6 X 10.5 Long Title.P65

Total Page:16

File Type:pdf, Size:1020Kb

6 X 10.5 Long Title.P65 Cambridge University Press 0521856590 - The Cambridge Mozart Encyclopedia Edited by Cliff Eisen and Simon P. Keefe Index More information Index of Mozart’s works by Kochel¨ number This index includes only works mentioned in the main text. For further details on all of Mozart’s works, see Appendix 1. 1 Minuet for keyboard in C 457 1a and 1b Andante and allegro for keyboard in C 305 1f Minuet for keyboard in C 457 2 Minuet for keyboard in F 457 3 Allegro for keyboard in B flat 457 4 Minuet for keyboard in F 457 5 Minuet for keyboard in F 457 6 Sonata for keyboard and violin in C 203, 299, 305, 388, 410, 473, 487 7 Sonata for keyboard and violin in D 203, 305, 388, 410, 473, 487 8 Sonata for keyboard and violin in B flat 203, 305, 388, 410, 473, 487 9 Sonata for keyboard and violin in G 203, 305, 388, 410, 473, 487 9a Allegro for keyboard in C 457 10 Sonata for keyboard and violin in B flat 78, 306, 410, 487 11 Sonata for keyboard and violin in G 78, 306, 410, 487 12 Sonata for keyboard and violin in A 78, 306, 410, 487 13 Sonata for keyboard and violin in F 78, 306, 410, 487 14 Sonata for keyboard and violin in C 78, 306, 410, 487 15 Sonata for keyboard and violin in B flat 78, 306, 410, 487 16 Symphony in E flat 306, 497, 498 16a Symphony (doubtful) in a 411, 486 17 Symphony (probably by L. Mozart) in B flat 481 18 Symphony by C. F. Abel (arranged by Mozart) in E flat 1 19 Symphony in D 498 19a Symphony in F 472, 498 19b Symphony in C 481 20 Motet ‘God is our Refuge’ 258, 294 21 Aria for tenor, ‘Va, dal furor’ 21, 286 22 Symphony in B flat 498 23 Aria for soprano, ‘Conservati fedele’ 23, 286 24 Variations for keyboard (‘Laat ons Juichen’) 457, 487 25 Variations for keyboard (‘Willem van Nassu’) 487 26 Sonata for keyboard and violin in E flat 306, 473, 487 27 Sonata for keyboard and violin in G 306, 473, 487 28 Sonata for keyboard and violin in C 306, 473, 487 29 Sonata for keyboard and violin in D 306, 473, 487 30 Sonata for keyboard and violin in F 306, 473, 487 31 Sonata for keyboard and violin in B flat 306, 473, 487 32 Galimathias musicum 306 33 Kyrie in F 279 33a Solos for flute and basso (lost) 478 33c Stabat mater (lost) 478 33d–g Sonatas for keyboard in G, B flat, C, F 481 626 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856590 - The Cambridge Mozart Encyclopedia Edited by Cliff Eisen and Simon P. Keefe Index More information index of mozart’s works by kochel¨ number 33B Piece for keyboard in F 457 34 Offertory in C 367 35 Die Schuldigkeit des ersten Gebots 7, 151, 197, 249, 307, 375, 489 36 Aria for tenor, ‘Or che il dover’ 21 37 Concerto for keyboard and orchestra 112, 218, 405 38 Apollo et Hyacinthus 7, 307, 330, 434, 498 39 Concerto for keyboard and orchestra 112, 405, 450 40 Concerto for keyboard and orchestra 35, 112, 153, 218 41 Concerto for keyboard and orchestra 112, 218, 405 41a Divertimenti for various instruments (lost) 478 41c Marches for orchestra (lost) 478 42 Grabmusik 7, 197, 307 43 Symphony in F 498 45 Symphony in D 498 45a Symphony in G 498 46d Sonata for keyboard and violin in C 61, 474 46e Sonata for keyboard and violin in F 61, 474 47 Veni Sancte Spiritus in C 293, 460 47b Offertory (lost) 307 