Harpsichord Syllabus / 2008 Edition
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Gaspard Le Roux 1660-1707 Pièces De Clavessin (1705)
Gaspard Complete HarpsichordLe Roux Music Pieter-Jan Belder Siebe Henstra Gaspard le Roux 1660-1707 Pièces de Clavessin (1705) Suite in D minor/major Suite in F major 39. Sarabande (en douze couplets) 13’00 Pieter-Jan Belder harpsichord I 1. Prélude 0’46 21. Prélude 1’25 40. Menuet 1’01 (Solo on 16-26) 2. Allemande, “la Vauvert” 4’25 22. Allemande grave 3’05 41. Gigue (pour deux Clavecins) 1’52 Siebe Henstra harpsichord II 3. Courante 1’17 23. Courante 1’27 42. Courante (avec sa contre partie) 1’31 (Solo on harpsichord I, on 33-42 ) 4. Sarabande grave 2’05 24. Chaconne 4’03 5. Menuet 1’20 25. Menuet & 2 Doubles Suite in A minor/major Harpsichord I: Titus Crijnen after 6. Passepied 0’40 du Menuet 1’55 (solo version) Ruckers 1624, Sabiñan 2014 7. Courante luthée 1’55 26. Passepied 0’54 43. Prélude 0’50 Harpsichord II: Titus Crijnen after 8. Allemande grave, 27. Allemande 1’54 44. Allemande “l’Incomparable” 2’21 Blanchet 1731, Sabiñan 2013 “la Lorenzany” 3’28 45. Courante 1’29 9. Courante 1’28 Suite in F-sharp minor 46. Sarabande 2’02 10. Sarabande gaye 2’51 28. Allemande gaye 1’10 47. Sarabande en Rondeau 2’15 11. Gavotte 1’09 29. Courante 1’27 48. Gavotte 1’05 30. Double de la Courante 1’32 49. Menuet & double du Menuet 1’01 Suite in A minor/major 31. Sarabande grave en Rondeau 2’25 50. Second Menuet 0’32 12. Prélude 0’50 32. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING
Music for the Countess of Sandwich Six Suites for Flûte du Voix and Harpsichord Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING A rare opportunity to experience the unusual, haunting colours of the “voice flute”. Includes two suites copied by J.S. Bach. First release of the Linda Kent Ruth Wilkinson complete suites of Charles Dieupart. Six Suites for Flûte du Voix and Harpsichord (1701) by Charles Dieupart Music for the Countess of Sandwich P 1995 MOVE RECORDS Suitte 1 A major (13’35”) Suitte 4 e minor (12’23”) AUSTRALIA Siutte 2 D major (10’10”) Suitte 3 b minor (12’44”) Suitte 6 f minor (13’46”) Suitte 5 F major (14’19”) move.com.au harles Dieupart was of the 17th century for her health: a French violinist, it was possible that she became C harpsichordist and Dieupart’s harpsichord pupil composer who spent the last before returning to England. 40 years of his life in England. Two versions of the Suites He was known as Charles to his were published simultaneously contemporaries in England but about his final years. One story in Amsterdam by Estienne there is some evidence from letters claimed that Dieupart was on the Roger: one for solo harpsichord signed by Dieupart that he was known brink of going to the Indies to follow and the other with separate parts as Francois in his native France. He a surgeon who proposed using music for violin or flute with a continuo was active in the operatic world: as an anaesthetic for lithotomies. part for bass viol or theorbo and we learn from Sir John Hawkins Hawkins gives us the following figured bass. -
Keyboard Music Is
Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint. -
Max Reger's Adaptations of Bach Keyboard Works for the Organ Wyatt Smith a Dissertation Submitted in Partial Fulfillment Of
Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2019 Reading Committee: Carole Terry, Chair Jonathan Bernard Craig Sheppard Program Authorized to Offer Degree: School of Music ©Copyright 2019 Wyatt Smith ii University of Washington Abstract Max Reger’s Adaptations of Bach Keyboard Works for the Organ Wyatt Smith Chair of the Supervisory Committee: Dr. Carole Terry School of Music The history and performance of transcriptions of works by other composers is vast, largely stemming from the Romantic period and forward, though there are examples of such practices in earlier musical periods. In particular, the music of Johann Sebastian Bach found its way to prominence through composers’ pens during the Romantic era, often in the form of transcriptions for solo piano recitals. One major figure in this regard is the German Romantic composer and organist Max Reger. Around the turn of the twentieth century, Reger produced many adaptations of works by Bach, including organ works for solo piano and four-hand piano, and keyboard works for solo organ, of which there are fifteen primary adaptations for the organ. It is in these adaptations that Reger explored different ways in which to take these solo keyboard works and apply them idiomatically to the organ in varying degrees, ranging from simple transcriptions to heavily orchestrated arrangements. This dissertation will compare each of these adaptations to the original Bach work and analyze the changes made by Reger. It also seeks to fill a void in the literature on this subject, which often favors other areas of Reger’s transcription and arrangement output, primarily those for the piano. -
