DOCSLIB.ORG

Carnal Musicology in a New Edition of Luigi Boccherini's ​Cello Concerto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carnal Musicology in a New Edition of Luigi Boccherini's ​Cello Concerto Carnal Musicology in a New Edition of Luigi Boccherini’s Cello Concerto in D major G. 478 ​ D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts in the Graduate School of The Ohio State University By Samuel Converse Johnson, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Committee: Professor Mark Rudoff, Advisor Dr. Kristina MacMullen Dr. Juliet White-Smith Dr. David Clampitt Copyright by Samuel Converse Johnson 2020 Abstract The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini’s Cello Concerto in D major G. 478, including solo parts ​ ​ and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini’s music has been edited and published, particularly by Friedrich Grützmacher in his late 19th century Boccherini concerto mash-up. Grützmacher’s widely accepted version compromises the techniques that would have been implicit in Boccherini’s music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself. This carnal musicology serves as the connective framework between history and embodied feeling, such that musicians and students can feel both the music and the history. i The practice guide develops an analytical teaching methodology toward mastery of Boccherini’s unique musical style and technical inventions. The Concerto G. 478 serves as a case study by ​ ​ which I teach historical performance using contemporary research methodologies of formal and harmonic analysis, topic theory, and carnal musicology. I offer insight for feeling, interpreting, and translating these components of text and history through the sound of the cello. I invent practice strategies that engage the student in technical and musical inquiries of the Concerto that ​ ​ allow them to take ownership of their performance. Finally, the score portion of the document prints a new edition of Luigi Boccherini’s Concerto in ​ D major G. 478, including the full orchestra score, a performance edition of the solo cello part ​ with original cadenzas by the editor, and a clean copy of the solo part. ii Acknowledgements Connection, community, and collaboration are central to my work as a musician, teacher, and researcher. This project bears the fingerprints of many communities and individuals who have invested in my flourishing. For this work and the connections it creates, I am deeply grateful. To The Ohio State University School of Music, for supporting me with a graduate associateship, and offering space and resources for my research, community, and artistic development. To members of CELLOHIO and the OSU cello studio, for showing up ready for anything, for trusting me with our wild transcriptions, and for generating mutual support in our creative processes. To the Boccherini Ensemble: Mary Brandal, Yi Chieh Anita Chu, Anna Dorey, Nora Dukart, Ben Hottensmith, Esther Krumm, Erik Malmer, Maggie Mueller, Drew Postel, and Sam Zelnik who, on March 31, 2019, joined me in performing this radiant, effervescent music with the intention and detail it deserves. And to Benji Robinson, for generously recording the show. To Elisabeth Le Guin, who has articulated for me a way of being a whole musician through connecting music history with practice, analysis, gesture, somatics, feminism, and queerness. iii To Luigi Boccherini, whose music and life continues to captivate and teach me, and without whom this project would not have been possible. To the musicians of Columbus Ohio and beyond, whose collaboration and companionship has made this work a joy, including Professor Ed Bak, Cory Blais, Devin Copfer, Clara Davison, Aubrey Liston, and Sarah Troeller. To my doctoral committee, Drs. David Clampitt, Kristina MacMullen, and Juliet White-Smith, who showed up for many performances, read and offered critique on the drafts of this paper, and held space for my research and experimentation. To all my cello and chamber music teachers who challenged and nurtured my growth: Lucy Fink, Jon Jeffrey Grier, Christopher Hutton, Anne Poe Matthews, John Ravnan, and Bion Tsang. To Professor Mark Rudoff, who at a critical moment in 2012 saw the artist that I vision myself to be, whose deep investment in my professional life brought me to Columbus, who has taught me so much of what I know about teaching and historicizing music, who has been on my side at every step in this work, and