47c Concerto for trumpet and orchestra (lost) 307, 478 48 Symphony in D 307 49 Missa brevis in G 271, 272 50 Bastien und Bastienne 12, 210, 285, 340, 445, 475 51 La finta semplice 5, 15, 99, 173, 201, 203, 238, 249, 284, 307, 340, 384, 451, 478, 489, 498 52 ‘Daphne, deine Rosenwangen’ 487 53 An die Freude 408, 475, 487 61b 7 Minuets 216 61g 2 Minuets 457 62 Cassation in D 291 63 Cassation in G 307, 455 65 Missa brevis in d 271, 273 66 Mass in C 206, 271, 272, 273, 307, 368, 434 66c–e Symphonies (uncertain) in D, B flat, B flat 481 72 Offertory ‘Inter natos’ in G 368 73A Aria ‘Misero tu non sei’ (lost) 478 74 Symphony in G 498 74b Aria for soprano, ‘Non curo l’affetto’ 286, 384 74f see 72 368 77 Aria for soprano, ‘Misero me’ 286 78 Aria for soprano, ‘Per piet`a’ 286 79 Aria for soprano, ‘O temerario’ 286 80 String Quartet in G 62, 63, 307 81 Symphony in D 498 82 Aria for soprano, ‘Se ardire’ 286 83 Aria for soprano, ‘Se tutti i mali’ 286 84 Symphony in D 384, 498 85 Miserere in C 460 86 Antiphon ‘Quaerite primum’ 461 87 Mitridate 16, 17, 25, 26, 168, 176, 188, 224, 259, 260, 261, 262, 286, 289, 290, 307, 340, 375, 376, 377, 381, 384, 406 88 Aria for soprano, ‘Fra cento affanni’ 286 89 Kyrie eleison 248, 279 90 Kyrie in d 279 93 Psalm (‘De profundis clamavi’) by C. G. Reutter 484 93a Psalm (‘Memento Domine David’) by C. G. Reutter 484 94 Minuet 457 627 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856590 - The Cambridge Mozart Encyclopedia Edited by Cliff Eisen and Simon P. Keefe Index More information index of mozart’s works by kochel¨ number 95 Symphony in D 498 97 Symphony in D 498 99 Cassation in B flat 307, 455 100 Serenade in D 291, 307, 455, 498 102 Symphony in C 500 104 6 Minuets 216 105 6 Minuets 216 107 Three concertos after J. C. Bach 37, 112 108 Regina coeli in C 293, 308, 461 109 Litany in B flat 249, 308 110 Symphony in G 308, 383, 499 111 Ascanio in Alba 20, 176, 210, 259, 267, 287, 289, 308, 340, 347, 353, 452, 499 112 Symphony in F 308, 498 113 Concerto ossia Divertimento in E flat 308 114 Symphony in A 376, 499 115 Mass in C 279, 483 116 Mass in F 279, 298, 483 117 Benedictus sit Deus, Offertorium in C 307, 368 118 La Betulia liberata 495 119 Aria for soprano, Der Liebe himmlisches Gef¨uhl 40 120 Symphony in D 499 121 Symphony in D 500 124 Symphony in G 309, 376, 499 125 Litany in B flat 249, 309, 383 126 Il sogno di Scipione 17, 309, 340, 384, 499 127 Regina coeli in B flat 293, 309, 384, 461 128 Symphony in C 309, 376, 499 129 Symphony in G 309, 499 130 Symphony in F 309, 376, 383, 499 131 Divertimento in D 309 132 Symphony in E flat 309, 499 133 Symphony in D 309, 383, 440, 441, 499 134 Symphony in A 309, 383, 499 135 Lucio Silla 17, 21, 22, 41, 109, 176, 224, 287, 289, 292, 308, 312, 340, 376, 377, 384, 405, 406, 467, 496 135a Le gelosie del Serraglio (ballet sketches) 532 136 Divertimento in D 63, 455 137 Divertimento in B flat 63, 455 138 Divertimento in F 63, 455 139 Mass in c 271, 272, 273, 278, 307, 384, 460 140 Mass in G 271 141 Te Deum in C 307, 460 143 Ergo interest in G 294 147 Wie ungl¨ucklich bin ich nit 475 148 O heiliges Band 179, 475 149 ‘Die grossm¨utige Gelassenheit’ 483 150 ‘Geheime Liebe’ 483 151 Die Zufriedenheit im niedrigen Stande 483 153 Fugue for keyboard in E flat (fragment) 458 154 Fugue for keyboard in g (fragment) 458 155 String Quartet in D 63, 65 156 String Quartet in G 63, 65 157 String Quartet in C 63, 65 158 String Quartet in F 63, 65 159 String Quartet in B flat 63, 65 160 String Quartet in E flat 63, 65 161 (+163) Symphony in C 309, 499, 501 628 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856590 - The Cambridge Mozart Encyclopedia Edited by Cliff Eisen and Simon P. Keefe Index More information index of mozart’s works by kochel¨ number 162 Symphony in C 499 165 Motet Exultate, jubilate in F 21, 261, 293, 294, 308, 384, 406 166 Divertimento in E flat 271, 309, 532 167 Mass in C 185, 271, 273, 280, 309, 384 168 String Quartet in F 64, 185, 214, 285, 309, 481, 488, 495, 509 169 String Quartet in A 214, 285, 309, 481, 488, 495, 509 170 String Quartet in C 64, 214, 285, 309, 481, 488, 495, 509 171 String Quartet in E flat 64, 214, 285, 309, 481, 488, 495, 509 172 String Quartet in B flat 64, 214, 285, 309, 481, 488, 495, 509 173 String Quartet in d , 64, 185, 214, 285, 309, 481, 488, 495, 509 174 String Quintet in B flat 74, 75, 309, 393, 509 175 Concerto for keyboard and orchestra in D 29, 112, 265, 309, 312, 377, 487 178 Aria for soprano ‘Ah, spiegarti, o Dio’ 22 179 Variations for keyboard on a minuet by Fischer 217, 409, 456, 487 180 Variations for keyboard (‘Mio caro Adone’) 217, 487 181 Symphony in D 309, 383, 499, 501 182 Symphony in B flat 309, 503 183 Symphony in g 63, 275, 309, 376, 384, 495, 499, 503 184 Symphony in E flat 309, 383, 499 185 Serenade in D 6, 309, 378, 383, 453 186 Divertimento in B flat 532 188 Divertimento in C 310, 445 189 March in D 6 190 Concertone for two violins and orchestra in C 109, 309 191 Concerto for bassoon and orchestra in B flat 109 192 Missa brevis in F 272, 274, 275, 309 192 Missa brevis in F 271 193 Dixit and Magnificat in C 493 194 Missa brevis in D 185, 271, 274, 275, 277, 309 195 Litany in D 249, 278, 309, 384 196 La finta giardiniera 15, 52, 57, 109, 118, 171, 174, 220, 281, 287, 309, 340, 346, 356, 369, 406, 445, 496, 500, 516 198 Offertory ‘Sub tuum praesidium’) 368 199 Symphony in G 309, 499 200 Symphony in C 309, 499 201 Symphony in A 309, 466, 499, 503 202 Symphony in D 309, 499 203 Serenade in D 384, 434, 453 204 Serenade in D 309, 310, 434, 453, 454, 498, 500, 503 205 Divertimento in D 7, 309 207 Concerto for violin and orchestra in B flat 108, 109 208 Il re pastore 15, 22, 109, 118, 177, 225, 287, 309, 340, 406, 489, 500 209 Aria for tenor, ‘Si mostra’ 383 211 Concerto for violin and orchestra in D 108 213 Divertimento in F 455, 532 214 March in C 453 216 Concerto for violin and orchestra in G 108, 109, 467 217 Aria for soprano ‘Voi avete un cor fedele’ 203 218 Concerto for violin and orchestra in D 108, 109 219 Concerto for violin and orchestra in A 108, 109 220 Missa brevis in C 271, 274, 277 221 Copy of a Kyrie by Ernst Eberlin 279 222 Offertory ‘Misericordias Dominum’ in d 281, 346, 369 223 Osanna in C 279 228 Double canon without text 58 232 Canon ‘Lieber Freistadtler’ 184, 334 238 Concerto for keyboard and orchestra in B flat 29, 58, 112, 265, 384, 467 629 © Cambridge University Press www.cambridge.org Cambridge University Press 0521856590 - The Cambridge Mozart Encyclopedia Edited by Cliff Eisen and Simon P.
