music Of Richard Rodgers And Irving Berlin mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Pop Album: The Music Of Richard Rodgers And Irving Berlin Country: Switzerland Released: 1972 Style: Easy Listening MP3 version RAR size: 1308 mb FLAC version RAR size: 1251 mb WMA version RAR size: 1839 mb Rating: 4.7 Votes: 874 Other Formats: VQF AA MP1 MPC ASF AHX AIFF Tracklist Richard Rogers A1 With A Song In My Heart A2 The Lady Is A Tramp A3 Blue Moon A4 Bewitched A5 Where Or When A6 My Funny Valentine A7 There Is A Small Hotel A8 I Didn't Know What Time It Was A9 If I Loved You A10 Blues From "Slaugther On Tenth Avenue" A11 It Might As Well Be Spring A12 Lover Irving Berlin A1 Easter Parade A2 Cheek To Cheek A3 Let's Face The Music And Dance A4 Isn't It A Lovely Day A5 Always A6 Play A Simple Melody A7 Blue Skies A8 Alexander's Ragtime Band A9 How Deep Is The Ocean A10 I've Got My Love To Keep Me Warm A11 The Girl That I Marry A12 They Say It's Wunderful Notes Made in Switzerland. Barcode and Other Identifiers Rights Society: BIEM Matrix / Runout (Label Side A): EL 363-A Matrix / Runout (Label Side B): EL 363-B Related Music albums to The Music Of Richard Rodgers And Irving Berlin by The New Sound Orchestra Claude Bolling - Joue Irving Berlin "I Love A Piano" Geraldo And His Orchestra - Dance, Dance, Dance! Vol.
    [Show full text]
  • Martin Cloonan Introduction an Attack on the Idea of America
    MUSICAL RESPONSES TO SEPTEMBER 11TH: FROM CONSERVATIVE PATRIOTISM TO RADICALISM Martin Cloonan Introduction I want to propose something very simple in this paper: that the attacks which took place on 11 September 2001 were attacks on the very idea of America. This is not a new idea. It was cited by the New York Times soon after the attack and subsequently by the cultural critic Greil Marcus (2002). But what I want to add is that as time went on it became clear that the mu- sical responses which were made were defences of America. However, there were not uniform responses, but diverse ones and that is partly be- cause the idea of America is not settled, but is open to contestation. So what I want to do in the rest of this paper is to first examine notion that the attacks on 11 September were an attack on the idea of America, look briefly at the importance of identity within popular music, chart initial musical reactions to the events and then look at longer term reactions. An attack on the idea of America The attacks on 11 September were strategically chosen to hit the symbols of America as well as the reality of it. The Twin Towers symbolised American economic power, the Pentagon its military might. This was an attack on the psyche of America as well as its buildings and people. Both the targets were attacked for propaganda purposes as much as military ones. What more devastating way could have been found to show rejection of America and all it stands for? But the point I want to note here is that America itself is a contested notion.
    [Show full text]
  • Musikwissenschaftliche Editionen Publikationsverzeichnis Der Von Der Union Betreuten Musikwissenschaftlichen Editionen Und Dokumentationen Stand: 30
    Union der deutschen Akademien der Wissenschaften Musikwissenschaftliche Editionen Publikationsverzeichnis der von der Union betreuten Musikwissenschaftlichen Editionen und Dokumentationen Stand: 30. April 2019 AKADEMIE DER WISSENSCHAFTEN UND DER LITERATUR │ MAINZ Koordination und Redaktion: Dr. Gabriele Buschmeier Bestellungen der in diesem Verzeichnis aufgeführten Publikationen sind an den Buchhandel zu richten. 2019 by Akademie der Wissenschaften und der Literatur│Mainz Alle Rechte einschließlich des Rechts zur Vervielfältigung, zur Einspeisung in elektro- nische Systeme sowie der Übersetzung vorbehalten. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne ausdrückliche Genehmigung der Akademie und des Verlages unzulässig und strafbar. Gedruckt auf säurefreiem, chlorfrei gebleichtem Papier Umschlaggestaltung: die gestalten. Joachim Holz, Mainz Druck: Druckerei & Verlag Steinmeier GmbH Co.KG, Deiningen Printed in Germany INHALT Vorwort ........................................................................... 5 Johann Sebastian Bach: Neue Ausgabe sämtlicher Werke .............................. 7 – Supplement. Gesamtregister und Übersichten. Bach-Dokumente .................... 21 Johannes Brahms: Neue Ausgabe sämtlicher Werke ................................... 23 Christoph Willibald Gluck: Sämtliche Werke .......................................... 26 Georg Friedrich Händel: Hallische Händel-Ausgabe - Kritische Gesamtausgabe ......... 32 – Händel-Handbuch .............................................................
