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'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
14 December 2012 Page 1 of 11 SATURDAY 08 DECEMBER 2012 4:34 AM Favourite Piece of Music to the Rest of the UK
Radio 3 Listings for 8 – 14 December 2012 Page 1 of 11 SATURDAY 08 DECEMBER 2012 4:34 AM favourite piece of music to the rest of the UK. In the run up to Sibelius, Jean (1865-1957) Christmas we'll be hearing about music that reminds listeners of SAT 01:00 Through the Night (b01p2wc3) Serenade No.1 in D major for violin & orchestra (Op.69a) the festive season. Jonathan Swain a recital from the 66th International Chopin Judy Kang (violin), Orchestre Symphonique de Laval, Jean- Festival in Duszniki Zdrój in Poland - Tonight Daniil Trifonov - François Rivest (conductor) winner of the 2011 Tchaikovsky Piano Competition. SAT 09:00 CD Review (b01p3mb1) 4:42 AM Building a Library: Bartok: Concerto for Orchestra 1:01 AM Tárrega, Francisco (1852-1909) Schubert, Franz [1797-1828] Recuerdos de la Alhambra With Andrew McGregor. Including Building a Library: Bartok: 4 Schubert Song transcriptions by Liszt, Franz [1811-1886] Ana Vidović (guitar) Concerto for Orchestra; Chamber music, by Schubert, Mozart, Daniil Trifonov (piano) Messiaen; Disc of the Week: Prokofiev: Violin Concerto No 2. 4:47 AM 1:17 AM Schein, Johann Hermann (1586-1630) Schumann, Robert [1810-1856] No.26 Canzon for 5 instruments in A minor 'Corollarium' - SAT 12:15 Music Matters (b01p3mb3) Widmung (Dedication), from 'Myrten, op. 25/1, (S. 566) from Banchetto Musicale, Leipzig (1617) Jonathan Harvey Tribute, William Christie, Royal Northern Daniil Trifonov (piano) Hesperion XX, Jordi Savall (descant viola da gamba & director) College of Music 1:21 AM 4:51 AM Tom Service pays tribute to composer Jonathan Harvey. Plus Liszt, Franz [1811-1886] Rossini, Gioachino (1792-1868) conductor William Christie and a celebration of 40 years of the La campanella, No. -
Music List for Lent, Holy Week & Easter 2019
Music List for Lent, Holy Week & Easter 2019 (click on the hyperlinks to listen to the pieces – internet access required) Tuesday, March 5th (Eve of Lent) Friday, March 15th Early Christian music Cristobal Morales (1500-1553) Explanation / history of Gregorian chant Circumdederunt me Gregorian chant short explanation Lamentatio Zain Gregorian chant Regina Caeli Saturday, March 16th Thomas Tallis (1505-1585) Ash Wednesday, March 6th Gregorio Allegri (1582-1652) Miserere Spem in alium With different ornamentations Traditional ornamentation Sunday, March 17th Jacobus Clemens non Papa (1510-56) Thursday, March 7th O Maria Vernans Rosa Orthodox- traditional hymn / song Ego Flos Campi Agni parthene Monday, March 18th Friday, March 8th Giovanni Palestrina (1525-1594) Kassia (810-865) Missa papae Marcelli kyrie Sicut Cervus (Like a Saturday, March 9th Hildegard of Bingen (1098-1179) Tuesday, March 19th Ordo virtutum excerpt Robert Parsons (1530-1570) Kyrie Ave Maria Sunday, March 10th Wednesday, March 20th Guillaume de Machaut (1300-1377) Orlande de Lassus (1532-1594) Messe de notre dame Tristis est anima mea Iustorum animae Monday, March 11th Leonel Power (1375/1385-1445) Anima Thursday, March 21st mea William Byrd (1543-1623) Ave Verum Corpus Tuesday, March 12th Ne irascaris domine John Dunstaple (1380-1453) Mass for 4 voices Kyrie Salve scema sanctitatis Mass for 4 voices Agnus Dei Wednesday, March 13th Friday, March 22nd Josquin Des Prez (1440-1521) Jacob Handl (1550-1591) Ave Maria Pater Noster Qui Habitat- psalm 90 v 1-8 Ecce Quomodo Moritur -
Orchestra - Workshop Pieces 2021: All Orchestras Taking Part in the Competition Are Asked to Prepare Their Respective Compulsory Piece for the First Workshop
