ECU School of Music Program Guidelines
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MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov. -
Ludwig Van BEETHOVEN
BEETHOVEN Piano Pieces and Fragments Sergio Gallo, Piano Ludwig van BEE(1T77H0–1O827V) EN Piano Pieces and Fragments 1 ^ 13 Variations in A major on the Arietta ‘Es war einmal ein alter Mann’ Sketch in A major, Hess 60 (transcribed by A. Schmitz) (1818)* 0:31 & (‘Once Upon a Time there was an Old Man’) from Dittersdorf’s Theme with Variations in A major, Hess 72 (fragment) (1803) 2:42 Das rothe Käppchen (‘Red Riding Hood’), WoO 66 (1792) 13:10 * 2 Liedthema in G major, WoO 200, Hess 75 ‘O Hoffnung’ (1818) 0:22 Pastorella in C major, Bia. 622 (transcribed by F. Rovelli, b. 1979) (1815)* 0:23 ( Presto in G major, Bia. 277 (transcribed by A. Schmitz) (1793) 0:34 Ein Skizzenbuch aus den Jahren 1815 bis 1816 (Scheide-Skizzenbuch). Faksimile, Übertragung und Kommentar ) herausgegeben von Federica Rovelli gestützt auf Vorarbeiten von Dagmar von Busch-Weise, Bd. I: Faksimile, 4 Bagatelles, WoO 213: No. 2 in G major (transcribed by A. Schmitz) (1793) 0:29 ¡ Bd. II: Transkription, Bd. III: Kommentar, Verlag Beethoven-Haus (Beethoven, Skizzen und Entwürfe), Bonn. Piano Étude in B flat major, Hess 58 (c. 1800) 0:41 ™ 12 Piano Miniatures from the Sketchbooks (ed. J. van der Zanden, b. 1954) Piano Étude in C major, Hess 59 (c. 1800) 0:25 £ (Raptus Editions) (excerpts) (date unknown) 4:27 3 String Quintet in C major, WoO 62, Hess 41 No. 3. Klavierstück: Alla marcia in C major [Kafka Miscellany, f. 119v, 2–5] 0:25 4 I. Andante maestoso, ‘Letzter musikalischer Gedanke’ (‘Last musical idea’) No. -
The Impact of the Third Reich on Famous Composers by Bwaar Omer
The Impact of the Third Reich on Famous Composers By Bwaar Omer Germany is known as a land of poets and thinkers and has been the origin of many great composers and artists. In the early 1920s, the country was becoming a hub for artists and new music. In the time of the Weimar Republic during the roaring twenties, jazz music was a symbol of the time and it was used to represent the acceptance of the newly introduced cultures. Many conservatives, however, opposed this rise of for- eign culture and new music. Guido Fackler, a German scientist, contends this became a more apparent issue when Adolf Hitler (1889-1945) took power in 1933 and created the Third Reich. The forbidden music during the Third Reich, known as degen- erative music, was deemed to be anti-German and people who listened to it were not considered true Germans by nationalists. A famous composer who was negatively affected by the brand of degenerative music was Kurt Weill (1900-1950). Weill was a Jewish composer and playwright who was using his com- positions and stories in order to expose the Nazi agenda and criticize society for not foreseeing the perils to come (Hinton par. 11). Weill was exiled from Germany when the Nazi party took power and he went to America to continue his career. While Weill was exiled from Germany and lacked power to fight back, the Nazis created propaganda to attack any type of music associated with Jews and blacks. The “Entartete Musik” poster portrays a cartoon of a black individual playing a saxo- phone whose lips have been enlarged in an attempt to make him look more like an animal rather than a human. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects -
The Analytical Study of Anton Bruckner Symphony NO.8
Frontiers in Art Research ISSN 2618-1568 Vol. 1, Issue 3: 14-19, DOI: 10.25236/FAR.20190303 The analytical study of Anton Bruckner Symphony NO.8 Lei Dong, Naixin Lu Academy of music, Shandong University of Technology, Zibo 255000, China; *Corresponding Author ABSTRACT.As a representative composer of late romanticism, Bruckner created many classic works in his life. The Eighth Symphony is one of the representative classical works in his later years. In the summer of 1884, Bruckner began to work on The Eighth Symphony, which was completed in the fall of 1887. During the creation of The Eighth Symphony, Bruckner ushered in two major events in his life, namely, The Deum and The Seventh Symphony successfully performed for the first time, and received wide appreciation and spread. All of these helped Bruckner gain a worldwide reputation. In view of the classic of The Eighth Symphony, many composers are studying it carefully. However, there are still many problems troubling researchers in the study, which restrict the development of contemporary music. Based on this, this paper briefly analyzes Bruckner's Symphony NO. 8. KEYWORDS: Theme; Polyphony; Harmony; Music form 1. Introduction As a famous composer in the late period of romanticism, Bruckner often used religious music forms such as Mass in his works[1]. Based on this, he combined with the folk national music and expressed his feelings and beliefs thoroughly. His music works are very poetic and religious, with strong romantic and lyrical characteristics. The Eighth Symphony is full of life philosophy. The classic of it is its ability to tug at the heartstrings, and expressing a strong piety and reverence for religion. -
