BBLDP001 Inner Pages

Total Page:16

File Type:pdf, Size:1020Kb

BBLDP001 Inner Pages Grateful thanks to: Diego Cantalupi, Roberto Chinellato, Elena Carboni, Carlo Ferraroni, Paola Poncet, Fabiola Miglietti, Danilo Prefumo CDS7839 (DDD) J. s. bach Eisenach, 1685 - Leipzig, 1750 ( ) six Trio Sonatas , BWV 525 530 transcribed for harpsichord and guit-ar Sonata V in C major, BWV 529 13:49 1 Allegro 04:47 2 Largo 05:33 3 Allegro 03:29 Sonata IV in E minor, BWV 528 09:20 4 Adagio, Vivace 02:18 5 Andante 04:30 6 Un poco Allegro 02:32 Sonata VI in G major, BWV 530 11:39 7 Vivace 03:58 8 Lento 04:00 9 Allegro 03:41 Sonata II in C minor, BWV 526 10:59 10 Vivace 03:55 11 Largo 03:10 12 Allegro 03:54 Sonata I in E flat major, BWV 525 12:16 13 [Without tempo indication] 02:48 14 Adagio 05:31 15 Allegro 03:57 Sonata III in D minor, BWV 527 11:59 16 Andante 04:42 17 Adagio e dolce 03:11 18 Vivace 04:06 RUNNING TIME 70:10 francesco molmenti, guitar Gernot Wagner, Frankfurt, germany 2001 luigi accardo, harpsichord Federico Mascheroni, Milan 2015 after Pascal Taskin, 1769 ( ) Sonate in trio per organo… nate prettamente al servizio, quali potevano essere le cantate, e si dedicò energicamente Nel 1802 Johann Nikolaus Forkel – ammirato - alla musica strumentale. A Lipsia invece risco - re entusiasta e primo biografo bachiano – prì l’entusiasmo per il repertorio vocale di scrisse che le sei sonate in trio per organo, stampo sacro, tipologia di musica che assorbì contenute in un autografo che risale ai primi la sua attività per quasi un decennio, fino a anni di Johann Sebastian a Lipsia, furono quando egli decise di dedicare all’organo “scritte per il suo figlio maggiore, Wilhelm composizioni mastodontiche, vasti preludi e Friedemann, e proprio attraverso lo studio e la fughe che, sommate ai corali, rappresentano pratica di queste che lo stesso Friedemann ancora oggi uno dei picchi massimi raggiunti divenne il grande organista che in seguito fu. nel repertorio dello strumento. Le sonate in Non si può dire mai abbastanza della loro trio , unico esempio nel repertorio organistico, qualità. Composte quando l’autore viveva il furono scritte tra il 1727 e il 1732. Le correzio - periodo di massima maturità, sono da consi - ni nel manoscritto autografo e un’analisi det - derarsi tra i principali lavori di tale momento”. tagliata degli elementi stilistici nelle sonate L’arte organistica, peculiare nelle vicende hanno portato Werner Breig (1999) a suggeri - della storia musicale e mondo a sé per ciò re che le sonate fossero composte nel loro che riguarda la sua principale destinazione stato finale in due gruppi distinti. Il primo (liturgica), sicuramente trovò in Johann gruppo, costituito dalla prima, terza e quarta Sebastian Bach il supremo coronamento. sonata, presenta primo e ultimo movimento Straordinario infatti il trattamento bachiano con un carattere di fuga e in generale acco - delle possibilità espressive dello strumento, munati da una stretta relazione stilistica. Il supportate da solide fondamenta di matrice secondo gruppo, costituito dalla seconda, squisitamente tecnica – conoscenza di ele - quinta e sesta sonata (in cui si verifica la mag - menti rinascimentali, utilizzo del cantus fir - gior parte delle correzioni compositive nel mus , modelli di ispirazione fiamminga e così tempo), è caratterizzato da una forma simile a via – e da grande padronanza degli stili più un concerto, con sezioni contrastanti e con - diversi in passato incarnati in compositori di certate nei movimenti di apertura contrapposti riferimento quali Sweelinck, Frescobaldi, a movimenti finali fugati. Pachelbel, Buxtehude, Böhm. Tanto per forni - Non era raro che in epoca barocca i compo - re un dato, le composizioni dedicate all’orga - sitori rielaborassero proprio (o altrui) materia - no sono circa duecentocinquanta. le musicale, e le sonate per organo non fanno Durante i lunghi anni trascorsi al servizio del eccezione, poiché più della metà dei movi - principe Leopoldo di Anhalt-Köthen, Bach menti è tratta da materiale preesistente, o ser - mise in secondo piano le composizioni desti - virà in seguito per l’elaborazione di nuove 3 composizioni; solo la sonata n. 6, difatti, è to – intessuto in primo luogo tra le due voci interamente originale. Entrando nello specifi - superiori, estremamente morbide e agili – co, ad esempio, il primo movimento della rigoroso e originale, ricorda gli