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. -
Baroque Dance
BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance. -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music
Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. By © 2018 Sunjung Lee Submitted to the graduate degree program in the 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. Chair: Steven Spooner Colin Roust Michael Kirkendoll Hannah Collins Jerel Hilding Date Defended: 4 September 2018 The dissertation committee for Sunjung Lee certifies that this is the approved version of the following dissertation: Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. Chair: Steven Spooner Date Approved: 4 September 2018 ii Abstract This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music. -
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. -
Dance Rhythms in Mozart's Arias Author(S): Wye J
Dance Rhythms in Mozart's Arias Author(s): Wye J. Allanbrook and Wendy Hilton Reviewed work(s): Source: Early Music, Vol. 20, No. 1, Performing Mozart's Music II (Feb., 1992), pp. 142-149 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3127676 . Accessed: 09/11/2011 17:20 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music. http://www.jstor.org which startsalla breveand prestissimoends up in 2/4 and organizationof time that is at the heartof Mozart'screa- only allegroassai. tive act. To realizeMozart's tempo indicationsas accuratelyas possible in all their subtlety therefore requiresboth a Jean-Pierre Marty, composer, conductor and pianist, is the knowledge of 18th-centurytempo conventions and a Director of the American Conservatory in Fontainebleau. careful examination of every element of the musical He has been working on the question of Mozart's tempo structure. This is one of the performer'smost chal- indications since 1966, and has published The Tempo lenging and stimulatingtasks. Upon his or her success Indications of Mozart (Yale University Press, 1988). -
Speedmeetings Subscription Form
SPEEDMEETINGS SUBSCRIPTION FORM COMPANY : Les Cyclopes First name : Bibiane & Thierry Last name : Lapointe & Maeder e-mail : [email protected] Describe your company in a few words : Les Cyclopes is a baroque ensemble. Our repertoire places emphasis on 17th century. We enjoy the challenge of searching in order to build programs around precise topics. The two directors of the ensemble being harpsichordist and organist, the programs often put a keyboard composer as the focus point of the programs, placing the keyboard repertoire in relation with vocal and instrumental music. Which project would you like to present during your speedmeeting sessions : 1) Froberger in Rome : Motets and chamber music of Frescobaldi, Carissimi and Froberger. Soprano, Tenor, bass 2vn and basso continuo 2) The Imperial Diet of Regensburg. Chamber music of Bertali, Schmelzer, Valentini in connection with keyboard pieces of Froberger. 2 vn, 3 va, viola da gambe, and basso continuo 3) Froberger in London : chamber music for 2 violins, viola da gamba and basso continuo by C. Gibbons, T. Blatzar, M Locke and keyboard music of Froberger. New Deal @ Musicora - February 5th 2016 Videos of Les Cyclopes : Bruhns de Profundis : https://www.youtube.com/watch?v=fhUrYfKyjHs Bertali Tausend Gulden Sonata : https://www.youtube.com/watch?v=iZHf38q1BTU New Deal @ Musicora - February 5th 2016 Les Cyclopes Direction musicale Bibiane Lapointe & Thierry Maeder Johann Jacob Froberger A travelling musician in the service of Ferdinand III of the Holy Roman Empire This major composer of music for the keyboard in the 17th Century is also a particularly eminent symbol of the wealth and dynamism of European cultural exchange during the Baroque period.