HUMMEL Mozart’S Symphonies Nos
HUMMEL Mozart’s Symphonies Nos. 38 ‘Prague’, 39 and 40 Arranged for Flute, Violin, Cello and Piano Uwe Grodd • Friedemann Eichhorn Martin Rummel • Roland Krüger Johann Nepomuk Hummel (1778–1837) his privy council, after acceding to the throne in 1775, was pirated copies of his original manuscripts were always a Wolfgang Amadeus Mozart (1756-1791) that of poet, artist and politician Johann Wolfgang von threat. Hummel was suspicious of editions published on the Goethe. The court theatre immediately became the central continent. In a letter to a friend he wrote: “How come … Mozartʼs Symphonies Nos. 38 ʻPragueʼ, 39 and 40 focus of city life and the addition of the new Hoftheater in you do not find a single note from an honourable German arranged by Hummel for flute, violin, cello and piano 1791 ensured the predominance of music. Hummelʼs publisher?” The editions for this recording were made using dedication of his arrangement of the Prague Symphony Hummelʼs English publications from Chappell and Co In 1786, at the age of eight, Hummel went to live and study aus dem Serail. Hummelʼs lack of diplomacy, however, reads “This Symphony is respectfully dedicated to His (1823-4) for which J. R. Schultz acted as intermediary in with Wolfgang Amadé Mozart in Vienna. During his two combined with his disregard of dress codes, “loud and Excellency Baron von Goethe, Minister of State to His London. While England and France had regulations years as a lodger in the familyʼs apartment in the pushy” manner and devotion to his own performing career Royal Highness the Grand Duke of Saxe Weimar by J. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Y H P a R G O T O H P
ChiCago Symphony orCheStra riCCardo muti zell muSiC direCtor y h p a r g o t o h P g r e b n e s o R d d o T OCTOBER 13 @15, 2017 ZELLERBACH HALL, UC BERKELEY FALL 2017 ORCHESTRA RESIDENCY ABOUT THE ARTISTS Salzburg mozarteum and the golden Johann Strauss award by the Johann Strauss Society of Vienna. he is also an honorary member of Vienna’s gesellschaft der musikfreunde, the Vienna hofmusikkapelle, the Vienna philhar - monic, and the Vienna State opera. in addition to his distinguished appoint - ments as music director, muti has received innumerable international honors. he is a Cavaliere di gran Croce of the italian republic, officer of the French legion of honor, and a recipient of the german Verdienstkreuz. Queen elizabeth ii bestowed on him the title of hon - y h orary Knight Commander of the British em - p a r g pire, russian president Vladimir putin awarded o t o h P him the order of Friendship, and pope Bene - g r e dict XVi made him a Knight of the grand b n e s Cross First Class of the order of Saint gregory o R d d the great—the highest papal honor. muti also o T has received israel’s Wolf prize for the arts, Riccardo Muti Sweden’s prestigious Birgit nilsson prize, Spain’s Born in naples, italy, riccardo muti is one of prince of asturias award for the arts, Japan’s the preeminent conductors of our day. in 2010, order of the rising Sun gold and Silver when he became the 10th music director of the Star decoration, and the gold medal from italy’s Chicago Symphony orchestra (CSo), he had ministry of Foreign affairs as well as the more than 40 years of experience at the helm of prestigious “presidente della repubblica” award maggio musicale Fiorentino (1968–1980), the from the italian government. -
Piano: Resources