Recommended publications
  • An Annotated Listing of Mozart's Smaller , Sacred Choral Works
    An Annotated Listing of Mozart's Smaller , Sacred Choral Works by David Rayl s we approach the 200th Editions anniversary of the death of Wolfgang Amadeus Mozart, Obviously, no two editions of the choral conductors are same work are identical; some are beginning to consider carefully edited according to scholarly Aprograms which will suitably criteria while others are poorly edited commemorate the death of this most and misrepresent the original score. amazing of composers. There will Carus-Verlag, whose publications are undoubtably be many performances of available through Mark Foster, has his Requiem and the C minor Mass, begun to publish editions of much of as well as the better-mown works Mozart's choral music. Their excellent from his tenure in Salzburg, such as editions are generally the best the "Coronation" Mass and the available, being based on the Neue Solemn Vespers of a Confessor. But Mozart Ausgabe. Each contains an there are many smaller choral works excellent forward with information which are unjustly neglected and about the origin of the work, the which deserve more frequent manuscript sources used in its performance. Most of these are not so English.) This list includes a variety of preparation, a translation of the text, difficult as to restrict their genres: six offertories (K. 34, and some ideas about appropriate performance to college! university K. 117/66a, K. 72/74f, K. 222/205b, performance practice. The problem choirs; they are eminently accessible to K. 260/248a, K. 277/272a), three with these editions is that not all the a great many high school and church Regina coeli settings (K.
    [Show full text]
  • Hofmannsthal JAHRBUCH· ZUR EUROPÄISCHEN MODERNE 5/1997
    HofMANNSTHAL JAHRBUCH· ZUR EUROPÄISCHEN MODERNE 5/1997 Im Auftrag der Hugo von Hofmannsthal-Gesellschaft herausgegeben von Gerhard Neumann . Ursula Renner Günter Schnitzier . Gotthart Wunberg Rombach Verlag Freiburg Hugo von Hofmannsthal- Mechtilde Lichnowsky Briefwechsel Herausgegeben von Hartmut Cellbrot und Ursula Renner Blicke, Hände, Geschriebenes, Handschrfll, Gedichte - es ist ja alles ungffdhr darselhe. HofmannsthaI an Mechthilde Lichnowsky Hugo von Hofmannsthal lernte die Fürstin und spätere erfolgreiche Schriftstellerin Mechtilde Lichnowsky Anfang 1909 in Berlin kennen. Am 18. Februar schreibt er an seinen Vater: Heute trinken wir Thee in dem neuen ganz amerikanisch prunkvollen Es­ planade-Hotel bei der Fürstin Lichnowsky, geb. Arco, die eine ganz char­ mante junge Frau ist. Wahrscheinlich wurden schon bald Briefe mit Verabredungen ausge­ tauscht. Die ersten gesichert datierten Briefe der hier veröffendichten Korrespondenz stammen aus dem Frühjahr 1910.1 Hofmannsthal und Mechtilde Lichnowsky begegneten sich zumeist im Rahmen der Pre­ mieren von Hofmannsthals Stücken und im Ambiente der vornehmen Berliner Salons der Gräfm Harrach, Schwiegermutter von Mechtilde Lichnowskys Schwester Helene, und Cornelia Richters, der Tante von Hofmannsthals Freund Leopold von Andrian, in denen Aristo­ kratie, Großbürgertum, Intellektuelle und Künsder vor dem Ersten Weltkrieg miteinander Umgang pflegten. Hofmannsthal, der die Ber­ liner Gesellschaft in »Leute, Leute, Leute« und »die paar Menschen«, welche ihm wichtig waren, unterteilte, fand in der Gräfm Lichnowsky nicht nur eine jener schönen kultivierten Frauen, die ihn anzogen, sondern auch einen Menschen, mit dem er sich im Gespräch austau­ schen konnte und auf dessen Urteil er Wert legte. Den Berliner Begegnungen mit allen fehlt es an Ruhe und Consequenz. Fast habe ich dann lieber, wenn ich einen Menschen nur einmal sehe, wie den al- 1 Die Briefe Hofmannsthals befinden sich im Zemsky archiv v Opave, Ceska repu­ blika.