stilemi applica - sonata in mi minore (BWV 528) era infatti in ti alle invenzioni a due e tre voci e contribui - origine un trio strumentale appartenente alla sce in maniera sistematica all’efficacia melo - cantata 76, ideato per oboe d’amore, viola da dica del tutto. La linea di basso supporta gamba e basso continuo; l’adagio della sona - armonicamente la struttura musicale, conce - ta in re minore (BWV 527) riprende il movi - dendosi ritmi di danza della giga o della sici - mento centrale del concerto “triplo”, BWV liana. Indubbia l’influenza della musica italia - 1044. Tali evidenze dimostrano abbastanza na, ovunque presente negli aspetti più diffe - chiaramente quindi come le sonate per orga - renti. Le sonate infatti adottano la forma in tre no siano sostanzialmente dei trii che – oltre movimenti tipica del concerto vivaldiano, e che pensati per un organista e perciò consoni alcuni di essi (ad esempio i primi tempi delle all’utilizzo di due mani e il pedale – possono sonate n.2 e n.6) si basano sul concetto strut - anche adattarsi comodamente alla composi - turale italiano, dove l’alternanza solo/tutti è zione a quattro parti della sonata in trio . ottenuta con melodie omofoniche all’unisono Trascrizioni di questa specie erano tutt’altro o una terza sopra. Il secondo movimento che inusuali per Bach e i suoi contemporanei: della sonata in do maggiore , ad esempio, infatti, a meno che non abbia in mente un pre - mostra l’influenza del cosiddetto “stile ciso significato simbolico o voglia sfruttare Corelli”, una maniera di interpretare la sonata una particolare tecnica strumentale, egli non italiana estremamente raffinata e perfezionata esita ad assegnare le sue linee melodiche a dal grande violinista romano. Ciò è esemplifi - una varietà di timbri strumentali. La sonata cato in generale nei tempi lenti delle sonate barocca in trio, perfezionata da Corelli, richie - per violino op. 5, in cui la gamma dei motivi de di solito quattro strumentisti, due dei quali musicali è ampiamente variata, sia attraverso sono assegnati alla linea di basso: solo alla il ritmo che i “diastemi”, ovvero gli intervalli tra fine del XVIII secolo le designazioni di “trio” e le note consecutive nella melodia. Questa tec - “quartetto” iniziano a riferirsi al numero di nica si distingue per il suo particolare lirismo. strumenti richiesti, piuttosto che all’organizza - Non c’è da stupirsi di un simile modello ispi - zione polifonica della composizione. ratore, dato che Bach molti anni prima aveva Nelle sei sonate, costruite su uno schema trascritto per organo solista o clavicembalo contrappuntistico che ricorre frequentemente numerosi concerti italiani, assimilando e riela - alla fuga senza rinunciare del tutto alle forme borando in maniera impeccabile la loro forma di danza, lo stile della sonata da chiesa di e padroneggiando con destrezza l’efficacia stampo italiano è ben evidente. Il contrappun - espressiva. Le sonate d’organo, fondendo in 4 un unico modello a metà tra sonata e concer - ha avuto ed ha ragioni di varia natura. to la chiarezza e l’espressività italiana e il rigo - Sicuramente, un forte impulso a questa tradi - re e l’ordine tedesco, sono il vero coronamen - zione fu dato da Andres Segovia (1893-1987), to di un lungo percorso di ricerca e sperimen - probabilmente il più celebre chitarrista mai tazione compositiva. nato, colui grazie al quale la chitarra entrò Infine, non è da trascurare il ben noto interes - definitivamente nelle più importanti sale da se bachiano per la numerologia e la rappre - concerto del mondo. Segovia era perfetta - sentazione simbolica, evidente anche nelle mente cosciente del fatto che la vitalità di uno sei sonate in trio. Attraverso questi strumenti strumento è conseguente alla qualità del suo egli sperava che le sue opere potessero riflet - repertorio. Per questa ragione, oltre a com - tere l’ harmonia mundi , così come definita missionare opere nuove ai compositori della dalle tradizioni cristiane ed ermeneutiche, non sua epoca, soleva proporre nei suoi program - ultimo il movimento neoplatonico. Tre è il mi e nelle sue registrazioni trascrizioni di numero chiave a proposito delle sonate in trio musica barocca (figurano brani di Henry per organo: sono scritte a tre voci, hanno tre Purcell, Girolamo Frescobaldi, Domenico movimenti ciascuna e sono sei in tutto, per un Scarlatti, Georg Friedrich Händel, Sylvius totale