Orchestra - Workshop Pieces 2021: All orchestras taking part in the Competition are asked to prepare their respective compulsory piece for the first workshop. For the second workshop, please select one piece from the list of your respective category.Y ou may also choose a piece from your additional program. This piece, however, needs to be confirmed by the Artistic Director first. All orchestras taking part in the Celebration are invited to prepare two pieces from the list of your respective category. You may also choose a piece from your additional program. This piece, however, needs to be confirmed by the Artistic Director first. Symphony Orchestra: Ludwig van Beethoven: Symphony No. 8 in F major, Op.93, IV. Allegro vivace Hector Berlioz: Béatrice et Bénédict: Overture Ludwig van Beethoven: One movement from 1st, 2nd,4th or 5th Symphony Ludwig van Beethoven: One movement from Egmont, Coriolan or Fidelio Overture Robert Schumann: Symphony No. 1 in B flat major, Op. 38, 3rd movement, Scherzo Molto Vivace Felix Mendelssohn-Bartholdy: Symphony No.3 in a minor Op. 56 (“Scottish”) 2nd movement, Vivace non troppo Antonín Dvořák: Slavonic Dances No. 3 and 8 Chamber Orchestra: Franz Joseph Haydn: Symphony No. 104 in D major, I. Adagio – Allegro or IV. Finale: Spiritoso Franz Schubert: One movement from Symphony No.5 in B flat major (D 485) Joseph Haydn: One movement from Symphony No.43 in Efl at major Hob.I: 43 (“Mercury”) Wolfgang Amadeus Mozart: One movement from Symphony Nr. 29 in A major, KV 201 Béla Bartók: Rumanian Folk Dances String Orchestra: Felix Mendelssohn-Bartholdy: Sinfonia No. -
2. French Baroque Sacred Choral Music 1643-1774
2. FRENCH BAROQUE SACRED CHORAL MUSIC 1643-1774 By Jason Allen Anderson 1) Historical Context a) Spanned the reigns of four Bourbon kings and three regents b) Restrict our study to the last two regents and kings i) Anne of Austria, Regent for Louis XIV (1643-1651) ii) Louis XIV ‘Le Roi Soleil’ (1643-1715) iii) Philippe d’Orléans, Regent for Louis XV (1715-1723) iv) Louis XV (1715-1774) 2) Hallmarks of the French Baroque Musical Style a) Galant “ornamented with many small figures and passages” (Grove Online) b) Rococo “A term from decorative art that has been applied by analogy to music, especially French music, of the 18th century” (Grove Online) i) Originated in France during the last years of the 17th century ii) Born of a relaxation of the rules of French classicism iii) Derivation of the term (rocaille, ‘shellwork’) is post facto and pejorative, like most critical descriptions of the style c) Slow to adopt Italian innovations, such as oratorio, basso continuo, the recitative, the formal aria, and the concertato d) Church music in France is very different from church music elsewhere on the continent (Palisca 265). i) Causes of reluctance to adopt above innovations include: (1) Control of the monarch (often at the insistence of Lully) on all matters related to music, art, architecture, dance—in essence all the fine and performing arts in an attempt to cultivate a French national style; consequently, (2) Musicians from other parts of Europe rarely found employment in the musical establishments of both court and church in France; thus, the other national styles were unable to penetrate those establishments through foreigners. -
Page 645 H-France Review Vol. 6 (December 2006), No. 149 Lionel
H-France Review Volume 6 (2006) Page 645 H-France Review Vol. 6 (December 2006), No. 149 Lionel Sawkins, A Thematic Catalogue of the Works of Michel-Richard de Lalande (1657-1726). Oxford and New York: Oxford University Press, 2005. xlvii + 700 pp. Tables, colour plate, figures, facsimiles, music examples, bibliography, and index of titles and first lines. $225.00 U.S. (cl). ISBN 0-19-816360-6. Review by Graham Sadler, University of Hull. A musical time-traveller from the ancien régime would surely be amazed at the low profile nowadays suffered by Michel-Richard de Lalande. Here was a composer who held many of the most coveted musical posts at the courts of Louis XIV and XV, who developed sacred music in the Sun King’s chapel to its highest peak, and whose legacy of grands motets formed the core repertory of the Concert spirituel for almost half a century after his death.[1] Yet no modern Opera omnia exists; indeed, with the exception of privately produced editions, only a dozen of the sixty-five more-or-less complete grands motets have been published during the past four decades, while earlier editions are, for various reasons, virtually unusable today. The secular works have, for the most part, fared even less well. Such lack of readily available editions has seriously hampered the dissemination of Lalande’s music. Despite the sterling efforts of organisations like the Centre de la Musique Baroque de Versailles, performances remain relatively few and first-class recordings fewer still. Even specialist groups like Les Arts Florissants, La Simphonie du Marais, and Ex Cathedra have between them issued scarcely more than half-a-dozen Lalande CDs. -
