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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. -
NEWSLETTER American Musical Instrument Society
NEWSLETTER Of The American Musical Instrument Society Vol. XVIII, No.1 February 1989 Courtesy of The Metropolitan Museum of Art AM IS members attending the annual meeting in New York City will be able to view this exhibition of recently-acquired Korean instruments in the Andre' Mertens Galleries for Musical Instruments. sions, musical interludes, and other activities struments, will be on view in the Amsterdam AMIS MEETS MAY 25-28 follow on the next two days, with the AMIS Gallery of the Library & Museum of the Per IN NEW YORK CITY business meeting and extra events on Sunday. forming Arts at Lincoln Center, and the The schedule (see pp. 2-3 of this Newsletter) American Museum of Natural History has In honor of the centennial of the Crosby allows ample time to visit the Andre Mertens deployed many of its non-Western instruments Brown Collection at The Metropolitan Museum Galleries for Musical Instruments at the in new galleries. of Art, the 18th-annual AMIS meeting will be Metropolitan Museum and to enjoy A Musical Other highlights of the meeting include a held in New York City, May 25-28, 1989. Most Offering, a special, NEA-funded exhibition of concert by the Mozartean Players, during of the official sessions will occur at Barnard about 100 outstanding recent acquisitions, which the Curt Sachs Award for 1989 will be College, which marks its centenary at the same many of which have not been displayed before. prllsented; this program will be followed by a time. Low-cost lodging is available in Bar The Museum is also planning a display of ex reception at the lovely townhouse of AMIS nard's dormitory, located directly across the citing new instruments by Ben Hume, a young member, Frederick R. -
Frescobaldi Gesualdo Solbiati
Frescobaldi Gesualdo Solbiati FRANCESCO GESUALDI Accordion Girolamo Frescobaldi (1583 -1643) If we think of the theatre as a place in which audiences not only perceive with their eyes and ears, but also their deeper feelings, then the work presented in this recording Dal II Libro di Toccate is in many respects theatrical. The explanation lies in the fact that one of Francesco 1. Toccata I 4’42 Gesualdi’s particular gifts as a performer is his ability to produce sounds that conjure 2. Toccata II 4’44 up the action underlying the music, and indeed evoke the spaces in which the events 3. Toccata III, da sonarsi alla Levatione 8’51 take place. This is particularly noteworthy when performance is actually separated 4. Toccata IV, da sonarsi alla Levatione 6’58 from the reality of visualization. 5. Toccata VIII, di Durezze e Ligature 5’01 The synaesthetic experience underlying vision and visionary perception is arguably one of the fundamental ingredients of the “Second Practice”, or stile moderno, which Dal I Libro di Toccate aimed at engaging the feelings of the listener. This art was essential to the evocative 6. Partite sopra l'Aria della Romanesca (1–14) 21’49 power of Frescobaldi’s music. In his performance Francesco Gesualdi establishes a particular spatial and temporal Carlo Gesualdo (1566–1613) universe in which the constraints of absolute formal rigour are reconciled with 7. Canzon francese del Principe 6’40 freedom of accentuation and vital breath, so as to invest each execution with the immediacy of originality. In this ability to renew with each rendering, Gesualdi’s Alessandro Solbiati (1956) playing speaks for the way wonderment can forge the essential relationship between 8. -
L'estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi
L’Estro Armonico (Opus 3): Homage to a Medici Prince Antonio Vivaldi (1678 – 1741) The first decade of the eighteenth century was an exciting one for Vivaldi. In 1703 he became fully ordained as a priest and obtained a teaching post at the Ospedale della Pietài. His duties still left him time to freelance as a violinist (often with his father, Giovanni Battista Vivaldiii) and to compose a moderate amount of music. His works had so far generated a modest amount of local success with two sets of sonatas being published by the Venetian publishing houses of Giuseppe Sala in 1705 and Antonio Bortoli in 1709iii. In addition to various sonatas and concertos, Vivaldi received a commission to compose his first (known) vocal work, a serenata titled Le gare del dovereiv for a performance in Rovigo in 1708. The publication of L’Estro Armonico three years later proved to be one of the major turning points in his career, and his concerto style took Europe by storm. Vivaldi chose the Amsterdam firm of Estienne Roger to publish L’Estro Armonico, whose printing presses used a more modern technology than their Venetian counterpartsv. In addition, Roger had a fantastic distribution network, particularly in Northern Europe where, at various times he had agents in Berlin, Brussels, Cologne, Halle, Hamburg, Leipzig, Liège, London and Rotterdam; Roger’s state-of-the-art technology combined with Vivaldi’s cutting- edge concerto style proved to be an immediate success. In search of an influential patron, Vivaldi dedicated L’Estro Armonico to the Grand Prince of Tuscany, Ferdinando de’Medicivi, son of Cosimo III de’Medici. -
LCSH Section L
L (The sound) Formal languages La Boderie family (Not Subd Geog) [P235.5] Machine theory UF Boderie family BT Consonants L1 algebras La Bonte Creek (Wyo.) Phonetics UF Algebras, L1 UF LaBonte Creek (Wyo.) L.17 (Transport plane) BT Harmonic analysis BT Rivers—Wyoming USE Scylla (Transport plane) Locally compact groups La Bonte Station (Wyo.) L-29 (Training plane) L2TP (Computer network protocol) UF Camp Marshall (Wyo.) USE Delfin (Training plane) [TK5105.572] Labonte Station (Wyo.) L-98 (Whale) UF Layer 2 Tunneling Protocol (Computer network BT Pony express stations—Wyoming USE Luna (Whale) protocol) Stagecoach stations—Wyoming L. A. Franco (Fictitious character) BT Computer network protocols La Borde Site (France) USE Franco, L. A. (Fictitious character) L98 (Whale) USE Borde Site (France) L.A.K. Reservoir (Wyo.) USE Luna (Whale) La Bourdonnaye family (Not Subd Geog) USE LAK Reservoir (Wyo.) LA 1 (La.) La Braña Region (Spain) L.A. Noire (Game) USE Louisiana Highway 1 (La.) USE Braña Region (Spain) UF Los Angeles Noire (Game) La-5 (Fighter plane) La Branche, Bayou (La.) BT Video games USE Lavochkin La-5 (Fighter plane) UF Bayou La Branche (La.) L.C.C. (Life cycle costing) La-7 (Fighter plane) Bayou Labranche (La.) USE Life cycle costing USE Lavochkin La-7 (Fighter plane) Labranche, Bayou (La.) L.C. Smith shotgun (Not Subd Geog) La Albarrada, Battle of, Chile, 1631 BT Bayous—Louisiana UF Smith shotgun USE Albarrada, Battle of, Chile, 1631 La Brea Avenue (Los Angeles, Calif.) BT Shotguns La Albufereta de Alicante Site (Spain) This heading is not valid for use as a geographic L Class (Destroyers : 1939-1948) (Not Subd Geog) USE Albufereta de Alicante Site (Spain) subdivision. -
MUSIC in the BAROQUE 12 13 14 15
From Chapter 5 (Baroque) MUSIC in the BAROQUE (c1600-1750) 1600 1650 1700 1720 1750 VIVALDI PURCELL The Four Seasons Featured Dido and Aeneas (concerto) MONTEVERDI HANDEL COMPOSERS L'Orfeo (opera) and Messiah (opera) (oratorio) WORKS CORELLI Trio Sonatas J.S. BACH Cantata No. 140 "Little" Fugue in G minor Other Basso Continuo Rise of Instrumental Music Concepts Aria Violin family developed in Italy; Recitative Orchestra begins to develop BAROQUE VOCAL GENRES BAROQUE INSTRUMENTAL GENRES Secular CONCERTO Important OPERA (Solo Concerto & Concerto Grosso) GENRES Sacred SONATA ORATORIO (Trio Sonata) CANTATA SUITE MASS and MOTET (Keyboard Suite & Orchestral Suite) MULTI-MOVEMENT Forms based on opposition Contrapuntal Forms FORMS DESIGNS RITORNELLO CANON and FUGUE based on opposition BINARY STYLE The Baroque style is characterized by an intense interest in DRAMATIC CONTRAST TRAITS and expression, greater COUNTRAPUNTAL complexity, and the RISE OF INSTRUMENTAL MUSIC. Forms Commonly Used in Baroque Music • Binary Form: A vs B • Ritornello Form: TUTTI • SOLO • TUTTI • SOLO • TUTTI (etc) Opera "Tu sei morta" from L'Orfeo Trio Sonata Trio Sonata in D major, Op. 3, No. 2 1607 by Claudio MONTEVERDI (1567–1643) Music Guide 1689 by Arcangelo CORELLI (1653–1713) Music Guide Monteverdi—the first great composer of the TEXT/TRANSLATION: A diagram of the basic imitative texture of the 4th movement: Baroque, is primarily known for his early opera 12 14 (canonic imitation) L'Orfeo. This work is based on the tragic Greek myth Tu sei morta, sé morta mia vita, Violin 1 ed io respiro; of Orpheus—a mortal shepherd with a god-like singing (etc.) Tu sé da me partita, sé da me partita Violin 2 voice. -