who continues to cultivate with me paths toward community, collaboration, and growth. iv To my queer family, whose artistic and human processes vibrate in life-affirming counterpoint with my own: Jeffrey Clark, Noah Demland, Jake Shannon, and Sharon Udoh. You amaze and inspire me, you teach me how to love my artistic process, and you help me realize my power. To Michael J. Morris, who reflects my strengths back to me and gives me words to articulate my work, who teaches me how to show up in my vulnerability as an artist, who comforted me when this project felt like too much to bear, and who has offered their compassion, feedback, and insight as a brilliant writer and thinker. To Maggie Mueller, who was on board from the earliest moments of charting the edition and performance, who read every word of this document and offered her valuable feedback, and who continues to be a bright star in my musical life. To Stewart Johnson, who shares with me blood and home and an instinct for musical innovation, who celebrates my victories and encourages me in my distress, who holds space for the study, research, and musicking, even when it is messy. To my parents, Sue and Paul Johnson, and to my grandfather, Charlie Johnson, for their unwavering support of my creative life, from the first moment I held a cello until now, and for encouraging and believing in what I can share. v Vita 2013………………………………….B.M. Cello Performance, The University of Texas at Austin 2015………………………………….M.M. Cello Performance, The Ohio State University 2016 to present……………………..Graduate Teaching Associate, School of Music, The Ohio State University Fields of Study Major Field: Music vi Table of Contents Abstract …………………………………………………………………………………………. i Acknowledgements …………………………………………………………………………….iii Vita ……………………………………………………………………………………………. vi List of Figures ………………………………………………………………………………….viii List of Tables …………………………………………………………………………………. x Overview ………………………………………………………………………………………. 1 Part 1: The Musicology of Performance Editorship ………………………………………….... 6 Chapter 1: Grützmacher Musicology …………………………………………………………. 7 Chapter 2: Carnal Musicology ………………………………………………………………. 15 Chapter 3: New Edition for the Concerto G. 478 ……………………………………………. 21 ​ ​ Chapter 4: Luigi Boccherini …………………………………………………………………. 40 Part 2: Practice Guide ………………………………………………………………………... 46 Chapter 5: I. Allegro con spirito ……………………………………………………………... 47 Chapter 6: II. Larghetto ………………………………………………………………………. 69 Chapter 7: III. Rondo: Comodo assai …………………………………………………………. 81 Chapter 8: IV. Rondo …………………………………………………………………………. 90 Bibliography …………………………………………………………………………………. 107 Appendix: Part 3: Scores for Boccherini’s Cello Concerto in D major G. 478 …………….... 109 ​ ​ vii List of Figures Figure 1. IV. Rondo, bars 3-4 (Dresden copy) ……………………………………………… 23 Figure 2. IV. Rondo, bars 3-4 (performance edition) ……………………………………….. 24 Figure 3. I. Allegro con spirito, bar 93 (Dresden copy) ……………………………………... 27 Figure 4. I. Allegro con spirito, bar 93 (performance edition) ………………………………. 27 Figure 5. Portrait of Boccherini …………………………………………………………….... 30 ​ ​ Figure 6. II. Larghetto, bar 36 (Dresden copy) ………………………………………………. 32 Figure 7. II. Larghetto, bar 36 (performance edition) ………………………………………... 33 Figure 8. Brilliant music ………………………………………………………………………. 52 Figure 9. Singing music ………………………………………………………………………. 52 Figure 10. Singing music → Brilliant music …………………………………………………. 52 Figure 11. Brilliant music → Singing music …………………………………………………. 53 Figure 12. Canzone brillante …………………………………………………………………. 54 ​ ​ Figure 13. Shifting practice …………………………………………………………………... 61 Figure 14. Bariolage reduction ………………………………………………………………. 65 Figure 15. Double-stop practice ………………………………………………………………. 66 Figure 16. Bariolage practice …………………………………………………………………. 67 Figure 17. “Building Individual Notes” practice ……………………………………………. 77 Figure 18. Rhythm & subdivision practice ………………………………………………….... 79 Figure 19. Contrast practice ………………………………………………………………….. 85 viii Figure 20. Drone practice ……………………………………………………………………. 87 Figure 21. Thumb position scale practice ……………………………………………………. 88 Figure 22. Gavotte theme ……………………………………………………………………. 95 Figure 23. Gavotte theme phrase diagram ……………………………………………………. 96 Figure 24. Pencil bow ………………………………………………………………………….99 Figure 25. Rhythm variations ……………………………………………………………….. 102 Figure 26. Rhythm variations practice ………………………………………………………. 103 Figure 27. Contrast practice 2 ……………………………………………………………….