    [Show full text]
  • Life of Mozart, Vol. 1
    Life Of Mozart, Vol. 1 By Otto Jahn LIFE OF MOZART. CHAPTER I. — CHILDHOOD WOLFGANG AMADE MOZART came of a family belonging originally to the artisan class. We find his ancestors settled in Augsburg early in the seventeenth century, and following their calling there without any great success. His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin Banneger. From this union sprang two daughters and three sons, viz.: Fr. Joseph Ignaz, Franz Alois (who carried on his father's trade in his native town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the father of the Mozart of our biography. Gifted with a keen intellect and firm will he early formed the resolution of raising himself to a higher position in the world than that hitherto occupied by his family; and in his later years he could point with just elation to his own arduous efforts, and the success which had crowned them, when he was urging his son to the same steady perseverance. When Wolfgang visited Augsburg in 1777, he gathered many particulars of his father's youth which refreshed the recollections of Leopold himself. We find him writing to his son (October 10, 1777) how, as a boy, he had sung a cantata at the monastery of St. Ulrich, for the wedding of the Hofrath Oefele, and how he had often climbed the broken steps to the organ loft, to sing treble at the Feast of the Holy Cross (November 29, 1777). He afterwards became an excellent organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October 10, 1777) that he knew his father well, he had studied with him, and "had the liveliest recollections of Wessobrunn where my father (this was news to me) played the organ remarkably well.
    [Show full text]
  • The Choral Music of Keaton Lee Scott with a Conductor's Analysis Of
    University of South Carolina Scholar Commons Theses and Dissertations 2016 The horC al Music of Keaton Lee Scott ithW A Conductor’s Analysis Of Requiem Damion Womack University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Other Music Commons Recommended Citation Womack, D.(2016). The Choral Music of Keaton Lee Scott itW h A Conductor’s Analysis Of Requiem. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3904 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE CHORAL MUSIC OF KEATON LEE SCOTT WITH A CONDUCTOR’S ANALYSIS OF REQUIEM By Damion Womack Bachelor of Music Education Alabama A&M University, 1997 Master of Music Education Alabama State University, 2003 _______________________________________ Submitted in Partial Fulfillments of the Requirements For the Degree of Doctor of Musical Arts in Conducting School of Music University of South Carolina 2016 Accepted by: Larry Wyatt, Major Professor Alicia Walker, Committee Member Andrew Gowan, Committee Member Samuel Douglas, Committee Member Cheryl L. Addy, Vice Provost and Dean of The Graduate School ACKNOWLEDGEMENTS First, I am thankful to God for an amazing life, family, and career. I would like to thank my parents, Charlie and Edna Womack, my sister Darlene Brown, and my brother, Rodrick Hill for their support. I would also like to thank my wife Sonechka Womack for her continuous love and support. My mentors have also been instrumental in my progression as a conductor.
    [Show full text]
  • Russian Origins of the First World War
    The Russian Origins of the First World War The Russian Origins of the First World War Sean McMeekin The Belknap Press of Harvard University Press Cambridge, Massachusetts • London, Eng land 2011 Copyright © 2011 by Sean McMeekin All rights reserved Printed in the United States of America Library of Congress Cataloging-in- Publication Data McMeekin, Sean, 1974– The Russian origins of the First World War / Sean McMeekin. p. cm. Includes bibliographical references and index. ISBN 978-0-674-06210-8 (alk. paper) 1. World War, 1914–1918—Causes. 2. World War, 1914–1918—Russia. 3. Russia—Foreign relations—1894–1917. 4. Imperialism—History— 20th century. 5. World War, 1914–1918—Campaigns—Eastern Front. 6. World War, 1914–1918—Campaigns—Middle East. I. Title. D514.M35 2011 940.3'11—dc23 2011031427 For Ayla Contents Abbreviations ix Author’s Note xi Introduction: History from the Deep Freeze 1 1. The Strategic Imperative in 1914 6 2. It Takes Two to Tango: The July Crisis 41 3. Russia’s War: The Opening Round 76 4. Turkey’s Turn 98 5. The Russians and Gallipoli 115 6. Russia and the Armenians 141 7. The Russians in Persia 175 8. Partitioning the Ottoman Empire 194 9. 1917: The Tsarist Empire at Its Zenith 214 Conclusion: The October Revolution and Historical Amnesia 234 Notes 245 Bibliography 289 Acknowledgments 303 Index 307 Maps The Russian Empire on the Eve of World War I 8 The Polish Salient 18 The Peacetime Deployment of Russia’s Army Corps 20 The Initial Mobilization Pattern on the Eastern Front 83 Russian Claims on Austrian and German Territory 91 “The Straits,” and Russian Claims on Them 132 Russia and the Armenians 167 Persia and the Caucasian Front 187 The Partition of the Ottoman Empire 206 The Eastern Front 219 Abbreviations ATASE Askeri Tarih ve Stratejik Etüt Başkanlığı Arşivi (Archive of the Turkish Gen- eral Staff).
