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CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: a QUESTION of NATIONALISM a Thesis Submitted in Partial Satis
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE CANADIAN MUSIC SINCE 1940: A QUESTION OF NATIONALISM A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Music by Ronald Frederick Erin August, 1983 J:lhe Thesis of Ronald Frederick Erin is approved: California StD. te Universi tJr, Northridge ii PREFACE This thesis represents a survey of Canadian music since 1940 within the conceptual framework of 'nationalism'. By this selec- tive approach, it does not represent a conclusive view of Canadian music nor does this paper wish to ascribe national priorities more importance than is due. However, Canada has a unique relationship to the question of nationalism. All the arts, including music, have shared in the convolutions of national identity. The rela- tionship between music and nationalism takes on great significance in a country that has claimed cultural independence only in the last 40 years. Therefore, witnessed by Canadian critical res- ponse, the question of national identity in music has become an important factor. \ In utilizing a national focus, I have attempted to give a progressive, accumulative direction to the six chapters covered in this discussion. At the same time, I have attempted to make each chapter self-contained, in order to increase the paper's effective- ness as a reference tool. If the reader wishes to refer back to information on the CBC's CRI-SM record label or the Canadian League of Composers, this informati6n will be found in Chapter IV. Simi- larly, work employing Indian texts will be found in Chapter V. Therefore, a certain amount of redundancy is unavoidable when interconnecting various components. -
Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr
ÉRTZ, SIMON ISTVÁN, D.M.A. Beyond Extended Techniques: Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr. Scott Rawls. 49 pp. Viola Spaces are often seen as interesting extra projects rather than valuable pedagogical tool that can be used to fill where other material falls short. These works can fill various gaps in the violist’s literature, both as pedagogical and performance works. Each of these works makes a valuable addition to the violist’s contemporary performance repertoire as a short, imaginative, and musically satisfying work and can be performed either individually or as part of a smaller set in a larger program (see Appendix A). They all also present interesting technical challenges that explore what are seen as extended techniques but can also be traced back to work on some of the fundamentals of viola technique. Etudes for viola are often limited to violin transcriptions mostly written in the eighteenth, nineteenth, or early twentieth centuries. Contemporary etudes written specifically for viola are valuable but are usually not as comprehensive or as suitable for performance etudes as are Viola Spaces. Few performance etudes cover the technical varieties that are presented in these works of Garth Knox. In this paper I will discuss the historical background of the viola and etudes written for viola. Many viola etudes written in the earlier history of the viola have not continued to be published; this study will also look at why some survived and others are no longer used. Compared to literature for the violin there are large gaps in the violists’ repertoire that Viola Spaces does much to fill; furthermore many violinists have asked for transcriptions of these works. -
103 CHAPTER V STRING SEXTET, OP. 47 in the Standard