Load more

Recommended publications
  • On the Question of the Baroque Instrumental Concerto Typology
    Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used.
    [Show full text]
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • The Application of the Kinesthetic Sense: an Introduction of Body Awareness in Cello Pedagogy and Performance
    The Application of the Kinesthetic Sense: An Introduction of Body Awareness in Cello Pedagogy and Performance A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music March 2014 by Gustavo Carpinteyro-Lara BM, University of Southern Mississippi, 2001 MM, Bowling Green State University, 2003 Committee Chair: Lee Fiser, BM Abstract This document on cello pedagogy and playing focuses on the importance of the kinesthetic sense as it relates to teaching and performance quality. William Conable, creator of body mapping, has described how the kinesthetic sense or movement sense provides information about the body’s position and size, and whether the body is moving and, if so, where and how. In addition Craig Williamson, pioneer of Somatic Integration, claims that the kinesthetic sense enables one to sense what the body is doing at any time, including muscular effort, tension, relaxation, balance, spatial orientation, distance, and proportion. Cellists can develop and awaken the kinesthetic sense in order to have conscious body awareness, and to understand that cello playing is a physical, aerobic, intellectual, and musical activity. This document describes the physical, motion, aerobic, anatomic, and kinesthetic approach to cello playing and is supported by somatic education methods, such as the Alexander Technique, Feldenkrais Method, and Yoga. By applying body awareness and kinesthesia in cello playing, cellists can have freedom, balance, ease in their movements, and an intelligent way of playing and performing. ii Copyright © 2014 by Gustavo Carpinteyro-Lara.
    [Show full text]
  • Stowell Make-Up
    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
    [Show full text]
  • The Double Keyboard Concertos of Carl Philipp Emanuel Bach
    The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re­ quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg­ ment the proposed use of the material is in the interests of scholar­ ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R.
    [Show full text]
  • The Baroque Cello and Its Performance Marc Vanscheeuwijck
    Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f.
    [Show full text]
  • „Ich Für Meinen Theil Liebe Von Herzen Den Peters… Aber Der Verleger Soll Mich in Ruhe Laßen.“
    Westfälische Wilhelms-Universität Münster Institut für Musikwissenschaft und Musikpädagogik Musikwissenschaftliches Seminar Examensmodul Bachelorarbeit Erstprüfer: Dr. Peter Schmitz Zweitprüfer: Prof. Dr. Jürgen Heidrich „Ich für meinen theil liebe von Herzen den Peters… Aber der Verleger soll mich in ruhe laßen.“ Edition der Briefe des Cellisten und Komponisten Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1815–1827) Maike Thiemann 2-Fach Bachelor Musikwissenschaft/ Germanistik Inhaltsverzeichnis 1. Einleitung ...................................................................................................... 3 2. Briefe von Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1816 - 1827) .................................................................................................... 11 3. Schlussbetrachtung ................................................................................. 163 4. Register ......................................................................................................169 4.1 Personenregister…………………………………………………………….169 4.2 Auszug Stammbaum Familie Romberg/ Familie Peters ........................ 179 4.3 Werkregister ......................................................................................... 180 4.4 Währungen ........................................................................................... 183 4.5 Quellenverzeichnis ................................................................................ 185 5. Anhang .....................................................................................................