MONTEVERDI Vespro Della Beata Vergine
95188 MONTEVERDI Vespro della Beata Vergine ENSEMBLE SAN FELICE Madonna con il Bambino, una santa martire e Pietro (1555 –60) by Paolo Veronese Federico Bardazzi Claudio Monteverdi 1567–1643 9 VI CONCERTO Pulchra es 3’46 motet for two voices Vespro della Beata Vergine Elena Cecchi Fedi, Laura Andreini soloists CD1 52’58 10 VII ANTIPHONA Hortus conclusus est (II) 0’24 11 PSALMUS 121 [122] Laetatus sum 5’34 1 IN PRINCIPIO HORARUM 1’47 for six-part choir I Deus, in adjutorium meum intende Elena Cecchi Fedi, Laura Andreini, Mya Fracassini, II Domine ad adjuvandum Davide Fior, Massimo Crispi, Leonardo Sagliocca soloists for six-part choir and six instruments, ad libitum 12 ANTIPHONA Hortus conclusus est (II) 1’08 III COLLECTA Ambulantibus in atriis domus tuae omnipotens Deus 2 III ANTIPHONA Laeva ejus (IV A*) 0’17 3 PSALMUS 109 [110] Dixit Dominus 6’05 13 VIII CONCERTO Duo Seraphim 5’03 for six-part choir and six instruments motet for two, then three voices Elena Cecchi Fedi, Laura Andreini, Floriano D’Auria, Davide Fior, Massimo Crispi, Salvatore Porroni soloists Davide Fior, Massimo Crispi, Giovanni Guerini soloists 4 ANTIPHONA Laeva ejus (IV A*) 1’08 14 IX ANTIPHONA Quo abiit dilectus tuus (VI F) 0’25 I COLLECTA Ante luciferum genite 15 PSALMUS 126 [127] Nisi Dominus 3’59 for ten-part choir 5 IV CONCERTO Nigra sum 3’31 16 ANTIPHONA Quo abiit dilectus tuus (VI F) 1’06 motet for solo voice IV COLLECTA Domorum spiritalium aedificator Deus Massimo Crispi soloist 17 X CONCERTO Audi coelum 6’16 6V ANTIPHONA Jam hiems transiit (VIII G) 0’22 motet -
Heartland of German History
Travel DesTinaTion saxony-anhalT HEARTLAND OF GERMAN HISTORY The sky paThs MAGICAL MOMENTS OF THE MILLENNIA UNESCo WORLD HERITAGE AS FAR AS THE EYE CAN SEE www.saxony-anhalt-tourism.eu 6 good reasons to visit Saxony-Anhalt! for fans of Romanesque art and Romance for treasure hunters naumburg Cathedral The nebra sky Disk for lateral thinkers for strollers luther sites in lutherstadt Wittenberg Garden kingdom Dessau-Wörlitz for knights of the pedal for lovers of fresh air elbe Cycle route Bode Gorge in the harz mountains The Luisium park in www.saxony-anhalt-tourism.eu the Garden Kingdom Dessau-Wörlitz Heartland of German History 1 contents Saxony-Anhalt concise 6 Fascination Middle Ages: “Romanesque Road” The Nabra Original venues of medieval life Sky Disk 31 A romantic journey with the Harz 7 Pomp and Myth narrow-gauge railway is a must for everyone. Showpieces of the Romanesque Road 10 “Mona Lisa” of Saxony-Anhalt walks “Sky Path” INForMaTive Saxony-Anhalt’s contribution to the history of innovation of mankind holiday destination saxony- anhalt. Find out what’s on 14 Treasures of garden art offer here. On the way to paradise - Garden Dreams Saxony-Anhalt Of course, these aren’t the only interesting towns and destinations in Saxony-Anhalt! It’s worth taking a look 18 Baroque music is Central German at www.saxony-anhalt-tourism.eu. 8 800 years of music history is worth lending an ear to We would be happy to help you with any questions or requests regarding Until the discovery of planning your trip. Just call, fax or the Nebra Sky Disk in 22 On the road in the land of Luther send an e-mail and we will be ready to the south of Saxony- provide any assistance you need. -
Josef Suk's Asrael Re-Envisioned Via Schoenberg
A STUDY IN CLARITY: JOSEF SUK’S ASRAEL RE-ENVISIONED VIA SCHOENBERG Volume I of II IVAN ARION KARST School of Arts and Media College of Arts and Social Sciences University of Salford, Salford, UK Submitted in Fulfilment of the Requirements of the Degree of Doctor of Philosophy, October 2020 i Contents Table of Figures ........................................................................................................................... 4 Acknowledgements..................................................................................................................... 7 Abstract: ‘A Study in Clarity: Suk Re-envisioned via Schoenberg’ ................................................. 8 Chapter 1: Introduction ............................................................................................................... 