CHAPTER V STRING SEXTET, OP. 47 In the standard instrumentation of two violins, two violas, and two cellos, only a half-dozen works for string sextet, all from the Romantic tradition, enjoy a place in the standard repertoire today. These are: the two sextets of Johannes Brahms, op. 18 in B f and op. 36 in G; Dvorak’s Sextet in A, op. 48; and the program works of the Romantic era, Schoenberg’s Verklärte Nacht, Tchaikowsky’s Souvenir di Florence, and Richard Strauss’s Prelude to Capriccio. The efforts by Vincent d’Indy and Joseph Joachim Raff, as well as a handful of their lesser-known contemporaries, have fallen into obscurity. In the post-Romantic era, contributions to the genre have come from Frank Bridge, Erich Korngold, Bohuslav Martinu˚, Darius Milhaud, Walter Piston, Quincy Porter, and Max Reger, along with a few dozen works from lesser-known composers.1 Part of the reason for this sparsity of repertoire can be attributed to the overwhelming popularity of the string quartet, which since Haydn’s time has been the accepted proving ground for composers of chamber music. Another factor, in the post- 1 Margaret K. Farish, String Music in Print, 2nd ed. (New York, R.R. Bowker & Co, 1973), 289–90; 1984 Supplement (Philadelphia: Musicdata, Inc., 1984), 99–101; 1998 Supplement (Philadelphia: Musicdata, Inc.), 101–4. This periodically updated catalog offers the most complete listing of string chamber music available in the last thirty years. 103 104 tonal era, is the exploration of new and atypical sound combinations, which has led to a great proliferation of untraditional mixed ensembles, including acoustic and electronic instruments. -
Americanensemble
6971.american ensemble 6/14/07 2:02 PM Page 12 AmericanEnsemble Peter Serkin and the Orion String Quartet, Tishman Auditorium, April 2007 Forever Trivia question: Where Julius Levine, Isidore Cohen, Walter Trampler and David Oppenheim performed did the 12-year-old with an array of then-youngsters, including Richard Goode, Richard Stoltzman, Young Peter Serkin make his Ruth Laredo, Lee Luvisi, Murray Perahia, Jaime Laredo and Paula Robison. New York debut? The long-term viability of the New School’s low-budget, high-star-power series (Hint: The Guarneri, is due to several factors: an endowment seeded by music-loving philanthropists Cleveland, Lenox and such as Alice and Jacob Kaplan; the willingness of the participants to accept modest Vermeer string quartets made their first fees; and, of course, the New School’s ongoing generosity in providing a venue, New York appearances in the same venue.) gratis. In addition, Salomon reports, “Sasha never accepted a dime” during his 36 No, not Carnegie Recital Hall. Not the years of labor as music director or as a performer (he played in most of the 92nd Street Y, and certainly not Alice Tully concerts until 1991, two years before his death). In fact, Sasha never stopped Hall (which isn’t old enough). New Yorkers giving—the bulk of his estate went to the Schneider Foundation, which continues first heard the above-named artists in to help support the New School’s chamber music series and Schneider’s other youth- Tishman Auditorium on West 12th Street, at oriented project, the New York String Orchestra Seminar. -
Ampersand &La Perluète
AMPERSAND && LA PERLUÈTE Editors’ Association of Canada (EAC) Association canadienne des réviseurs (ACR) Newsletter Bulletin of the Quebec/Atlantic Canada Branch (QAC) de la section Québec-Atlantique (RQA) Winter-spring 2011 Hiver-printemps 2011 & Editor-in-Chief/Editor (English): Alison Burch & Rédactrice (volet français) : Marie-Ève Mador & Design/Conception graphique : Alison Burch & Contributors/collaborateurs : Roberto Blizzard, Barbara Dylla, David Johansen, Nathalie Vallière, Carolyne Roy, Viviane Segers & Nature photography/photographie de la nature : Mikaela Asfour, Joan Curran & Translation/traduction : Siham Barakat, Nathalie Vallière In this issue/Dans ce numéro : QAC Moves and QAC Calls/ Nouvelles du conseil de direction et appels à tous • Sous les projecteurs/Spotlight • Prochaines soirées/Montreal socials • Profil : Carolyne Roy • Coming Up! QAC Seminars • Recent Montreal Networking Events • Close Up: Elizabeth MacFie on Networking • Editors at Play: Part I • Séminaires présentés récemment à Montréal/Recent Montreal Seminars • Forum: Social Media • Le coin des nouveaux membres/New Voices • Your Move!/Avancez une pièce ! • Contest/concours Is there an editor in the house? (Answer: p. 11) Seminars and socials are blooming in this issue of Dans ce numéro, Ampersand & La Perluète font un Ampersand & La Perluète. La Perluète looks at compte-rendu de leurs séminaires et activités. La editors in search of professional recognition, while Perluète jette un regard sur les réviseurs Ampersand (getting with the spring thing) recherchant une reconnaissance professionnelle, considers editors at play. Our guest coordinator of alors que Ampersand s’intéresse aux réviseurs en La Perluète offers an interview with Carolyne Roy, exercice. Par le biais d'une entrevue, La Perluète the EAC francophone affairs director. -