di diciotto movimenti. Ancora una volta Leopold Weiss e naturalmente Johann il numero tre rappresenta il principio di sintesi Sebastian Bach). Spesso si è visto in questa suprema. tendenza il sintomo di un atavico senso d’in - feriorità dei chitarristi nei confronti degli altri Luigi Accardo strumentisti, pianisti e violinisti soprattutto, che potevano contare su un repertorio straor - dinario, ben radicato nella tradizione; Segovia … con chitarra e clavicembalo stesso commissionò a uno dei suoi composi - tori prediletti, il messicano Manuel Maria La presenza delle trascrizioni di musica Ponce, una serie di lavori mimetici che aveva - barocca nei programmi da concerto di molti no lo scopo di sopperire alla mancanza di chitarristi è una costante che da Francisco repertorio storico della chitarra: ecco quindi Tarrega (1852-1909), uno dei principali artefici una Sonata Romantica (omaggio a Schubert), della chitarra classica moderna, permane una Sonata Classica , e l’immancabile Suite in sino ai giorni nostri. Questo tipo di operazio - la , che venne fatta circolare per molti anni ne, che non riguarda solamente il riadatta - come opera di Weiss. mento della musica per liuto, chitarra barocca Oggigiorno, tuttavia, l’affacciarsi dei chitarristi o simili, ma anche la musica seicentesca e al repertorio barocco ha spesso e volentieri settecentesca per violino, clavicembalo, ecc., ragioni di altra natura.
Recommended publications
  • William Shakespeare
    Grace Church in New York Sunday Afternoon Organ Meditations Patrick Allen, organ 22 October 2017 4:00 o’clock Ricercar Jan Pieterszoon Sweelinck (1562 - 1621) Nun freut euch, lieben Christen gemein (Choral met drie variaties) Praeambulum in C, WV 30 Heinrich Scheidemann (1595-1663) Psalm 100 (vier variaties) The Lübbenau tablature Lynar B 7 Psalm 22 Vers 1. A 3 Anthoni van Noordt (ca. 1619 – 1675) Fantasia in G, WV 86 Heinrich Scheidemann Ricercar, FbWV 407 Johann Jakob Froberger (1616 - 1667) Ricercar, FbWV 408 Ich ruf zu dir, Herr Jesu Christ Jan Pieterszoon Sweelinck (Choral met drie variaties) Toccata in G, BuxWV 164 Dietrich Buxtehude (1637–1707) Fuga in C, BuxWV 174 Opus 61 - 2007 Taylor and Boody Organbuilders These Informal Programs take place each Saturday and Sunday subject to the Liturgical Calendar and other special observances. The Reverend J. Donald Waring, Rector The Rev. Martha S. Korienek, Associate Rector, Associate Rector The Reverend Chase Danford, Assistant Rector, Youth & Family Ministry Patrick Allen, Organist and Master of Choristers Jacob Reed, Organ Scholar www.gracechurchnyc.org Please No Photographs or Recording during the Meditations If Music be the food of Love, Play on….. William Shakespeare We invite you to bring a dry food good or toiletry with you to Bach at Noon so we might give aid to all in need. All donations will go directly to local food closets and collection sites for those in need. Welcome to the 2017-2018 Season of Weekend Organ Meditations. These programs take place during the season each weekend on Saturday and Sunday at 4:00 p.m.
    [Show full text]
  • Examining the Performance Practice of Polyphonic Figures in J.S
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works Emily Vold Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Performance Commons Recommended Citation Vold, Emily, "Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works" (2011). Theses and Dissertations. 107. https://csuepress.columbusstate.edu/theses_dissertations/107 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. .5 .it* v fif'-j 'wr i7 I' U5" Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/chordconundrumexOOvold Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works by Emily Void A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Music in Music Performance College of the Arts Columbus State University Thesis Advisor JjJjUkAu Date ¥/&/// Committee Member Date Committee MembeC^^^^^ J^C^^~^ Date J^g> *&&/ / CSU Honors Committee Member Date Director, Honors Program (^Ljjb^Q^/^ ^—^O Date J^r-ste// Interpreting and expressing the musical intentions of a composer in an informed manner requires great dedication and study on the part of a performer. This holds particularly true in the case of music written well before the present age, where direct connections to the thoughts of the composer and even the styles of the era have faded with the passing of time.
