Johann Sebastian Bach and the Fortepiano
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Js Bach Partitas for Harpsichord Colin Tilney
COLIN TILNEY JS BACH PARTITAS FOR HARPSICHORD Disc 1 (48:34) Partita No.1 in B-flat major (BWV 825) Partita No. 2 in C minor (BWV 826) Disc 2 (56:51) Partita No. 3 in A minor (BWV 827) Partita No. 4 in D major (BWV 828) Disc 3 (51:54) Partita No. 5 in G major (BWV 829) Partita No. 6 in E minor (BWV 830) COLIN TILNEY js bach partitas for harpsichord Disc 1 (48:34) Disc 2 (56:51) Disc 3 (51:54) Partita No.1 in B-flat major (BWV 825) Partita No. 3 in A minor (BWV 827) Partita No. 5 in G major (BWV 829) 1. 1. Præludium 2:24 Fantasia 3:17 1. Præambulum 3:14 2. 2. Allemande 4:59 Allemande 3:19 2. Allemande 2:55 3. 3. Corrente 4:09 Corrente 2:12 3. Corrente 2:49 4. Sarabande 6:16 4. Sarabande 3:54 4. Sarabande 4:11 5. Menuets 1 & 2 3:30 5. Burlesca 2:59 5. Tempo di Minuetta 2:30 6. Gigue 3:48 6. Scherzo 1:50 6. Passepied 2:24 7. Gigue 5:34 7. Gigue 3:24 Partita No. 2 in C minor (BWV 826) Partita No. 4 in D major (BWV 828) 7. Sinfonia 5:50 Partita No. 6 in E minor (BWV 830) 8. Ouverture 7:57 8. Allemande 5:32 8. Toccata 8:24 9. Allemande 6:12 9. Courante 3:34 9. Allemanda 4:33 10. Courante 5:16 10. Sarabande 3:34 10. Corrente 3:24 11. -
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. -
NOVEMBER 2020 COMPLIMENTARY GUIDE Catskillregionguide.Com
Catskill Mountain Region NOVEMBER 2020 COMPLIMENTARY GUIDE catskillregionguide.com WELCOME HOME TO THE CATSKILL MOUNTAINS! With a Special Section: Visit Woodstock November 2020 • GUIDE 1 2 • www.catskillregionguide.com IN THIS ISSUE www.catskillregionguide.com VOLUME 35, NUMBER 11 November 2020 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Barbara Cobb Steve Friedman CONTRIBUTING WRITERS & ARTISTS Benedetta Barbaro, Darla Bjork, Rita Gentile, Liz Innvar, Joan Oldknow, Jeff Senterman, Sarah Taft, Margaret Donsbach Tomlinson & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee On the cover: The Ashokan Reservoir. Photo by Fran Driscoll, francisxdriscoll.com Justin McGowan & Emily Morse PRINTING Catskill Mountain Printing Services 4 A CATSKILLS WELCOME TO THE GRAF PIANO DISTRIBUTION By Joan Oldknow & Sarah Taft Catskill Mountain Foundation 12 ART & POETRY BY RITA GENTILE EDITORIAL DEADLINE FOR NEXT ISSUE: November 10 The Catskill Mountain Region Guide is published 12 times a year 13 TODAY BUILDS TOMORROW: by the Catskill Mountain Foundation, Inc., Main Street, PO Box How to Build the Future We Want: The Fear Factor 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ By Robert Tomlinson catskillmtn.org. Please be sure to furnish a contact name and in- clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines 14 VISIT WOODSTOCK send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered WELCOME HOME TO THE CATSKILL MOUNTAINS! or occupied by the error. -
The Keyboad Sonatas of Domenico Scalatti and Eighteenth-Centuy Musical Style
THE KEYBOAD SONATAS OF DOMENICO SCALATTI AND EIGHTEENTH-CENTUY MUSICAL STYLE W. DEAN SUTCLIFFE St Catharine’sCollege, Cambridge published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge CB2 1RP, United Kingdom cambridge university press The Edinburgh Building, Cambridge, CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2003 Thisbook isin 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 2003 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library ISBN 0 521 48140 6 hardback CONTENTS Preface page vii 1 Scarlatti the Interesting Historical Figure 1 2 Panorama 26 Place and treatment in history 26 The dearth of hard facts29 Creative environment 32 Real-life personality 34 The panorama tradition 36 Analysis of sonatas 38 Improvisation 40 Pedagogy 41 Chronology 43 Organology 45 Style classification 49 Style sources 54 Influence 55 Nationalism I 57 Nationalism II 61 Evidence old and new 68 3 Heteroglossia 78 An open invitation to the ear: topic and genre 78 A love-hate relationship? -
The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance. -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J. -
