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All Strings Considered a Subjective List of Classical Works
All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there. -
Dumschat Resume
Dr. Claudia E. Dumschat 122 West 80th Street (B-R) New York, NY 10024-6359 home: (212) 595-3718 cell: (917) 825-7504 [email protected] PROFESSIONAL EXPERIENCE Organist/Choirmaster: The Church of the Transfiguration (1999-present) Conductor of the fully professional Choir of Men and Boys, the oldest such choir in the country, which presents full Mass settings and anthems weekly. Artistic Director and Conductor of The Arnold Schwartz Memorial Concert Series for over ten years. Director of The Transfiguration Camerata, a semi- professional chorus of adults, sings concerts and summer services. (See www.littlechurch.org) Lucy Moses School’s Kaufman Summer Musical Theater Workshop (2016): taught singing to children grades 3, 4, and 5. Co-Artistic Director and Conductor, neXus Arts (1999 to 2010): The mission of neXus Arts is to combine music with other art forms such as dance, poetry, and the visual arts, in order to create a synthesis which transcends the sum of its parts. Music is chosen which expresses something profound about the spiritual condition of humanity, but not to support any particular political or religious agenda. The intention is to provide a new way of experiencing works of the past and present, as well as to commission and perform new works, including music dramas and operas. Children’s Aid Society (2006-2008): directed chorus of Second Graders at P.S. 50 in Manhattan Artistic Director and Conductor, The Friends of Music at Holy Spirit, Houston, 1995–’98: Founded this semi-professional chorus to perform concerts of classical music and music drama at the church for the community at large. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Benjamin Britten: a Catalogue of the Orchestral Music
BENJAMIN BRITTEN: A CATALOGUE OF THE ORCHESTRAL MUSIC 1928: “Quatre Chansons Francaises” for soprano and orchestra: 13 minutes 1930: Two Portraits for string orchestra: 15 minutes 1931: Two Psalms for chorus and orchestra Ballet “Plymouth Town” for small orchestra: 27 minutes 1932: Sinfonietta, op.1: 14 minutes Double Concerto in B minor for Violin, Viola and Orchestra: 21 minutes (unfinished) 1934: “Simple Symphony” for strings, op.4: 14 minutes 1936: “Our Hunting Fathers” for soprano or tenor and orchestra, op. 8: 29 minutes “Soirees musicales” for orchestra, op.9: 11 minutes 1937: Variations on a theme of Frank Bridge for string orchestra, op. 10: 27 minutes “Mont Juic” for orchestra, op.12: 11 minutes (with Sir Lennox Berkeley) “The Company of Heaven” for two speakers, soprano, tenor, chorus, timpani, organ and string orchestra: 49 minutes 1938/45: Piano Concerto in D major, op. 13: 34 minutes 1939: “Ballad of Heroes” for soprano or tenor, chorus and orchestra, op.14: 17 minutes 1939/58: Violin Concerto, op. 15: 34 minutes 1939: “Young Apollo” for Piano and strings, op. 16: 7 minutes (withdrawn) “Les Illuminations” for soprano or tenor and strings, op.18: 22 minutes 1939-40: Overture “Canadian Carnival”, op.19: 14 minutes 1940: “Sinfonia da Requiem”, op.20: 21 minutes 1940/54: Diversions for Piano(Left Hand) and orchestra, op.21: 23 minutes 1941: “Matinees musicales” for orchestra, op. 24: 13 minutes “Scottish Ballad” for Two Pianos and Orchestra, op. 26: 15 minutes “An American Overture”, op. 27: 10 minutes 1943: Prelude and Fugue for eighteen solo strings, op. 29: 8 minutes Serenade for tenor, horn and strings, op. -
Britten Connections a Guide for Performers and Programmers
Britten Connections A guide for performers and programmers by Paul Kildea Britten –Pears Foundation Telephone 01728 451 700 The Red House, Golf Lane, [email protected] Aldeburgh, Suffolk, IP15 5PZ www.brittenpears.org Britten Connections A guide for performers and programmers by Paul Kildea Contents The twentieth century’s Programming tips for 03 consummate musician 07 13 selected Britten works Britten connected 20 26 Timeline CD sampler tracks The Britten-Pears Foundation is grateful to Orchestra, Naxos, Nimbus Records, NMC the following for permission to use the Recordings, Onyx Classics. EMI recordings recordings featured on the CD sampler: BBC, are licensed courtesy of EMI Classics, Decca Classics, EMI Classics, Hyperion Records, www.emiclassics.com For full track details, 28 Lammas Records, London Philharmonic and all label websites, see pages 26-27. Index of featured works Front cover : Britten in 1938. Photo: Howard Coster © National Portrait Gallery, London. Above: Britten in his composition studio at The Red House, c1958. Photo: Kurt Hutton . 