    [Show full text]
  • Corelli'stonalmodels
    Intégral 31 (2017) pp. 31–49 Corelli's Tonal Models: The Trio Sonata Op.3, No. 1* by Christopher Wintle Abstract. British thought is typically pragmatic, so a British reception of the work of Heinrich Schenker will concern itself with concrete procedure at the expense of hypothetical abstraction. This is especially important when dealing with the work of Arcangelo Corelli, whose work, along with that of others in the Franco-Italian tradi- tion, holds the key to common-practice tonality. The approach of the British author is thus to construct a set of concrete linear-harmonic models derived from the fore- ground and middleground techniques of Schenker and to demonstrate their han- dling throughout the four movements of a representative trio sonata (Op. 3, No. 1). In this essentially “bottom-up” project, detailed discussion of structure readily merges into that of style and genre, including dance and fugue. The text is supported by many examples and includes a reprint of the trio sonata itself. Keywords and phrases: Arcangelo Corelli, Heinrich Schenker, trio sonata, tonal models, fugue. Introduction poser or a single school,” nevertheless suggested that it was Corelli who “was the first to put the tonal formu- here appears to have been no doubt in the minds of las to systematic use.” Christopher Hogwood (1979, 41), on T many of those who have written about the Baroque the other hand, cites two eighteenth-century sources to era that the music of Arcangelo Corelli bore an extraordi- suggest that Corelli’s achievement was one more of man- nary significance, and one that extended far beyond his ner than of matter: according to Charles Burney, he says, having made a remarkable contribution to the repertoire “Corelli was not the inventor of his own favorite style, of solo, chamber, and concerted violin music.
    [Show full text]
  • 15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV
    15. Corelli Trio Sonata in D, Op. 3 No. 2: Movement IV (For Unit 6: Further Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653–1713) is one of the most important and influential composers of the Baroque period. This is all the more remarkable for the fact that his output was very small, being just four sets of twelve trio sonatas, twelve solo sonatas and twelve concerti grossi, plus a handful of other works. All of his music was written for instrumental forces (almost entirely string ensemble) and the form and style of these works were highly regarded by the later generation of Baroque composers such as Handel and Bach. His music was widely recognised and circulated through publishing with as many as 35 different editions of his Op.1 Trio Sonatas being published during the eighteenth-century alone. The compositional techniques Corelli employed are frequently cited as a model for students of Baroque counterpoint and harmony today. Corelli was born into a prosperous landowning family in Fusignano in Northern Italy, although sadly his father died before Arcangelo was born. He studied for four years at nearby Bologna at a time when Italians reigned as the best instrument makers, teachers and performers of string music in the whole of Europe. In 1675, he moved to Rome where he remained for the rest of his life earning his living as a violinist and composer. Queen Christine of Sweden was an early patron of Corelli (he dedicated his Op.1 Trio Sonatas to her) but the Op.3 Trio Sonatas were dedicated in 1689 to Duke Francesco II of Modena.
    [Show full text]
  • Timothy Burris—Baroque Lute
    Early Music in the Chapel at St Luke's Les Goûts Réunis Timothy Neill Johnson—tenor & Timothy Burris—Lute with Michael Albert—violin & Eliott Cherry—'cello So wünsch ich mir zu guter letzt ein selig Stündlein J.S. Bach (1685 - 1750) Jesu, meines Herzens Freud Bist du bei mir Der Tag ist hin Et è per dunque vero Claudio Monteverdi (1567 - 1643) Sonata seconda Dario Castello (c. 1590 – c. 1658) Prelude Amila François Dufaut (1600 – 1671) Tombeau de Mr Blanrocher Music for a while Henry Purcell (1659 – 1695) Evening Hymn Sweeter than roses Domine, Dominus noster André Campra (1660 – 1744) The Composers J.S. Bach The three chorales with figured bass included here are from the Gesangbuch published by Georg Christian Schemelli in 1736. The 69 pieces attributed to Bach in the mammoth Gesangbuch (which contains no fewer than 950 pieces!) are marked by quiet and pious sentiments, unobtrusive and effortless harmonies. The aria “Bist du bei mir” (BWV 508) was part of Gottfried Heinrich Stölzel's opera Diomedes, oder die triumphierende Unschuld that was performed in Bayreuth on November 16, 1718. The opera score is lost. The aria had been part of the Berlin Singakademie music library and was considered lost in the Second World War, until it was rediscovered in 2000 in the Kiev Conservatory. The continuo part of BWV 508 is more agitated and continuous in its voice leading than the Stölzel aria; it is uncertain who provided it, as the entry in the Notebook is by Anna Magdalena Bach herself. Claudio Monteverdi Claudio Monteverdi, the oldest of five children, was born in Cremona, where he was part of the cathedral choir and later studied at the university.
