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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. -
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. -
MUSIC WEB INTERNATIONAL Sonata Norwegia
MUSIC WEB INTERNATIONAL Sonata Norwegia Johan Henrik FREITHOFF (1713-1767) Trio sonata in G [6:48] Sonata in G [11:19] Georg VON BERTOUCH ((1668-1743) Trio sonata No. 8 in G [6:26] Trio sonata No. 14 in g minor [9:19] Hinrich Philip JOHNSEN (1717-1779) Sonata in E flat [13:11] Trio sonata in D [12:41] Johann Daniel BERLIN (1714-1787) Sonatina in d minor [9:48] Caroline Eidsten Dahl (recorder) Ensemble Freithoff rec. 2017, Jar Church, Bærum, Norway LAWO CLASSICS LWC1165 [69:36] Scandinavian music from the pre-romantic period plays a marginal role in present-day music life. And if such music is performed, it is mostly from the pen of composers from elsewhere in Europe, in particular Germany, who settled in Denmark, Norway or Sweden for a shorter or longer period of time. That is not to say that there was no musical life of any substance. During the 17th century the Danish court in Copenhagen was a centre of culture and music, and some composers of fame were in the service of the court for some time, such as Heinrich Schütz. We know also the names of some home- bred composers of his time, for instance Hans Brachrogge and Mogens Pedersøn. In Sweden the German church played a key role in music life, under the direction of members of the Düben family, who were also connected to the Swedish court. However, it was not until the first half of the 18th century that a Swedish-born composer entered the scene, in the person of Johan Helmich Roman. -
Guest Recital Ketil Haugsand, Harpsichord, May 20, 2016 Lawrence University
Lawrence University Lux Conservatory of Music Concert Programs Conservatory of Music 5-20-2016 8:00 PM Guest Recital Ketil Haugsand, harpsichord, May 20, 2016 Lawrence University Follow this and additional works at: http://lux.lawrence.edu/concertprograms Part of the Music Performance Commons © Copyright is owned by the author of this document. Recommended Citation Lawrence University, "Guest Recital Ketil Haugsand, harpsichord, May 20, 2016" (2016). Conservatory of Music Concert Programs. Program 82. http://lux.lawrence.edu/concertprograms/82 This Concert Program is brought to you for free and open access by the Conservatory of Music at Lux. It has been accepted for inclusion in Conservatory of Music Concert Programs by an authorized administrator of Lux. For more information, please contact [email protected]. Guest Recital Ketil Haugsand, harpsichord Dedication of the John Phillips harpsichord based on an instrument by Johann Heinrich Gräbner in Dresden, Germany, 1739 Friday, May 20, 2016 8:00 p.m. Lawrence Memorial Chapel Toccata e Moll, BWV 914 Johann Sebastian Bach (1685-1750) Präludium und Fuga a Moll, BWV 895 Bach Englische Suite A Dur, BWV 806 Bach Prélude Allemande Courante I Courante II - avec deux Doubles Sarabande Bourée I Bourée II Gigue INTERMISSION Sonata d Moll, BWV 964 Bach Adagio Fuga - Allegro Andante Allegro ENCORE Sonata in C Major Bach I. Adagio KETIL HAUGSAND, professor emeritus of harpsichord at the Hochschule für Musik in Cologne, counts as one of the important harpsichordists and Early Music personalities of today – appearing in several prestigious festivals and concert series in most European countries, U.S.A., Israel and in the Far East, both as recitalist, in chamber music, soloist, or conductor from the harpsichord, with the Norwegian Baroque Orchestra, the Norwegian Radio Orchestra, the Stavanger Symphony Orchestra, Lyra Baroque Orchestra, the Arte Real Ensemble and at the Komischer Oper Berlin. -
J. S. Bach and the Two Cultures of Musical Form*
Understanding Bach, 10, 109–122 © Bach Network UK 2015 J. S. Bach and the Two Cultures of Musical Form* GERGELY FAZEKAS Leopold Godowsky, the celebrated pianist of the first decades of the twentieth century, left the USA for a tour of the Far East in 1923.1 During the lengthy boat journeys between different stops on the concert tour, he prepared virtuoso transcriptions of Bach’s Cello Suites and Violin Solos, principally because he needed ‘warm-up’ opening pieces for his concerts. On 12 March, travelling from Java to Hong Kong aboard the passenger steamboat SS Tjikembang, he finished his version of the Sarabande of the C-minor cello suite, which he dedicated to Pablo Casals (Example 1). The original piece is in binary form, characteristic of eighteenth-century dance suites. The first part modulates from C minor to the relative E-flat major; the second part finds its way back from E-flat major to the tonic after a short detour in F minor. In Bach’s composition, the first part consists of eight bars, the second twelve bars. In Godowsky’s transcription, however, the second part is extended by four additional bars. From bar 17, the first four bars of the piece return note for note. Accordingly, the form becomes three-part in a symmetric arrangement: the first eight bars that modulate from tonic to the relative major are followed by eight bars that modulate from the relative major to the fourth degree, and these are followed by another eight bars of the return of the beginning. When the transcriptions were published by Carl Fischer in New York in 1924, Godowsky gave the following explanation as to why he changed Bach’s form: On several occasions I have been tempted to slightly modify the architectural design in order to give the structural outline a more harmonious form. -