Pyotr Ilyich Tchaikovsky (1840-1893)
Enregistré par Little Tribeca à Paris du 19 au 23 juin 2015 Direction artistique et postproduction : Émilie Ruby Prise de son : Émilie Ruby assistée d’Ignace Hauville English translation by John Tyler Tuttle Deutsche Übersetzung von Gudrun Meier Photos © Caroline Doutre Design © 440.media AP154 Little Tribeca p 2015 © 2017 1, rue Paul Bert 93500 Pantin, France apartemusic.com PYOTR ILYICH TCHAIKOVSKY (1840-1893) NOVUS QUARTET YOUNG-UK KIM 1ST VIOLIN, JAEYOUNG KIM 2ND VIOLIN SEUNGWON LEE VIOLA WOONG-WHEE MOON CELLO LISE BERTHAUD VIOLA OPHÉLIE GAILLARD CELLO String Quartet No. 1 in D major, Op. 11 Quatuor à cordes n° 1 en ré majeur, op. 11 1. Moderato e simplice 11’41 2. Andante cantabile 7’25 3. Scherzo. Allegro non tanto e con fuoco 4’04 4. Finale. Allegro giusto 6’55 String Sextet in D minor “Souvenir de Florence”, Op. 70 Sextuor à cordes en ré mineur « Souvenir de Florence », op. 70 5. Allegro con spirito 10’21 6. Adagio cantabile e con moto 10’28 7. Allegretto moderato 6’19 8. Allegro vivace 7’08 Du Quatuor au Sextuor, les jalons du succès Auteur de nombreux chefs-d’œuvre de la travaillé au ministère des Communications, musique romantique, parmi lesquels Le Lac Alexandre Borodine était chimiste, César Cui des cygnes, Casse-Noisette, Eugène Onéguine, ingénieur, Nikolaï Rimski-Korsakov officier le Concerto pour piano n° 1 en si bémol mineur, de marine. op. 23 ou encore le Concerto pour violon en ré majeur, op. 35, Piotr Ilitch Tchaïkovski est Tchaïkovski démissionna en 1863 pour se encore aujourd’hui l’un des compositeurs les consacrer entièrement à son art. -
Chamber Music Repertoire Trios
Rubén Rengel January 2020 Chamber Music Repertoire Trios Beethoven , Piano Trio No. 7 in B-lat Major “Archduke”, Op. 97 Beethoven , String Trio in G Major, Op. 9 No. 1 Brahms , Piano Trio No. 1 in B Major, Op. 8 Brahms , Piano Trio No. 2 in C Major, Op. 87 Brahms , Horn Trio E-lat Major, Op. 40 U. Choe, Piano Trio ‘Looper’ Haydn, P iano Trio in G Major, Hob. XV: 25 Haydn, Piano Trio in C Major, Hob. XV: 27 Mendelssohn , Piano Trio No. 1 in D minor, Op. 49 Mendelssohn, Piano Trio No. 2 in C minor, Op. 66 Mozart , Divertimento in E-lat Major, K. 563 Rachmaninoff, Trio élégiaque No. 1 in G minor Ravel, Piano Trio in A minor Saint-Saëns , Piano Trio No. 1, Op. 18 Shostakovich, Piano Trio No. 2 in E minor, Op. 67 Stravinsky , L’Histoire du Soldat Tchaikovsky, Piano Trio in A minor, Op. 50 Quartets Arensky , Quartet for Violin, Viola and Two Cellos in A minor, Op. 35 No. 2 (Viola) Bartok, String Quartet No. 1 in A minor, Sz. 40 Bartok , String Quartet No. 5, Sz. 102, BB 110 Beethoven , Piano Quartet in E-lat Major, Op. 16 Beethoven , String Quartet No. 4 in C minor, Op. 18 No. 4 Beethoven , String Quartet No. 5 in A Major, Op. 18 No. 5 Beethoven, String Quartet No. 8 in E minor, Op. 59 No. 2 Borodin , String Quartet No. 2 in D Major Debussy , String Quartet in G Major, Op. 10 (Viola) Dvorak, Piano Quartet No. 2 in E-lat Major, Op. -
“Music Hath Charms”
CHAMBER MUSIC ON THE HILL in residence at McDaniel College in its 26th Season Proudly Presents “Music Hath Charms” featuring Charm City Chamber Players Violists: Karin Brown and Renate Falkner Cellists: Daniel Levitov and Steven Thomas Guest Violinists: Brent Price and Christian Simmelink Sunday, September 20, 2015 3:00 p.m. The Forum, Decker College Center McDaniel College, Westminster, MD Funded in part by a Community Arts Development Grant from the Carroll County Arts Council and the Grants for Organizations Program from the Maryland State Arts Council. Program Notes Luigi Boccherini (1743 -1805) was roughly contemporary with Joseph Haydn and had a rather colorful life. Son of a professional double bass player, Luigi adopted the cello and was playing professionally by the age of thirteen. After