    [Show full text]
  • The Guilt of Germany for the War of German Aggression (1918)
    German Ambassador's Revelations 'he Most Sensational of War Documents, Proving that the War was Deliberately Contrived by Berlin The Guilt of Germany For the War of German Aggression Prince Karl Lichnowsky's Memorandum Being the Story of His Ambassadorship at London from 1912 to 1914 Also Foreign Secretary von Jagow's Reply _ Introduction by Viscount Bryce Lifornia onal 'rince Lichnowsky fixes the personal responsibility e Raiser, and shows how he was responsible for the L * y jm Ultimatum and other Hunnish War aims. The pre- tence that Great Britain caused or desired the War, or that it was forced upon a pacific Kaiser by the Russian mobilisa- tion, are alike killed stone-dead by this astounding indictment. The Memorandum was not written for publication it was only meant for the secret archives of the ex- Ambassador's family. Its publication is due to the act of a kinsman of I'rince Lichnowsky who had served with distinction in the ( icrinan Army, hut who has since abandoned a military carci-r . LIBRARY UNIVERSITY OF CALIFORNIA SAN DIEGO THE UNIVERSITY LIBRARY UNIVERSITY OF CALIFORNIA, SAN DIEGO LA JOLIA CALIFORNIA Photo by Bain News Service. PRINCE KARL LICHNOWSKY. The Guilt of Germany For the War of German Aggression Prince Karl Lichnowsky's Memorandum Being the Story of His Ambassadorship at London from 1912 to August, 1914 Together with Foreign Minister Von Jagow's Reply Introduction by Viscount Bryce G. P. Putnam's Sons New York and London Cbc fmicfterbocher press 1918 ttbc fenkfccrbocbcr pttM. Itow fiorft NOTE The material in this volume is reprinted by courtesy of The New York Times, in which it first appeared.
    [Show full text]
  • Vorwort Preface
    III Vorwort Die Anzeige des Verlegers Artaria in lich für die Bereitstellung der Quellen der Wiener Zeitung meldete die Ausgabe gedankt. im September 1802 als erschienen; der genaue zeitliche Verlauf der Kompositi- Tuscaloosa (USA), Herbst 2019 Neben Sonaten und Variationszyklen onsarbeit, der Verhandlungen mit dem Joanna Cobb Biermann hinterließ Ludwig van Beethoven (1770 – Verlag und der Herstellung des Drucks 1827) zahlreiche Einzelsätze für Klavier lässt sich indes nicht ermitteln. Folgen- solo, darunter einige Rondos. Diese Rei- de anekdotisch anmutende Überliefe- hungsform mit einem Refrain und eini- rung legt nahe, dass das Rondo noch gen mehr oder weniger kontrastierenden vor der Sonate op. 27 Nr. 2, also spätes- Couplets erlebte in der zweiten Hälfte tens 1801, entstanden sein muss (vgl. des 18. Jahrhunderts sowohl als Final- Alexander Wheelock Thayer, Ludwig Preface oder Binnensatz von Sonaten als auch van Beethovens Leben, neu bearb. von in Form des selbständigen Einzelstücks Hugo Riemann, Bd. 2, Leipzig 21910, eine Blütezeit. Für Beethoven spielte das S. 307, 367): Die Gräfin Julie Gallen- Klavierrondo in der Auseinandersetzung berg (geb. Guicciardi) berichtete Otto Along with his sonatas and cycles of var- mit den gleichzeitig entstehenden Sona- Jahn im Jahr 1852, dass Beethoven das iations, Ludwig van Beethoven (1770 – ten eine wichtige, aber zeitlich begrenz- Rondo zunächst ihr verehrt habe, er 1827) left behind many individual piec- te Rolle; in seinen späteren Jahren hat aber kurzfristig eine Komposition be- es for solo piano, including several ron- er zwar das zugrunde liegende Prinzip nötigte, die er der Gräfin Henriette von dos. This sequential form, consisting of bewahrt, die Form selbst aber fast völlig Lichnowsky (1769 – nach 1829) – einer a refrain and a few more-or-less con- aufgegeben.