9. Vivaldi and Ritornello Form
The HIGH BAROQUE:! Early Baroque High Baroque 1600-1670 1670-1750 The HIGH BAROQUE:! Republic of Venice The HIGH BAROQUE:! Grand Canal, Venice The HIGH BAROQUE:! VIVALDI CONCERTO Antonio Vivaldi (1678-1741) The HIGH BAROQUE:! VIVALDI CONCERTO Antonio VIVALDI (1678-1741) Born in Venice, trains and works there. Ordained for the priesthood in 1703. Works for the Pio Ospedale della Pietà, a charitable organization for indigent, illegitimate or orphaned girls. The students were trained in music and gave frequent concerts. The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO The HIGH BAROQUE:! VIVALDI CONCERTO Thus, many of Vivaldi’s concerti were written for soloists and an orchestra made up of teen- age girls. The HIGH BAROQUE:! VIVALDI CONCERTO It is for the Ospedale students that Vivaldi writes over 500 concertos, publishing them in sets like Corelli, including: Op. 3 L’Estro Armonico (1711) Op. 4 La Stravaganza (1714) Op. 8 Il Cimento dell’Armonia e dell’Inventione (1725) Op. 9 La Cetra (1727) The HIGH BAROQUE:! VIVALDI CONCERTO In addition, from 1710 onwards Vivaldi pursues career as opera composer. His music was virtually forgotten after his death. His music was not re-discovered until the “Baroque Revival” during the 20th century. The HIGH BAROQUE:! VIVALDI CONCERTO Vivaldi constructs The Model of the Baroque Concerto Form from elements of earlier instrumental composers *The Concertato idea *The Ritornello as a structuring device *The works and tonality of Corelli The HIGH BAROQUE:! VIVALDI CONCERTO The term “concerto” originates from a term used in the early Baroque to describe pieces that alternated and contrasted instrumental groups with vocalists (concertato = “to contend with”) The term is later applied to ensemble instrumental pieces that contrast a large ensemble (the concerto grosso or ripieno) with a smaller group of soloists (concertino) The HIGH BAROQUE:! VIVALDI CONCERTO Corelli creates the standard concerto grosso instrumentation of a string orchestra (the concerto grosso) with a string trio + continuo for the ripieno in his Op. -
Download Booklet
1685 1759 - Violin Sonata in G HWV 358 Violin Sonata in E HWV 373 1 I. [Allegro] 1.57 20 I. Adagio 1.54 2 II. [Adagio] 0.49 21 II. Allegro 2.53 3 III. [Allegro] 2.35 22 III. Largo 1.35 .23 IV Allegro 2.47 Violin Sonata in D minor HWV 359a 4 I. Grave 2.32 Violin Sonata in G minor HWV 368 5 II. Allegro 1.43 24 I. Andante 2.19 6 III. Adagio 0.51 25 II. Allegro 2.49 . 7 IV Allegro 2.35 26 III. Adagio 2.01 .27 IV [Allegro moderato] 2.32 Violin Sonata in A HWV 361 8 I. Andante 2.26 Violin Sonata in F HWV 370 9 II. Allegro 1.54 28 I. Adagio 3.12 10 III. Adagio 0.50 29 II. Allegro 2.13 .11 IV Allegro 2.43 30 III. Largo 3.19 .31 IV Allegro 3.53 Violin Sonata in G minor HWV 364a 12 I. Larghetto 1.56 Violin Sonata in D HWV 371 13 II. Allegro 1.44 32 I. Affettuoso 3.11 14 III. Adagio 0.41 33 II. Allegro 2.57 .15 IV Allegro 2.14 34 III. Larghetto 2.46 .35 IV Allegro 3.55 Violin Sonata in A HWV 372 80.00 16 I. Adagio 1.15 17 II. Allegro 2.24 The Brook Street Band 18 III. Largo 1.14 Rachel Harris baroque violin .19 IV Allegro 2.57 Tatty Theo baroque cello · Carolyn Gibley harpsichord 2 Handel’s Violin Sonatas For a composer as well known as George Frideric Handel, the history of his violin sonatas is somewhat complicated. -
Eubo Mobile Baroque Academy