four years in Rome, to complete his musical studies, he set off on a series of continental tours with a violinist colleague. In Paris, in 1768, he is said to have “created a sensation ” both for his playing and for his compositions – trios and quartets. He was persuaded to settle in Spain as a court musician, eventually for the Crown Prince, Don Luis. He married a Spanish girl and composed prolifically until his patron ’s death in 1785. His next employer was King Frederick William of Prussia but, when the latter died in 1797, he was left without income and returned to Spain. For a while he was supported by the French Ambassador, Lucien Bonaparte (the Emperor ’s brother), but when the latter was recalled in 1802, Boccherini was left to eke out a meager living rearranging his compositions to in- clude the guitar, then a fashionable instrument. -
Sinfonia Concertante for Violin, Viola, and String Ensemble, K
Wolfgang Amadeus Mozart Edited and reduced by Joshua Dieringer Sinfonia concertante, K.364 (320d) in E-flat Major for Violin, Viola, and String Ensemble (Violin, Viola, and Two Violoncellos) Introduction writing into that characteristic of contemporary 4 chamber music. BACKGROUND PURPOSE OF ARRANGEMENT Wolfgang Amadeus Mozart (1756–1791)1 composed his Sinfonia Concertante, K.364 The present new arrangement, scored for solo (320d) at Salzburg around 1779. Few details are violin, solo viola, and a string ensemble of violin, known about the origin of this piece beyond the viola, and two violoncellos, allows the Sinfonia place and date of composition.2 Concertante to be performed as a true soloistic piece while accommodating both the difficulty of Mozart’s choice of a combination of arranging a full orchestra accompaniment and violin and viola as solo instruments for the the shortcomings of piano reductions that concertante group followed naturally from the necessarily miss important melodic and harmonic combination’s popularity in Salzburg at the material. While the instruments involved are time;3 the orchestra section calls additionally for those of the standard string sextet, the editor has two oboes, two horns, and strings. The solo viola renamed the instrumentation to reflect the has a transposing part that specifies scordatura importance of preserving the solo violin and solo tuning up a whole tone, with the likely intent of viola lines. The ensemble material took into brightening the tone and increasing its volume account both the original orchestral parts and and soloistic qualities. decisions made in the 1808 sextet arrangement. The editorial priority lay in preserving as much SEXTET ARRANGEMENT BACKGROUND musical material from the original instrumentation as was feasible, prioritizing the The idea of arranging this piece for string sextet original orchestral balance over a chamber is not new, although the origins of this practice texture. -
Entre Ciel Et Terre Johann Georg Albrechtsberger
Entre ciel et terre Johann Georg Albrechtsberger Quatuor Mosaïques Ensemble Baroque de Limoges Christophe Coin Albin Paulus, Jew’s harp PARENTHÈSES ENTRE CIEL ET TERRE JOHANN GEORG ALBRECHTSBERGER (1736 – 1809) Concerto per trombula e viola (da gamba), Divertimento a tre con viola, violoncello e violone, FA / F (1767) due violini, viola e basso con sordini, MI / E (1771) 10. Allegro moderato 03’23 1. Tempo moderato 05’10 11. Menuet 02’32 2. Adagio 05’25 12. Finale (presto) 02’30 3. Finale (tempo di menuet) 06’05 Pierre Franck : alto, Mathias Hornsteiner, Mittenwald, ca. 1760 Albin Paulus : trombula (guimbarde, jew’s harp, maultrommel, scaccia pensieri), Christophe Coin : violoncelle, Jacob Petz, Vils, 1796 Josef Jofen, Molln, 2003 – 2007 David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Christophe Coin : viole de gambe alto, Anon., Bohême ?, fin 17e s. Ensemble Baroque de Limoges Andrés Gabetta : violon, Jean-Nicolas Lambert, Paris, ca. 1750 Sonata per due violini, due viole, due violoncelli (violone), ré / d (s.d.) Matyas Bartha : violon, id. 13. Adagio 03’29 Pierre Franck : alto, id. 14. Fuga 03’15 Denis Severin : violoncelle, id. David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Ensemble Baroque de Limoges : sextuor de J.N. Lambert, Paris, ca. 1750 Margret Köll : harpe modèle Cousineau, fin 18e s., Beat Wolf, Schaffhausen, 1992 Andrés Gabetta, Matyas Bartha, Pierre Franck, Liana Mosca, Christophe Coin, Denis Severin, David Sinclair : violone, Johann Christoph Leidolff, Wien, 1729 Divertimento a tre con violino piccolo, violino secondo e viola, FA / F (1759) Andante ma non troppo 03’35 4. Partita per viola d’amore, flauto e violone, RÉ / D (1773) 5. -