Boalch 3 Clavichord Updates (B3CU)
Boalch 3 clavichord updates (B3CU) Amendments and additions to clavichord-related information in the Third Edition of Donald Boalch’s Makers of the Harpsichord and Clavichord 1440–1840, edited by Charles Mould (1995) Prepared with the kind permission of Charles Mould and with support from the British Clavichord Society, the Deutsche Clavichord Societät, the International Centre for Clavichord Studies, and the Svenska Klavikordsällskapet Hosted by the British Clavichord Society website, www.clavichord.org.uk Version 4, uploaded September 2009 Contents of this document Acknowledgements p. 3 Introduction p. 3 Explanations p. 3 Contributors to this document p. 3 How to comment on this document or send contributions p. 3 Clavichord updates for Boalch 3: The Chief Collections containing Early Keyboard Instruments . (pp. xix–xxxii in Boalch 3) p. 4 Part I: Biographies of the Makers (pp. 1–214 and 781–782 in Boalch 3) p. 5 Part II: Details of Surviving Instruments by Named Makers (pp. 215–690 and 782–788 in Boalch 3) p. 18 2 Acknowledgements Of course our chief debt is to the late Donald Boalch, author of the indispensable Makers of the Harpsichord and Clavichord 1440–1840, and to Dr Charles Mould, editor of the Third Edition (1995). No one who has attempted to follow in their footsteps by seeking to amend or supplement their work could fail to appreciate the scale of their achievement. We are also grateful to Charles Mould for giving us permission to prepare and disseminate this document. This informal enterprise was first planned at the Magnano International Clavichord Symposium in 2005 and since then has been steered by a small group including (in alphabetical order) Peter Bavington, Lothar Bemmann (who chairs the group), Dorothea Demel, Simon Field, Eva Helenius, Darryl Martin, and Judith Wardman (who acts as administrator). -
Dance Topics I: Music and Dance in the Ancien Régime
Dance Topics I: Music and Dance in the Ancien Régime Lawrence M. Zbikowski University of Chicago, Department of Music [this is a draft of a contribution to the Oxford Handbook of Topic Theory, ed. Danuta Mirka, which is presently under review] In 1777, Johann Philipp Kirnberger paused in the production of his monumental Die Kunst des reinen Satzes in der Musik to publish a Recueil d’airs de danse caractéristiques. On the one hand, the relationship between the modest dances of Kirnberger’s collection and the careful, methodical setting out of the art of strict musical composition is not immediately evident, as the two seem to belong to rather different intellectual registers. On the other hand, there is evidence that, for Kirnberger, the relationship between the two works was quite intimate. As the preface to the Recueil makes clear, the twenty-odd dances gathered by Kirnberger were meant to set out for the young musician the characteristic features of different dance types, as he believed familiarity with these was essential to understanding musical organization. In order to acquire the necessary qualities for a good performance, the musician can do nothing better than diligently play all sorts of characteristic dances. Each dance has its own rhythm, its passages of the same length, its accents on particular places in each measure; one thus easily recognizes them, and becomes accustomed, through playing them often, to attribute to each its particular rhythm, and to mark its patterns of measures and accents, so that one recognizes easily, in a long piece of music, the rhythms, sections and accents, so different from each other and so mixed up together. -
Piano History