    [Show full text]
  • Germany Series 1, 1906–1925 Part 1: 1906–1919
    Confidential British Foreign Office Political Correspondence Germany Series 1, 1906–1925 Part 1: 1906–1919 Edited by Paul L. Kesaris Guide Compiled by Jan W. S. Spoor and Eric A. Warren A UPA Collection from 7500 Old Georgetown Road • Bethesda, MD 20814-6126 The data contained on the microfilm is British Crown copyright 1995. Published by permission of the Controller of Her Britannic Majesty’s Stationery Office. Copyright © 2005 LexisNexis, a division of Reed Elsevier Inc. All rights reserved. ISBN 1-55655-530-X. ii TABLE OF CONTENTS Scope and Content Note ........................................................................................................ v Source Note ............................................................................................................................. ix Editorial Note .......................................................................................................................... ix Reel Index FO 566 Registers of Diplomatic Correspondence Reel 1 1906–1907 ................................................................................................................... 1 1908–1909 ................................................................................................................... 1 Reel 2 1910–1911 ................................................................................................................... 1 1912–1916 ................................................................................................................... 1 Reel 3 1914–1916 ..................................................................................................................
    [Show full text]
  • European Music Manuscripts Before 1820 Series Two: from the Biblioteca Da Ajuda, Lisbon
    EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740 - 1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 EUROPEAN MUSIC MANUSCRIPTS BEFORE 1820 SERIES TWO: FROM THE BIBLIOTECA DA AJUDA, LISBON Section B: 1740-1770 Unit Seven: Manuscripts, Catalogue No.s 2213 - 2410 First published in 2001 by Primary Source Microfilm. Primary Source Microfilm is an imprint of the Gale Group. Gale Group is a trading name of Gale International Limited. This publication is the copyright of Gale International Limited. Filmed in Portugal from the holdings of The Biblioteca da Ajuda, Lisbon by The Photographic Department of IPPAR. All rights reserved. No part of this publication may be reproduced without prior permission. PRIMARY SOURCE MICROFILM PRIMARY SOURCE MICROFILM 50 Milford Road 12 Lunar Drive Reading Woodbridge Berkshire RG1 8LJ Connecticut 06525 United Kingdom U.S.A. CONTENTS Introduction 5 Publisher’s Note 9 Contents of Reels 11 Listing of Manuscripts 15 INTRODUCTION The Ajuda Library was established after the Lisbon earthquake of 1755 near the royal palace of the same name to replace the court library which had been destroyed in the earthquake, and from its creation it incorporated many different collections, which were either acquired, donated or in certain cases confiscated, belonging to private owners, members of the royal family or religious institutions. Part of the library holdings followed the royal family to Brazil after 1807 and several of these remained there after the court returned to Portugal in 1822. The printed part of those holdings constituted the basis of the National Library of Rio de Janeiro.