Resources AN ADDENDUM TO THE PIANO SYLLABUS 2015 EDITION Resources The following texts are useful for reference, teaching, and examination preparation. No single text is necessarily complete for examination purposes, but these recommended reading and resource lists provide valuable information to support teaching at all levels. Resources for Examination Preparation Repertoire Additional Syllabi of Celebration Series®, 2015 Edition: Piano Repertoire. The Royal Conservatory (Available online.) 12 vols. (Preparatory A–Level 10) with recordings. Associate Diploma (ARCT) in Piano Pedagogy Toronto, ON: The Frederick Harris Music Co., Licentiate Diploma (LRCM) in Piano Performance Limited, 2015. Popular Selection List (published biennially) Theory Syllabus Etudes Celebration Series®, 2015 Edition: Piano Etudes. 10 vols. Official Examination Papers (Levels 1–10) with recordings. Toronto, ON: The Royal Conservatory® Official Examination Papers. The Frederick Harris Music Co., Limited, 2015. 15 vols. Toronto, ON: The Frederick Harris Music Co., Limited, published annually. Technical Tests The Royal Conservatory of Music Piano Technique Book, Basic Rudiments 2008 Edition: “The Red Scale Book.” Toronto, ON: The Intermediate Rudiments Frederick Harris Music Co., Limited. Advanced Rudiments Scales, Chords, and Arpeggios for Piano: “The Brown Scale Introductory Harmony Book.” Toronto, ON: The Frederick Harris Music Co., Basic Harmony Limited, 2002. First published 1948. Basic Keyboard Harmony Technical Requirements for Piano, 2015 Edition. 9 vols. History 1: An Overview (Preparatory A–Level 8). Toronto, ON: The Frederick Intermediate Harmony Harris Music Co., Limited, 2015. Intermediate Keyboard Harmony History 2: Middle Ages to Classical Musicianship (Ear Tests and Sight Counterpoint Advanced Harmony Reading) Advanced Keyboard Harmony Berlin, Boris, and Andrew Markow. Four Star® Sight History 3: 19th Century to Present Reading and Ear Tests, 2015 Edition. -
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
How to Write Concert Programme Notes
HOW TO WRITE THE PROGRAM LISTS AND PROGRAM NOTES FOR CLASSICAL MUSIC CONCERTS By Piret Väinmaa (PhD) European Chamber Music Teachers´ Association June-July 2018, EMC / STAMP / Workshop for trainers / Toolbox A printed concert program informs the audience of what they are going to hear. It includes information on performers, composers and works and it will also be a historical document of a concert. In case of the performances of vocal music, a concert program should include texts that are sung, with the translations as appropriate. Both the authors of the original texts and the sources of any translations that you use must be identified so that they may be properly credited in the program. A. PROGRAM LISTS This is what you need to know: 1. What is the event about / the name of the event: a concert, a recital, etc 2. When (time and date) 3. Where (the venue with an address) 4. Who is playing / singing 5. What instrument 6. What composer/composers 7. What pieces Example 1: Recital of piano music What is the event about Piano recital When (time and date) Wed 23rd of April 2019 at 18.00 In the Holy Ghost Church, Vienna, Where (the venue with the address) Wolfgangstrasse 31 Who is playing / singing Jane Johnson What instrument (piano) What composer/composers Ludwig van Beethoven Maurice Ravel Sonata for piano C Major op 53 What pieces („Waldstein“) (1805) La Valse The trickiest part is to write the title of the piece correctly and with full infromation about the work. If a title is based on the works genre, use the following form: Ludwig van Beethoven (1770-1827) - Sonata No 21 C Major op 53 („Waldstein“)(1805) 1. -
J. S. Bach and His Legacy Program
J. S. Bach and His Legacy Program Organist: Dr. Robert Parkins March 21, 2021 Prelude and Fugue in E Minor, BWV 533 Johann Sebastian Bach (1685–1750) O Lamm Gottes, unschuldig, BWV 618 Prelude and Fugue in A Minor, BWV 543 O Mensch, bewein dein’ Sünde gross, BWV 622 Sonata in F Minor, Op. 65, No. 1 Felix Mendelssohn Bartholdy (1809–1847) Allegro moderato e serioso Adagio Andante recitativo Allegro assai vivace Fugue on the Name BACH, Op. 60, No. 3 Robert Schumann (1810–1856) Prelude and Fugue in A Minor Johannes Brahms (1833–1897) O Welt, ich muss dich lassen, Op. 122, No. 3 Introduction and Passacaglia in D Minor Max Reger (1873–1916) Performed on the Benjamin N. Duke Memorial Organ (Flentrop, 1976) Program Notes Although celebrated mainly as an organist during his lifetime, later generations would come to revere Johann Sebastian Bach (1685–1750) as the unparalleled master of composition for the organ. When the great com- poser’s complex harmony and counterpoint had been eclipsed by changes in musical fashion after his death, organ music also experienced a considerable decline. Although Felix Mendelssohn Bartholdy’s Three Preludes and Fugues for organ (1837) reflect the influence of Bach and the late Baroque, it was the publication of hisSix Sonatas in 1845 that signaled the resurgence of significant organ music in Germany. The legacy of J. S. Bach as a historical model was most profound among German Romantic composers, notably Mendelssohn, Robert Schumann, Johannes Brahms, and Max Reger. In 1829, Mendelssohn had already initi- ated a Bach revival with his celebrated performance of the St.