Juillet-Août 2007 July-August Vol. 12.10 • 5,35$
sm12-10_Cover.qxd 2007-07-05 11:42 AM Page 1 Juillet-août 2007 July-August Vol. 12.10 • 5,35$ En kiosque jusqu’au / Display until 2007-9-7 1 0 00 66553388 5 0242681 51 91 Canada Post PMSA no. 40025257 sm12-10_pXX_layout.wkc_colourpages_v5.qxd 6/29/07 10:54 AM Page 2 Festival international des Grandes orgues de Notre-Dame de Montréal Tous les dimanches soirs à 19 h, des récitals d’orgue seront présentés à la Basilique Notre-Dame. Pour sa quatrième saison estivale, le festival présentera trois concerts spéciaux (***) et deux concerts (**) dédiés au 350e anniversaire de l’arrivée des prêtres de Saint Sulpice. 1e juillet Frédéric Roberge Offrande volontaire 8 juillet Marie-Claire Alain, France ***Billet : 20 $ 5 août Isabelle Demers 15 juillet Olivier Latry, organiste titulaire Offrande volontaire de Notre-Dame-de-Paris, France ***Billet : 20 $ 12 août **Pierre Grandmaison, organiste titulaire Le Chemin de la Croix de Marcel Dupré 22 juillet Laurent Martin Texte de Paul Claudel lu par Offrande volontaire Françoise Faucher et Éric Cabana 29 juillet Pierre Grandmaison Offrande volontaire Offrande volontaire 19 août Yves Préfontaine Offrande volontaire 26 août Daniel Roth, organiste titulaire de l’église Saint-Sulpice de Paris, France ***Billet : 20 $ ***Billets disponibles au : 424 St-Sulpice et au : 110 Notre-Dame O. BASILIQUE NOTRE-DAME 424, rue Saint-Sulpice, de montréal Montréal (Québec) H2Y 2V5 Tél. : (514) 842-2925 Téléc. : (514) 842-3370 [email protected] www.basiliquenddm.org Pierre Grandmaison, organiste titulaire sm12-10_pXX_layout.wk#c603d.qxd 2007-06-29 01:27 Page 3 Musique • Lecture • Vidéo • Instruments de musique Tel qu’entendu à 99 16 99 CD/DVD 6 BEETHOVEN Piano concertos 1 & 4 Lang Lang, Christoph Eschenbach Pour son tout premier enregistrement dédié à Beethoven, Lang Lang accompagné de l’orchestre de Paris PROMOTION et Christoph Eschenbach, nous propose une interprétation étourdissante et radieuse des 1er et 4e 3 POUR 2 concertos pour piano. -
Brahms String Sextets WDR Chamber Players
Brahms String Sextets WDR Chamber Players 1 Johannes Brahms (1833-1897) A testing ground for chamber music Thoughts on the Brahms string sextets String Sextet No. 1 in B-flat Major, Op. 18 (1862) 1 I. Allegro ma non troppo 13. 33 “One hears six intelligent people at the same time are granted absolute 2 II. Andante, ma moderato 8. 56 conversing among themselves, derives individuality. 3 III. Scherzo. Allegro molto 3. 04 pleasure from their discourse, and gets to 4 IV. Rondo. Poco allegretto e grazioso 9. 15 know the peculiarities of the instruments.” On this basis, the string quartet — If Goethe’s well-known aperçu concerning probably the most significant chamber- String Sextet No. 2 in G Major, Op. 36 (1865) the string quartet could be so easily music genre in the history of European 1 I. Allegro non troppo 13. 48 adapted to the string sextet by merely music, thanks to its aesthetic appeal — has 2 II. Scherzo. Allegro non troppo - Presto giocoso - Tempo primo 7. 04 replacing the number four by six, then one developed a tradition that extends from 3 III. Adagio 8. 37 would truly be oversimplifying matters its beginnings with Haydn through Mozart 4 IV. Poco allegro 8. 12 with regard to the string sextet. For and Beethoven until well into the 20th the essence of Goethe’s thinking — the century. The string sextet cannot present Total playing time: 72. 45 conversation in which each participant a comparable development as a genre, has an equally important say — cannot irrespective of the varying combination WDR Symphony Orchestra Cologne be transferred without further ado to of instruments: for there was no standard Chamber Players: the extended ensemble.