    [Show full text]
  • ARTASERSE Pietro Metastasio Leonardo Vinci
    ARTASERSE Dramma per musica. testi di Pietro Metastasio musiche di Leonardo Vinci Prima esecuzione: 4 febbraio 1730, Roma. www.librettidopera.it 1 / 63 Informazioni Artaserse Cara lettrice, caro lettore, il sito internet www.librettidopera.it è dedicato ai libretti d©opera in lingua italiana. Non c©è un intento filologico, troppo complesso per essere trattato con le mie risorse: vi è invece un intento divulgativo, la volontà di far conoscere i vari aspetti di una parte della nostra cultura. Motivazioni per scrivere note di ringraziamento non mancano. Contributi e suggerimenti sono giunti da ogni dove, vien da dire «dagli Appennini alle Ande». Tutto questo aiuto mi ha dato e mi sta dando entusiasmo per continuare a migliorare e ampliare gli orizzonti di quest©impresa. Ringrazio quindi: chi mi ha dato consigli su grafica e impostazione del sito, chi ha svolto le operazioni di aggiornamento sul portale, tutti coloro che mettono a disposizione testi e materiali che riguardano la lirica, chi ha donato tempo, chi mi ha prestato hardware, chi mette a disposizione software di qualità a prezzi più che contenuti. Infine ringrazio la mia famiglia, per il tempo rubatole e dedicato a questa attività. I titoli vengono scelti in base a una serie di criteri: disponibilità del materiale, data della prima rappresentazione, autori di testi e musiche, importanza del testo nella storia della lirica, difficoltà di reperimento. A questo punto viene ampliata la varietà del materiale, e la sua affidabilità, tramite acquisti, ricerche in biblioteca, su internet, donazione di materiali da parte di appassionati. Il materiale raccolto viene analizzato e messo a confronto: viene eseguita una trascrizione in formato elettronico.
    [Show full text]
  • Paul D. Weber Index
    - Paul D. Weber Index ************************************************************************************* For a more complete overview of Paul’s work, you are invited to explore his website…. PAULDWEBER.com There you will find his biography, an updated list of works with recordings, reflections and personal contact information. ************************************************************************************* CONTENTS List of compositions/alphabetized……………………………………………………………………………………………..…3 List of compositions/categorized………………………………………………………………………………………………..23 List of compositions/chronological………………………………………………………………………………………….….45 List of recordings/playlist…………………………………………………………………………………………………………...65 Major Papers………………………………………………………………………………………………………………………………70 Misc…………………………………………………………………………………………………………………………………………….70 LIST OF COMPOSITIONS FOR PAUL D. WEBER (Alphabetized) A Mighty Fortress is Our God (2001) Assembly, SATB divisi, opt. Children’s Choir, Organ, Brass Ensemble, 2 or 4 Timpani, Large Gong, Opt. Strings and Woodwinds MorningStar Music MSM-60-8005 A Woman and a Coin (1995) SAB, Organ, 2 Flutes Abide in Me (1999) SATB, Organ, Handbells, 2 Flutes, Clarinet, Opt. Assembly Agnus Dei (1971) SATB a cappella Version 2 (1974) for String Quartet Agnus Dei (1978) Two-part Mixed and Organ All Hail the Power of Jesus’ Name (1972 Manuscript & Finale Files) Brass Intrada and Harmonization All Things Bright and Beautiful (2009) SS, Piano, Flute All Who Believe and are Baptized (2001, Published 2010) SA/TB, Organ, Flute Concordia
    [Show full text]
  • Digital Table of Contents
    The Mozart Edition digital TABLE OF CONTENTS Introduction: Welcome to The Digital Mozart Edition. Originally published by Breitkopf & Härtel, the first of its 40 Volumes appeared in the late 1870’s and were completed by 1910. Throughout the 20th and into the 21st century, subsequent editions followed, each with supplemental Volumes and revisited scholarship, most notably Bärenreiter’s Neue Mozart Ausgabe, compiled between 1955 and 2007. The present 40 Volume edition is definitive up to about the time of World War I. Essentially, it contains every work of Mozart’s, large and small, in all mediums, found in the standard repertory. The original editors used 24 (XXIV) Series to organize and group the compositions throughout the 40 Volumes. Though referenced in this DVD edition, they are not necessary to navigate the disk. Instructions: This main Table of Contents is interactive - it contains active links, both on the Bookmarks panel, as well as throughout the Table of Contents pages. On the left (Bookmark) side of the screen are links to documents, indexes, and the 40 Volumes of the complete edition. Each of the 40 Volumes gives a general description of the contents of that Volume. Click on a Volume in the Bookmarks to view the complete contents of the selected Volume in the main Table of Contents. Click anywhere within the Volume contents to open the Volume. Once inside a Volume, clicking on a work (or section of a work) in the Bookmarks will take you directly to your selection. Return to the main Table of Contents, or any of the text Indices at any time by clicking on the appropriate Bookmark.
    [Show full text]