    [Show full text]
  • “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
    “To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.
    [Show full text]
  • ‚Aufgeweckte Einfälle' Und ‚Sinnreiche Gedanken' – Witz Und Humor
    ‚aufgeweckte Einfälle‘ und ‚sinnreiche Gedanken‘ – Witz und Humor in Ouvertürensuiten Georg Philipp Telemanns Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Universität Heidelberg vorgelegt von: Sarah-Denise Fabian Erstgutachterin: Prof. Dr. Silke Leopold Zweitgutachterin: Prof. Dr. Dorothea Redepenning Heidelberg, Juli 2014, überarbeitete Fassung August 2015 Für meine Eltern und Großeltern Dank Bei der vorliegenden Arbeit handelt es sich um eine geringfügig überarbeitete Fassung meiner im Juli 2014 von der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg an- genommenen Dissertation. Während ihrer Entstehung habe ich diverse Unterstützungen ver- schiedener Personen und Einrichtungen erhalten. Zu allererst gebührt Prof. Dr. Silke Leopold für die Betreuung der Arbeit ein herzliches Dankeschön! Sie hat alle Phasen der Dissertation – Themenfindung, Anlage und Konzeption, Verschriftlichung – mit wertvollen Hinweisen und Anregungen zum Über- und Weiterdenken begleitet. Außerdem hat sie mir ermöglicht, wäh- rend der gesamten Promotionsphase ununterbrochen unter anderem als wissenschaftliche Hilfs- kraft am Musikwissenschaftlichen Seminar der Universität Heidelberg angestellt zu sein, und damit einen finanziellen Rahmen für die Arbeit geschaffen. Dafür bin ich ihr ebenfalls sehr dankbar. Daneben hat Prof. Dr. Dorothea Redepenning im Doktorandenkolloquium immer wie- der das Projekt mit nützlichen Ratschlägen unterstützt und zudem dankenswerterweise das Zweitgutachten übernommen. Überhaupt danke ich allen Teilnehmern des Doktorandenkollo- quiums: Zum einen habe ich in den Diskussionen nach meinen Referaten stets positive Anre- gungen für die Gestaltung der einzelnen Kapitel erhalten, zum anderen hat die Lektüre kultur- wissenschaftlich orientierter Texte im Rahmen des Kolloquiums dazu geführt, gewinnbringend aus einer anderen Blickrichtung auf die eigene Arbeit zu schauen. Den Vorsitz bei meiner im Dezember 2014 stattgefundenen Disputatio hat freundlicherweise PD Dr.
    [Show full text]
  • 12. Musicians Were Not Free to Do What They Wanted. Bach Was the ______Choice for the Leipzig Position
    33 12. Musicians were not free to do what they wanted. Bach was the ______ choice for the Leipzig position. Chapter 19 Third German Composers of the Late Baroque 13. What do you find important/interesting about Bach's 1. (433) Besides the nobility, where else could musicians situation at Leipzig? be hired? [There's no specific answer expected.] Town councils 14. (438) How did Bach learn composition? TQ: How do 2. Identify the nobility who dabbled in music. you think composition is taught today? Johann Ernst, prince of Weimar, violinst/composer; Frederick Copying and arranging the music of other composers; you the Great, flute/composer; his sister Anna Amalia, spend three years of music theory learning the rules; princess of Prussia, played harpsichord and listen to compositions, analyze scores; spot techniques organ/composed vocal and instrumental music, collected that could be used a library of scores; her niece Anna Amalia, duchess of Saxe-Weimar, keyboard player, composer (two 15. What was Bach's method in composing instrumental Singspiels), patron music? What came first? What was his procedure in composing recitative? [TQ: Would you expect that? 3. How were the English patrons? How did public concerts Why or why not?] Did he always get his compositions get started? right the first time? He reworked pieces. [TQ: Have you Not as wealthy; skilled musicians, who were underpaid, had to ever turned in work from one class to satisfy the find other means of income requirement of another?] Away from the keyboard; a good melody/theme; write the 4. (438) What about copyright and royalties? melody first; I would expect that he needed the Weak copyright laws offered no protection; no royalties; lots accentuation of the text first; no, he refined them; he of pirating adapted earlier works for other purposes/occasions 5.