EUBO MOBILE BAROQUE ACADEMY EUROPEAN CO OPERATION PROJECT 2015 2018 INTERIM REPORT Pathways & Performances CONTENTS EUBO MOBILE BAROQUE ACADEMY........................................2?3 PARTNER ORGANISATIONS ....................................................4?13 INTERNATIONAL CONCERT TOURS ....................................14?18 MUSIC EDUCATION ...............................................................19?22 OTHER ACTIVITIES ................................................................23?25 HOW DO WE MAKE ALL THIS HAPPEN ................................26?27 WHO IS WHO................................................................................28 EUBO MOBILE BAROQUE ACADEMY The EUBO Mobile Baroque Academy (EMBA) co-operation project addresses the unequal provision across the European Union of baroque music education and performance, in new and creative ways. The EMBA project builds on the 30-year successful track-record of the European Union Baroque Orchestra (EUBO) in providing training and performing opportunities for young EU period performance musicians and extends and develops possibilities for orchestral musicians intending to pursue a professional career. From an earlier stage of conservatoire training via orchestral experience, through to the first steps in the professional world, musicians attending the activities of EMBA are offered a pathway into the profession. The EMBA activities supporting the development of emerging musicians include specialist masterclasses by expert tutors; residential orchestral selection -
A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018)
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Music, School of Performance - School of Music 4-2018 State of the Art: A Sampling of Twenty-First- Century American Baroque Flute Pedagogy Tamara Tanner University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Pedagogy Commons, and the Music Performance Commons Tanner, Tamara, "State of the Art: A Sampling of Twenty-First-Century American Baroque Flute Pedagogy" (2018). Student Research, Creative Activity, and Performance - School of Music. 115. https://digitalcommons.unl.edu/musicstudent/115 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY by Tamara J. Tanner A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Flute Performance Under the Supervision of Professor John R. Bailey Lincoln, Nebraska April, 2018 STATE OF THE ART: A SAMPLING OF TWENTY-FIRST-CENTURY AMERICAN BAROQUE FLUTE PEDAGOGY Tamara J. Tanner, D.M.A. University of Nebraska, 2018 Advisor: John R. Bailey During the Baroque flute revival in 1970s Europe, American modern flute instructors who were interested in studying Baroque flute traveled to Europe to work with professional instructors. -
2257-AV-Venice by Night Digi
VENICE BY NIGHT ALBINONI · LOTTI POLLAROLO · PORTA VERACINI · VIVALDI LA SERENISSIMA ADRIAN CHANDLER MHAIRI LAWSON SOPRANO SIMON MUNDAY TRUMPET PETER WHELAN BASSOON ALBINONI · LOTTI · POLLAROLO · PORTA · VERACINI · VIVALDI VENICE BY NIGHT Arriving by Gondola Antonio Vivaldi 1678–1741 Antonio Lotti c.1667–1740 Concerto for bassoon, Alma ride exulta mortalis * Anon. c.1730 strings & continuo in C RV477 Motet for soprano, strings & continuo 1 Si la gondola avere 3:40 8 I. Allegro 3:50 e I. Aria – Allegro: Alma ride for soprano, violin and theorbo 9 II. Largo 3:56 exulta mortalis 4:38 0 III. Allegro 3:34 r II. Recitativo: Annuntiemur igitur 0:50 A Private Concert 11:20 t III. Ritornello – Adagio 0:39 z IV. Aria – Adagio: Venite ad nos 4:29 Carlo Francesco Pollarolo c.1653–1723 Journey by Gondola u V. Alleluja 1:52 Sinfonia to La vendetta d’amore 12:28 for trumpet, strings & continuo in C * Anon. c.1730 2 I. Allegro assai 1:32 q Cara Nina el bon to sesto * 2:00 Serenata 3 II. Largo 0:31 for soprano & guitar 4 III. Spiritoso 1:07 Tomaso Albinoni 3:10 Sinfonia to Il nome glorioso Music for Compline in terra, santificato in cielo Tomaso Albinoni 1671–1751 for trumpet, strings & continuo in C Sinfonia for strings & continuo Francesco Maria Veracini 1690–1768 i I. Allegro 2:09 in G minor Si 7 w Fuga, o capriccio con o II. Adagio 0:51 5 I. Allegro 2:17 quattro soggetti * 3:05 p III. Allegro 1:20 6 II. Larghetto è sempre piano 1:27 in D minor for strings & continuo 4:20 7 III. -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document.