29 Further information Opposite left : Conducting a rehearsal, early 1950s. Opposite right : Demonstrating how to make 'slung mugs' sound like raindrops for Noye's Fludde , 1958. Photo: Kurt Hutton. Britten Connections A guide for performers and programmers 03 The twentieth century's consummate musician In his tweed jackets and woollen ties, and When asked as a boy what he planned to be He had, of course, a great guide and mentor. with his plummy accent, country houses and when he grew up, Britten confidently The English composer Frank Bridge began royal connections, Benjamin Britten looked replied: ‘A composer.’ ‘But what else ?’ was the teaching composition to the teenage Britten every inch the English gentleman. -
The Four Seasons I
27 Season 2013-2014 Friday, November 29, at 8:00 The Philadelphia Orchestra Saturday, November 30, at 8:00 Sunday, December 1, at 2:00 Richard Egarr Conductor and Harpsichord Giuliano Carmignola Violin Vivaldi The Four Seasons I. Spring, Concerto in E major, RV 269 a. Allegro b. Largo c. Allegro II. Summer, Concerto in G minor, RV 315 a. Allegro non molto b. Adagio alternating with Presto c. Presto III. Autumn, Concerto in F major, RV 293 a. Allegro b. Adagio molto c. Allegro IV. Winter, Concerto in F minor, RV 297 a. Allegro non molto b. Largo c. Allegro Intermission 28 Purcell Suite No. 1 from The Fairy Queen I. Prelude II. Rondeau III. Jig IV. Hornpipe V. Dance for the Fairies Haydn Symphony No. 101 in D major (“The Clock”) I. Adagio—Presto II. Andante III. Menuetto (Allegretto)—Trio—Menuetto da capo IV. Vivace This program runs approximately 1 hour, 40 minutes. The November 29 concert is sponsored by Medcomp. Philadelphia Orchestra concerts are broadcast on WRTI 90.1 FM on Sunday afternoons at 1 PM. Visit www.wrti.org to listen live or for more details. 3 Story Title 29 The Philadelphia Orchestra Jessica Griffin The Philadelphia Orchestra community itself. His concerts to perform in China, in 1973 is one of the preeminent of diverse repertoire attract at the request of President orchestras in the world, sold-out houses, and he has Nixon, today The Philadelphia renowned for its distinctive established a regular forum Orchestra boasts a new sound, desired for its for connecting with concert- partnership with the National keen ability to capture the goers through Post-Concert Centre for the Performing hearts and imaginations of Conversations. -
Download Full TMC Choral Library
Toronto Mendelssohn Choir Choral Music Catalogue - updated February 2018 TORONTO MENDELSSOHN CHOIR 720 Bathurst St., Ste 404 Toronto, ON M5S 2R4 [email protected] 416-598-0422, ext 223 GUIDELINES 1. Adminstrative fee applies. Contact TMC Librarian at [email protected] 2. Borrower is responsible for shipping and handling 3. Music must be returned within one month after performance 4. Lost music must be replaced by borrower Alphabetical by Composer - Go to page 13 for Alphabetical by Title of work Composer Last Name Composer First Name Title of Work # of copies Edition/Publisher Comments Adams Lydia Micma'q Honour Song 120 McGroarty Music Unison arr Anderson Robert B. Huron Carol, The 175 GV Thompson Applebaum Louis Cherry Tree Carol 83 Alfred Archer Malcolm Infant Holy 130 Oxford SATB + organ Arne Thomas Rule Britannia 175 Jarman Bach Johann Sebastian Cantata No. 4 (Christ Lag) 96 Breitkopf Eng. & Ger. Bach Johann Sebastian Cantata No. 191 (Gloria in Excelsis Deo) 101 Breitkopf Bach Johann Sebastian Christmas Oratorio (complete) 171 Novello Bach Johann Sebastian Jesu, Joy of Man's Desiring 100 Belwin & Oxford (2 sets) Bach Johann Sebastian Magnificat 39 Novello Lat. & Eng. Bach Johann Sebastian Mass in B Minor 121 Novello Bach Johann Sebastian Motet No. 1 (Sing Ye to the Lord) 46 Peters Bach Johann Sebastian Motet No. 2 (The Spirit Also Helpeth Us) 209 Novello Eng. & Ger. Out of Print Bach Johann Sebastian Motet No. 5 (Komm, Jesu, Komm 46 Peters Eng. & Ger. Bach Johann Sebastian Motet No. 6 (Lobet Den Herrn) 85 Peters Bach Johann Sebastian Peasant Cantata 175 Patterson OUT OF PRINT Bach Johann Sebastian Sanctus (Mass in B Minor) 71 Jarman/Schirmer Bach Johann Sebastian St John Passion ENG 88 Novello Bach Johann Sebastian St John Passion GER 186 Melbay Ger. -
Missa Brevis