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Audition Requirements
    Master of Music Audition Requirements Woodwinds Voice Flute Oboe Strings Clarinet Violin Saxophone Viola Bassoon Cello Double Bass Brass Guitar Horn Trumpet Conducting Tenor Trombone Choral Bass Trombone Instrumental (Wind) Tuba Instrumental (Orchestral) Percussion Piano Master of Music applicants with areas of specialization in Composition, Jazz Composition, Music Education, Musicology, and Piano Pedagogy can find entrance requirements in the School of Music Graduate Student Handbook. Flute Faculty: Dr. Suyeon Ko; Email: [email protected] • Mozart: Concerto in G Major or D Major, K. 313 or K. 314 (Movements I and II) • A 19th- or 20th-century French work from Flute Music by French Composers or equivalent • An unaccompanied 20th- or 21st-century work • Five orchestral excerpts from Baxtresser, Orchestral Excerpts for Flute, or equivalent • Sight reading Oboe Faculty: Emily Hart; Email: [email protected] • Choose two from the following: ◦ Saint-Saëns or Poulenc sonata (Movement I) ◦ Mozart or Haydn concerto (Movement III) ◦ Any Telemann or Vivaldi concerto or sonata (Movements I and II) ◦ Britten Six Metamorphoses (any three movements) • Choose two of the following orchestral excerpts (all excerpts may be found in the Rothwell books, Difficult Passages, published by Boosey and Hawkes): ◦ Brahms: Violin Concerto (slow movement excerpt) ◦ Rossini: La Scala di Seta (slow and fast excerpts) ◦ Beethoven: Symphony No. 3 (excerpts from Movements III and IV) ◦ Prokofiev: Symphony No. 1 (excerpts from Movements III and IV) • Sight reading Clarinet Faculty: Eric Ginsberg; Email: [email protected] • Choose two movements from one of the following: ◦ Mozart: Concerto in A Major, K. 622 ◦ Weber: Concerto No. 1 in F Minor, Op.
    [Show full text]
  • Cellist Zuill Bailey with Helen Kim and the KSU Symphony Orchestra
    SCHOOL of MUSIC where PASSION is Zuill Bailey,heard Cello featuring Helen Kim, Violin Robert Henry, Piano KSU Symphony Orchestra Nathaniel F. Parker, Music Director and Conductor Wednesday, October 9, 2019 | 8:00 PM Dr. Bobbie Bailey & Family Performance Center, Morgan Hall musicKSU.com 1 heard Program LUKAS FOSS (1922-2009) CAPRICCIO MAX BRUCH (1838-1920) KOL NIDREI, OPUS 47 PYOTR ILYICH TCHAIKOVSKY (1840-1893) VARIATIONS ON A ROCOCO THEME, OPUS 33 Zuill Bailey, Cello Robert Henry, Piano –INTERMISSION– JOHANNES BRAHMS (1833-1897) CONCERTO FOR VIOLIN, CELLO, AND ORCHESTRA IN A MINOR, OPUS 102 I. ALLEGRO II. ANDANTE III. VIVACE NON TROPPO Zuill Bailey, Cello Helen Kim, Violin Kennesaw State University Symphony Orchestra Nathaniel F. Parker, Conductor We welcome all guests with special needs and offer the following services: easy access, companion seating locations, accessible restrooms, and assisted listening devices. Please contact a patron services representative at 470-578-6650 to request services. 2 Kennesaw State University School of Music KSU Symphony Orchestra Personnel Nathaniel F. Parker, Music Director & Conductor Personnel listed alphabetically to emphasize the importance of each part. Rotational seating is used in all woodwind, brass, and percussion sections. Flute Violin Cello Don Cofrancesco Melissa Ake^, Garrett Clay Lorin Green concertmaster Laci Divine Jayna Burton Colin Gregoire^, principal Oboe Abigail Carpenter Jair Griffin Emily Gunby Robert Cox^ Joseph Grunkmeyer, Robert Simon Mary Catherine Davis associate principal