    [Show full text]
  • A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
    Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ...................................................
    [Show full text]
  • Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
    Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F.
    [Show full text]
  • Baroque Violin Sonatas
    Three Dissertation Recitals: the German Romanticism in Instrumental Music and the Baroque Instrumental Genres by Yun-Chie Wang A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2018 Doctoral Committee: Professor Aaron Berofsky, Chair Professor Colleen M. Conway Professor Anthony Elliott Assistant Professor Joseph Gascho Professor Vincent Young Yun-Chie (Rita) Wang [email protected] ORCID id: 0000-0001-5541-3855 © Rita Wang 2018 DEDICATION To my mother who has made sacrifices for me every single day To my 90-year old grandmother whose warmth I still carry ii ACKNOWLEDGEMENTS I would like to thank my committee members for helping me become a more thoughtful musician. I would like to give special thanks to Professor Aaron Berofsky for his teaching and support and Professor Joseph Gascho for his guidance and collaboration. iii TABLE OF CONTENTS DEDICATION ii ACKNOWLEDGEMENTS iii LIST OF FIGURES v ABSTRACT vi Dissertation Recital No. 1 Beyond Words Program 1 Program Notes 2 Dissertation Recital No. 2 Baroque Violin Sonatas Program 13 Program Notes 14 Dissertation Recital No. 3 Baroque Dances, a Fugue, and a Concerto Program 20 Program Notes 22 BIBLIOGRAPHY 31 iv LIST OF FIGURES Figure Page Fig. 1, The engraving of the Guardian Angel (printed in the manuscript of the Mystery Sonatas by Heinrich Ignaz Franz von Biber) 27 Fig. 2, Opening measures of the fugue from Op. 10, No. 6 by Bartolomeo Campagnoli 29 Fig. 3, Opening measures of the fugue from Sonata No. 3, BWV 1005, by J.
    [Show full text]
  • Baroque Consolation Sacred Arias at the Imperial Viennese Court Baroque Consolation Sacred Arias with Violin, Trombone & Organ at the Imperial Viennese Court
    Baroque Consolation Sacred Arias at the Imperial Viennese Court Baroque Consolation Sacred Arias with violin, trombone & organ at the Imperial Viennese Court Friendly supported by the Flemish Community Oltremontano Sarah Van Mol soprano Bart Rodyns organ Veronika Skuplik baroque violin Maria Carrasco baroque violin Wim Becu baroque trombone Recording: Sint-Catharina Begijnhofkerk, Herentals (Belgium), in February 2018, Onze Lieve Vrouwekerk, Broechem (Belgium), in November 2016 (solo organ pieces) Recording: Paul Baluwé & Organroxx, Recording producer: Nico Declerck Wim Becu Executive producer: Michael Sawall artistic director Cover picture: “Saint Agatha Attended by Saint Peter and an Angel in Prison”, Alessandro Turchi (c 1640-45), Walters Art Museum, Baltimore (USA) Artist photo (p 18): Miel Pieters organs: Booklet editor & Layout: Joachim Berenbold „Zilveren Orgel“ by J. B. Forceville (1660-1739), Translations: Martin Bail (Deutsch), Pierre Ellie Mamou (Français) Onze Lieve Vrouwekerk of Broechem, Belgium (solo organ) + © 2019 note 1 music gmbh organ by Jos Moors (2013), CD manufactured in The Netherlands Sint-Catharina Begijnhofkerk of Herentals, Belgium (ensemble recordings) 1 Francesco Bartholomeo Conti (1682-1732) Tu lumen mentis es 7:31 8 Johann Jacob Froberger (1616-1667) Fantasia II 3:35 from Cantata Languet anima mea, 1723 (?) FbWV 202, Libro secondo (dedicated to Ferdinand III), Vienna 1649 [soprano, violino concertato, organo] [organo] 2 Johann Joseph Fux (1660-1741) Sonata à 3 6:24 9 Marco Antonio Ziani Non é giunta 4:23
    [Show full text]
  • Conference Abstracts