    [Show full text]
  • Musical Theatre Cabaret Show Program
    Musical Theatre Cabaret Created by the 2020 Musical Theatre Repertoire Class Nov 19, 2020 This is a musical theatre cabaret that explores connection and the struggles we have all experienced during quarantine over the last year. Cast: Michael Armstrong, Damian Bowden, Sydney Cobb, Reagan Gross, Micayla Johnston, Nelsey Leverette, Tyler McLellan, Josie Patterson “When Will My Life Begin” from Tangled by Menken and Slater ........................................................................ Ensemble “I Can See It” from The Fantasticks by Schmidt and Jones ........................ Michael Armstrong, Damian Bowden “Breathe” by Kooman and Dimond ............................................................. Reagan Gross “Focus on the Negative” from Waitress by Sara Bareilles .......................................... Nelsey Leverette, Sydney Cobb, Micayla Johnston, Josie Patterson “Confrontation” from Jekyll and Hyde by Frank Wildhorn ................................................................. Damian Bowden “Cell Block Tango” from Chicago by Kander and Ebb ............................................................................. Ensemble “How Do I Get You Alone” by Steinberg and Kelly ........................................................................ Ensemble “The Next Ten Minutes” from The Last Five Years by Jason Robert Brown ..................... Michael Armstrong, Josie Patterson “I Who Have Nothing” by Lieber and Stoller ............................................................. Damian Bowden “World Burn” from Mean
    [Show full text]
  • French-Horn.Pdf
    Anchorage School District Music Department Approved List, Solo & Ensemble (2005/06) Vocal Ensemble Composer Title Pub. Level Event Comments American Folk Hymn Wondrous Love (dʼ-d”) / The Canadian Brass Book of HL 1 French Horn Solo Bach Menuet in G MMP 1 French Horn Solo Bach/Dishinger Menuet in G MMP 1 French Horn Solo Brahms On the Lake MMP 1 French Horn Solo Brahms/Dishinger On the Lake MMP 1 French Horn Solo Buchtel Arcadia NAK 1 French Horn Solo Buchtel Elegy NAK 1 French Horn Solo Buchtel Solitude NAK 1 French Horn Solo Classic Festival Solos, Vol. 1- Smith, L.-Viking (pub. sep.)(cʼ-b flatʼ) / Classic WBRO 1 French Horn Solo Classic Festival Solos, Vol. 2- Mendelssohn, F.-On Wings of Song (cʼ-d”) WBRO 1 French Horn Solo Folksong The Water is Wide (cʼ-c”) / The Canadian Brass Book HL 1 French Horn Solo Gunning Elegy / The Real Easy Horn Book GW 1 French Horn Solo Hurrell Meadowland RU 1 French Horn Solo Kinney Song SPR 1 French Horn Solo Lavalee/Routhier/Weir/Boyd O Canada! (cʼ-bʼ) / The Canadian Brass Book of HL 1 French Horn Solo Liadov Dancing Song MMP 1 French Horn Solo Mendelssohn Reverie MMP 1 French Horn Solo Mendelssohn, F./ Lamb, J. On Wings of Song (cʼ-d”) / Classic Festival Solos, WBRO 1 French Horn Solo Myers, T. Lazy Day LSP 1 French Horn Solo cʼ-c” Nyquist, M. Melody for Horn (cʼ-c”) / Solo Sounds, Levels 1-3, WBRO 1 French Horn Solo Pearson Valse Triste / The Real Easy Horn Book GW 1 French Horn Solo Pearson, B./Elledge M.
    [Show full text]
  • Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
    PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks.
    [Show full text]
  • FRED ASTAIRE: Class, Execution, and Perfection Personified the Essay Offers a Retrospective of the Highlights of the Dancer’S Career
    FRED ASTAIRE: class, execution, and perfection personified The essay offers a retrospective of the highlights of the dancer’s career. In addition a financial report of Top Hat is included at the end of the essay. 8 pages long. Fred Astaire: class, execution, and perfection personified The year is 1935, when Top Hat was released and the industries of music, film and dance are at a peak like they’ve never been before. The reason for this is their combined effect; music provided the sound, dance visualised the music, and film provided a wide spread exposure and a financial outlet to feed the industry all the way down to the "clubs". The period from 1927-mid fifties saw an explosion of musical talents like no other era in history. Among these new talents were the not so new faces of Fred Astaire and Ginger Rogers as they had thrived on Broadway for many years before their film career. The peak of their nine-film career occurred with the release of Top Hat on September 6, 1935. To understand their success we must first understand the dynamics of both the music and film industry. Then we must look at Fred Astaire and his contribution to the Hollywood musicals. Only then will the understanding of Top Hat's historical context fall into place. Fred Astaire was fortunate to be part of an explosion of talent in both the film and music history that was caused by consistency. Consistency means that the artist of those days produced many films and recorded many songs each and every year.
    [Show full text]