Jacob de Haan Missa Brevis Partiture per coro misto Solo per uso personale 2 Ⓡ Ⓡ Soli Deo Hon Et Gl ia 3 Missa Brevis Indice dei contenuti Kyrie .............................................. .............. 4 Gloria............................................. ............... 6 Credo.............................................. .............. 11 Sanctus ............................................ .............. 18 Benedictus......................................... ................ 20 Agnus Dei .......................................... ............... 24 4 Missa Brevis Kyrie Coro Misto Jacob de Haan ø = 80 Soprano 11 2 2 Ky ri e e lei son, Ky ri e e lei son, f f Alto 11 2 2 11 Tenore 2 8 2 Kyf ri e e lei son, Kyf ri e e lei son, 11 Basso 2 2 19 S 3 Ky ri e e lei son, Ky ri e e lei son, 2 f f A 3 2 T 3 8 2 Kyf ri e e lei son, Kyf ri e e lei son, B 3 2 28 S 3 2 3 2 3 2 3 2 Ky ri e e 2 lei son, 2 Ky ri e e 2 lei son. 2Christe e 2 lei son, 2 ff f p A 3 2 3 2 3 2 3 2 2 2 2 2 2 2 T 3 2 3 2 3 2 3 8 2 2 2 2 2 2 2 Kyff ri e e lei son, Kyf ri e e lei son. Chrip ste e lei son, B 3 2 3 2 3 2 3 2 2 2 2 2 2 2 Coro Misto 5 34 S 3 2 3 2 2 Christe e 2 lei son, e lei son, 2 Chri ste Chri ste 2Christe e A ff ff ff 3 2 3 2 2 2 2 2 T 3 2 3 2 8 2 2 2 2 Christe e lei son, e lei son, Chriff ste Chriff ste Chriff ste e B 3 2 3 2 2 2 2 2 41 S 2 2 3 2 3 lei son. -
BENJAMIN BRITTEN a Ceremony of Carols IRELAND | BRIDGE | HOLST
BENJAMIN BRITTEN A Ceremony of Carols IRELAND | BRIDGE | HOLST Choir of Clare College, Cambridge Graham Ross FRANZ LISZT A Ceremony of Carols BENJAMIN BRITTEN (1913-1976) ANONYMOUS, arr. BENJAMIN BRITTEN 1 | Venite exultemus Domino 4’11 12 | The Holly and the Ivy 3’36 for mixed choir and organ (1961) traditional folksong, arranged for mixed choir a cappella (1957) 2 | Te Deum in C 7’40 for mixed choir and organ (1934) BENJAMIN BRITTEN 3 | Jubilate Deo in C 2’30 13 | Sweet was the song the Virgin sung 2’45 for mixed choir and organ (1961) from Christ’s Nativity for soprano and mixed choir a cappella (1931) 4 | Deus in adjutorium meum intende 4’37 from This Way to the Tomb for mixed choir a cappella (1944-45) A Ceremony of Carols op. 28 (1942, rev. 1943) version for mixed choir and harp arranged by JULIUS HARRISON (1885-1963) 5 | A Hymn to the Virgin 3’23 for solo SATB and mixed choir a cappella (1930, rev. 1934) 14 | 1. Procession 1’18 6 | A Hymn of St Columba 2’01 15 | 2. Wolcum Yole! 1’21 for mixed choir and organ (1962) 16 | 3. There is no rose 2’27 7 | Hymn to St Peter op. 56a 5’57 17 | 4a. That yongë child 1’50 for mixed choir and organ (1955) 18 | 4b. Balulalow 1’18 19 | 5. As dew in Aprille 0’56 JOHN IRELAND (1879-1962) 20 | 6. This little babe 1’24 8 | The Holy Boy 2’50 version for mixed choir a cappella (1941) 21 | 7. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A
Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19. -
An Analytical, Rehearsal, and Performance Guide to Ad Majorem Dei Gloriam by Benjamin Britten
An Analytical, Rehearsal, and Performance Guide to Ad majorem Dei gloriam by Benjamin Britten A document submitted to the CCM Division of Graduate Studies and Research of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in Choral Conducting, Division of Ensembles and Conducting of the College-Conservatory of Music July 2013 by Kenneth G. Tice B.M., East Carolina University, 2003 M.M., University of Houston, 2010 Committee Chair: L. Brett Scott, D.M.A. ABSTRACT This document is a study of Ad majorem Dei gloriam (A.M.D.G.) by Benjamin Britten. It includes a motivic analysis, rehearsal preparation guide, and performance suggestions. Published posthumously in 1989, A.M.D.G. is still relatively new to many conductors, singers, and audiences. This document will serve to give a more complete picture of the work than exists in published scholarship. As more of Benjamin Britten’s previously unpublished music is catalogued and published, this rehearsal guide will not only highlight A.M.D.G., but also add to the general understanding and scholarship of the choral music output of Benjamin Britten. iii Copyright © 2013 Kenneth G. Tice All rights reserved iv To my wife, Jessica, for her constant love and support. v ACKNOWLEDGEMENTS I would like to thank Dr. Brett Scott, Dr. Earl Rivers, and Dr. Elmer Thomas for their guidance and instruction during my time at the University of Cincinnati College- Conservatory of Music. Each has given me a different perspective from which to consider choral music, from its creation, to preparation, to performance.