    [Show full text]
  • Compact Discs by 20Th Century Composers Recent Releases - Spring 2020
    Compact Discs by 20th Century Composers Recent Releases - Spring 2020 Compact Discs Adams, John Luther, 1953- Become Desert. 1 CDs 1 DVDs $19.98 Brooklyn, NY: Cantaloupe ©2019 CA 21148 2 713746314828 Ludovic Morlot conducts the Seattle Symphony. Includes one CD, and one video disc with a 5.1 surround sound mix. http://www.tfront.com/p-476866-become-desert.aspx Canticles of The Holy Wind. $16.98 Brooklyn, NY: Cantaloupe ©2017 CA 21131 2 713746313128 http://www.tfront.com/p-472325-canticles-of-the-holy-wind.aspx Adams, John, 1947- John Adams Album / Kent Nagano. $13.98 New York: Decca Records ©2019 DCA B003108502 2 028948349388 Contents: Common Tones in Simple Time -- 1. First Movement -- 2. the Anfortas Wound -- 3. Meister Eckhardt and Quackie -- Short Ride in a Fast Machine. Nagano conducts the Orchestre Symphonique de Montreal. http://www.tfront.com/p-482024-john-adams-album-kent-nagano.aspx Ades, Thomas, 1971- Colette [Original Motion Picture Soundtrack]. $14.98 Lake Shore Records ©2019 LKSO 35352 2 780163535228 Music from the film starring Keira Knightley. http://www.tfront.com/p-476302-colette-[original-motion-picture-soundtrack].aspx Agnew, Roy, 1891-1944. Piano Music / Stephanie McCallum, Piano. $18.98 London: Toccata Classics ©2019 TOCC 0496 5060113444967 Piano music by the early 20th century Australian composer. http://www.tfront.com/p-481657-piano-music-stephanie-mccallum-piano.aspx Aharonian, Coriun, 1940-2017. Carta. $18.98 Wien: Wergo Records ©2019 WER 7374 2 4010228737424 The music of the late Uruguayan composer is performed by Ensemble Aventure and SWF-Sinfonieorchester Baden-Baden. http://www.tfront.com/p-483640-carta.aspx Ahmas, Harri, 1957- Organ Music / Jan Lehtola, Organ.
    [Show full text]
  • An Analysis of Honegger's Cello Concerto
    AN ANALYSIS OF HONEGGER’S CELLO CONCERTO (1929): A RETURN TO SIMPLICITY? Denika Lam Kleinmann, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2014 APPROVED: Eugene Osadchy, Major Professor Clay Couturiaux, Minor Professor David Schwarz, Committee Member Daniel Arthurs, Committee Member John Holt, Chair of the Division of Instrumental Studies James Scott, Dean of the School of Music Mark Wardell, Dean of the Toulouse Graduate School Kleinmann, Denika Lam. An Analysis of Honegger’s Cello Concerto (1929): A Return to Simplicity? Doctor of Musical Arts (Performance), May 2014, 58 pp., 3 tables, 28 examples, 33 references, 15 titles. Literature available on Honegger’s Cello Concerto suggests this concerto is often considered as a composition that resonates with Les Six traditions. While reflecting currents of Les Six, the Cello Concerto also features departures from Erik Satie’s and Jean Cocteau’s ideal for French composers to return to simplicity. Both characteristics of and departures from Les Six examined in this concerto include metric organization, thematic and rhythmic development, melodic wedge shapes, contrapuntal techniques, simplicity in orchestration, diatonicism, the use of humor, jazz influences, and other unique performance techniques. Copyright 2014 by Denika Lam Kleinmann ii TABLE OF CONTENTS Page LIST OF TABLES………………………………………………………………………………..iv LIST OF MUSICAL EXAMPLES………………………………………………………………..v CHAPTER I: INTRODUCTION………..………………………………………………………...1 CHAPTER II: HONEGGER’S
    [Show full text]