1 Thesis Methodology ................................................................................................................. 1 A Study in Clarity: Literature Review ......................................................................................... 4 Chapter 2: Historical Context .................................................................................................... 10 Schoenberg: Transcription and the Verein .............................................................................. 10 Chapter 3: Analysis.................................................................................................................... 12 Transcription Techniques of the Verein ................................................................................. -
Bach-Werke-Verzeichnis
Bach-Werke-Verzeichnis All BWV (All data), numerical order Print: 25 January, 1997 To be BWV Title Subtitle & Notes Strength placed after 1 Wie schön leuchtet der Morgenstern Kantate am Fest Mariae Verkündigung (Festo annuntiationis Soli: S, T, B. Chor: S, A, T, B. Instr.: Corno I, II; Ob. da Mariae) caccia I, II; Viol. conc. I, II; Viol. rip. I, II; Vla.; Cont. 2 Ach Gott, von Himmel sieh darein Kantate am zweiten Sonntag nach Trinitatis (Dominica 2 post Soli: A, T, B. Chor: S, A, T, B. Instr.: Tromb. I - IV; Ob. I, II; Trinitatis) Viol. I, II; Vla.; Cont. 3 Ach Gott, wie manches Herzeleid Kantate am zweiten Sonntag nach Epiphanias (Dominica 2 Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Corno; Tromb.; Ob. post Epiphanias) d'amore I, II; Viol. I, II; Vla.; Cont. 4 Christ lag in Todes Banden Kantate am Osterfest (Feria Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Cornetto; Tromb. I, II, III; Viol. I, II; Vla. I, II; Cont. 5 Wo soll ich fliehen hin Kantate am 19. Sonntag nach Trinitatis (Dominica 19 post Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Tromba da tirarsi; Trinitatis) Ob. I, II; Viol. I, II; Vla.; Vcl. (Vcl. picc.?); Cont. 6 Bleib bei uns, denn es will Abend werden Kantate am zweiten Osterfesttag (Feria 2 Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Ob. I, II; Ob. da caccia; Viol. I, II; Vla.; Vcl. picc. (Viola pomposa); Cont. 7 Christ unser Herr zum Jordan kam Kantate am Fest Johannis des Taüfers (Festo S. -
Views, However the Hamburg Council Refused to Release Him from His Obligations
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well. -
Magnificat Dies Irae
Bach Magnificat Delalande Dies Irae ENSEMBLE VOCAL ET INSTRUMENTAL À BOUT DE SOUFFLE DIRECTION STÉPHANE DELINCAK Première partie Prose pour la Messe des morts, pour solistes, chœurs et orchestre. Dies « Faitte en 1690 pour la pompe funebre de Madame la Dauphine, Bavierre.» Restitution, écriture des parties intermédiaires : Stéphane Delincak, avec Irae l’aide précieuse de Pascal Duc. de Michel-Richard Dies irae (tous les dessus) Delalande Quantus tremor (chœur) Tuba mirum (basse-taille) Mors stupebit (chœur) Liber scriptus (haute-contre) Recordare (chœur) Quaerens me (deux dessus) Juste judex (basse-taille) Inter oves (chœur) Oro supplex (dessus) Lacrimosa (haute-contre, taille, basse) Pie Jesu (chœur) Deuxième partie Magnificat anima mea (chœur) Et exultavit spiritus meus (soprano 2) Magnificat Quia respexit humilitatem (soprano 1) Omnes generationes (chœur) BWV 243 Quia fecit mihi magna (basse) de Jean-Sébastien Bach Et misericordia (alto, ténor) (1723) Fecit potentiam (chœur) Deposuit potentes (ténor) Esurientes implevit bonis (alto) Suscepit Israel (chœur trio) Sicut locutus est (chœur) Goria Patri (chœur) Distribution SoliSteS lyriqueS : Six chanteurS orcheStre baroque : vingt-deux inStrumentiSteS soprano 1 (premier dessus), six violons soprano 2 (second dessus), trois altos alto, deux violoncelles ténor (haute-contre), une contrebasse second ténor, deux hautbois (jouant le hautbois d’amour) baryton (basse-taille) deux traversos un basson chœur À bout de Souffle : trois trompettes cinquante chanteurS une percussion un orgue jouant le clavecin Du Dies irae Michel-Richard Delalande / au Magnificat Jean-Sébastien Bach Après le succès des opéras Anacréon et Actéon de Jean-Philippe Rameau et Marc-Antoine Charpentier, À bout de souffle continue d’explorer la richesse de la dramaturgie et de l’expressivité de la musique baroque, mais cette fois, côté sacré.