    The Society for Seventeenth­Century Music Eighth Annual Conference Vermillion, South Dakota April 27-30, 2000 ABSTRACTS (in alphabetical order by author) SPANISH NUN MUSICIANS: EARLY MODERN CAREER GIRLS? Colleen R. Baade Lincoln, Nebraska This paper examines the social situation of Spanish nun musicians at women’s monasteries in Madrid, Segovia, Toledo, and Valladolid during the seventeenth and eighteenth centuries. Sources for my study include contracts for reception and profession of nun musicians whose dowries were waived or reduced in exchange for their service as musician, and monastery account books which show that some religious communities paid regular monetary stipends to sister musicians. I will address the question of just what a girl’s musical ability was worth and discuss ways in which the duties of and compensation to nun musicians changed from the beginning of the seventeenth century to the end of the eighteenth. It has been contended that a position as convent musician constituted one of very few “career opportunities” available to women in early modern Europe, but documentary evidence suggests that the majority of girls who received dowry waivers were prepared from early childhood by parents or guardians to become nun musicians because their families had no other means of paying a nun’s dowry, let alone any prospects for securing a suitable marriage. The demands placed upon “hired” nun musicians were probably quite heavy, and most of these women, unless prevented by illness or old age, were expected to serve as convent musicians their entire lives. In one case, a nun whose age and ailment prevented her from playing was required to refund part of the dowry that had been waived for her in order to be released from her duties as convent musician.
    [Show full text]
  • Rezensionen Für
    Rezensionen für Bach and the South German Tradition Vol. II aud 92.548 4022143925480 American Record Guide 01.03.2012 (William J. Gatens - 2012.03.01) This is the second disc from organist Martin Neu illustrating the stylistic connections between the organ works of JS Bach and German composers of the preceding generations. The first one (Audite 92.547) explored Bach’s links to masters of the North German school like Georg Böm (1661–1733) and Dietrich Buxtehude (c1637–1707). This one looks at the influence of South German organist-composers like Georg Muffat (1653–1704), Johann Pachelbel (1653–1706), and the even earlier generation of Johann Caspar Kerll (1627–93) and Johann Jakob Froberger (1616–67). If Jan Pieterszoon Sweelinck was the dominant influence on the North German school, his southern counterpart was Girolamo Frescobaldi. As young men in the service of the court of Vienna, both Froberger and Kerll were granted financial support to study with Frescobaldi in Rome. In the early 1680s, Muffat studied in Rome with Bernardo Pasquini, who was much influenced by his close study of Frescobaldi’s works. Pachelbel meanwhile absorbed the influence of Frescobaldi through his studies with Kerll. Bach was familiar with the works of these composers and Frescobaldi himself, and this was an important source of the Italian influence found in his own organ works. The program opens with Bach’s Toccata in F, so notable for its canonic writing over a sustained pedal—common in Pachelbel’s toccatas.
    [Show full text]
  • Baroque Music of the Seventeenth Century Carl Johengen
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 1-29-2013 Faculty Recital: Baroque Music of the Seventeenth Century Carl Johengen Brad Hougham Marc Webster Jean Radice Mark A. Radice See next page for additional authors Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Johengen, Carl; Hougham, Brad; Webster, Marc; Radice, Jean; Radice, Mark A.; Hoffman, Heidi; Goodhew Romm, Lee; and Reynolds, Harold, "Faculty Recital: Baroque Music of the Seventeenth Century" (2013). All Concert & Recital Programs. 841. http://digitalcommons.ithaca.edu/music_programs/841 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Authors Carl Johengen, Brad Hougham, Marc Webster, Jean Radice, Mark A. Radice, Heidi Hoffman, Lee Goodhew Romm, and Harold Reynolds This program is available at Digital Commons @ IC: http://digitalcommons.ithaca.edu/music_programs/841 Faculty Recital: Carl Johengen, tenor Brad Hougham, baritone Marc Webster, bass Jean Radice, organ and harpsichord Mark A. Radice, organ and harpsichord Heidi Hoffman, cello Lee Goodhew Romm, bassoon Harold Reynolds, sackbut Hockett Family Recital Hall Tuesday January 29th, 2013 8:15 pm Baroque Music of the Seventeenth Century Program March, from Music for the Funeral of Queen Mary, Henry Purcell
    [Show full text]