ABOUT THE PIANO A SHORT HISTORY OF THE PIANO If you have ever played a harpsichord or a clavichord, you know they feel dif- ferent from a piano. In a piano, a hammer is thrown at the strings when you press a key on the keyboard. The hammer quickly rebounds so the string can vi- brate for as long as you hold the key down (or even longer if you use the damper pedal). The harpsichord is different because the strings are plucked by a plectrum (originally the pointed end of a feather, now made of plastic or other synthetic material). Because the harpsichord plucks the string (as opposed to a hammer striking the string), you are very conscious of the moment the plucking takes place. The clavichord strikes the string with a metal tangent. Unlike the piano’s ham- mer that rebounds right away, the tangent stays in contact with the string. So the clavichord, too, has its own feel. A keyboard instrument called a virginal was a small and simple rectangular form of the harpsichord. The spinet was another small harpsichord-type instru- ment. These are some of the earliest keyboard instruments. Even the fortepiano, the name given to the earliest piano to distinguish it from the modern pianoforte, or piano, has its own feel—the depth of the key fall is shallow and it takes much less weight to press the key down. THE CRISTOFORI PIANOFORTE The piano itself was invented in Italy in 1709 by Bartolommeo Cristofori. His was a four-octave instrument (compared to our seven-and-a half-octave modern instrument), with hammers striking the strings just as they do on a modern pi- ano. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato Theses, Dissertations, and Other Capstone Projects 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin Minnesota State University - Mankato Follow this and additional works at: http://cornerstone.lib.mnsu.edu/etds Part of the Music Performance Commons Recommended Citation Chin, Amy Jun Ming, "Program Notes for a Graduate Recital in Piano" (2012). Theses, Dissertations, and Other Capstone Projects. Paper 195. This Thesis is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Program Notes for a Graduate Recital in Piano By Amy J. Chin Program Notes Submitted in Partial Fulfillment of the Requirements for the Degree Master of Music In Piano Performance Minnesota State University, Mankato Mankato, Minnesota April 2012 Program Notes for a Graduate Recital in Piano Amy Jun Ming Chin This program notes has been examined and approved by the following members of the program notes committee. Dr. David Viscoli, Advisor Dr.Linda B. Duckett Dr. Karen Boubel Preface The purpose of this paper is to offer a biographical background of the composers, and historical and theoretical analysis of the works performed in my Master’s recital. This will assist the listener to better understand the music performed. Acknowledgements I would like to thank members of my examining committee, Dr. -
Lunchtime Concert Slava Grigoryan Guitar Sharon Grigoryan Cello
Sharon Grigoryan has been the cellist with the Australian String Quartet since 2013, and has been invited to be Guest Principal Cellist with the Melbourne, Adelaide and Tasmanian Symphony Orchestras. She is the current Artistic Director of the Barossa, Baroque and Beyond music festival, which recently completed its fifth year. In 2019 Sharon curated a chamber music series, Live at the Quartet Bar, for the Adelaide Festival Centre, and made her debut as a radio presenter on ABC Classic. Regarded as a wizard of the guitar, Slava Grigoryan has forged a prolific reputation as a classical guitar virtuoso. Born in Kazakhstan, he immigrated with his family to Australia in 1981 and began studying the guitar with his violinist father Edward at the age of 6. By the time he was 17 he was signed to the Sony Classical Label. His relationship with Sony Classical, ABC Classic in Australia, ECM in Germany and his own label Which Way Music has led to the release of over 30 solo and collaborative albums – four of which have won ARIA Awards – spanning a vast range of musical genres. Since 2009 Slava has been the Artistic Director of the Adelaide Guitar Festival. Lunchtime Concert Slava Grigoryan guitar Sharon Grigoryan cello Friday 25 September, 1:10pm Throughout, Bach’s contrapuntal genius shows in his ability to project multiple PROGRAM voices and implied harmonies with what is often considered a single-line Jobiniana No. 4 Sergio Assad instrument. Maurice Ravel’s Pièce en forme de Habanera was actually originally written as a Sarabande from Cello Suite No.