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. -
Open Access Version Via Utrecht University Repository
“Early music is dead, long live early music!” The Holland Baroque ensemble and the Dutch early music revival Carine Hartman Student number: 6626726 MA Applied Musicology MA thesis Academic year 2018-2019 Utrecht University Supervisor: Dr. Ruxandra Marinescu Acknowledgements I would first like to thank my thesis supervisor, Dr. Ruxandra Marinescu. During the research process, she gave me helpful feedback and advice on my writings and I am grateful for her supervision. I also would like to thank Judith and Tineke Steenbrink from Holland Baroque for letting me interview them and answering further questions that I had considering this research. I also wish to thank Holland Baroque’s producer Clara van Meyel for contributing ideas to the research and giving me additional information on Holland Baroque. The organization of Holland Baroque in general has let me in on the ensemble’s ideas, vision and challenges and I am thankful for their open attitude towards me. I thank my friends for their interest in my research and their additional knowledge. Lastly, I thank my mother, father and sister and my boyfriend in particular for their motivational words and sympathy, which have helped me to complete this thesis. I hope you enjoy reading my thesis. 1 Table of contents ABSTRACT 3 INTRODUCTION 4 CHAPTER 1. THE HISTORICAL PERFORMANCE PRACTICE DEBATE 7 1.1 SCHOLARLY VIEWS ON HIP 7 1.1.1 “Getting it right” 9 1.1.2 The “literalistic performance” 11 1.1.3 Period instruments 12 1.2 THE DUTCH EARLY MUSIC MOVEMENT 14 1.3 A NEW GENERATION 15 CHAPTER 2. -
AHLMAN-DMA-TREATISE.Pdf (14.62Mb)
Copyright by Christopher Stephen Ahlman 2011 The Treatise Committee for Christopher Stephen Ahlman Certifies that this is the approved version of the following treatise: The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 Committee: Luisa Nardini, Supervisor Gerre E. Hancock, Co-Supervisor Judith E. Hancock Guido Olivieri A. D. Renner Cinzia Russi The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 by Christopher Stephen Ahlman, B.A.; M.Div.; M.S.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2011 Dedication This work is dedicated to my wife and son, who have endured so much during our time in Austin. I am enormously grateful to them for their love, support, and patience, even in the midst of an unfairly challenging time. Acknowledgements I acknowledge and thank the members of my doctoral Treatise committee for their support and willingness to work with me on my chosen topic, especially Dr. Luisa Nardini, Supervisor, and Prof. Gerre E. Hancock, Co-Supervisor. I also express gratitude to all those who have contributed to my musical education in many and various ways, particularly piano instructors Mr. Stephen W. Hoelter, Ms. Jeanelle A. Mooney, and Ms. Tamara Riley Wyman; organ instructors Dr. Craig J. Cramer, Prof. Gerre E. Hancock, Prof. Judith E. Hancock, Ms. Carol Jarman, Mr. -
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. -
Harpsichord Syllabus / 2008 Edition
74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:44 AM Page 4 Harpsichord SYLLABUS / 2008 EDITION Contents Message from the President . 3 www.rcmexaminations.org ................. 4 Preface................................. 4 About Us............................... 5 REGISTER FOR AN EXAMINATION Examination Sessions and Registration Deadlines 7 Examination Centers . 7 Online Registration . 7 Examination Scheduling ................... 8 Examination Fees . 7 EXAMINATION REGULATIONS Examination Procedures ................... 9 Practical Examination Certificates ............ 15 Credits and Refunds for Missed Examinations... 9 School Credits........................... 16 Candidates with Special Needs . 10 Medals . 16 Examination Results . 10 RESPs ................................. 16 Table of Marks . 11 Examination Repertoire . 17 Theory Examinations ..................... 11 Substitutions ............................ 19 ARCT Examinations . 14 Abbreviations ........................... 20 Supplemental Examinations . 14 Thematic Catalogs........................ 21 Musicianship Examinations . 15 GrADE-BY-GrADE REQUIREMENTS Grade 8 . 22 ARCT in Performance . 39 Grade 9 . 28 Teacher’s ARCT . 44 Grade 10 . 34 RESOURCES General Resources . 49 Harpsichord Resources . 51 General Reference Works................... 50 Frequently Asked Questions . 59 Practical Examination Day Checklist for Candidates......................... 60 Message from the President The Royal Conservatory of Music was founded in 1886 with the idea that a single institution could bind