Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
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Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
Lemmel-Greatest-Lect
SESSION SEVEN NEGLECT OF UNUSUAL INSTRUMEMTS OR COMBINATIONS OF INSTRUMENTS NEGLECTED GEM OF THE WEEK This week’s neglected gem is by a well-known composer of orchestral and organ music. WHY NEGLECTED? ◊ ◊ ◊ NEGLECT BECAUSE OF UNUSUAL INSTRUMENTS Today’s topic is an interesting one, and more complicated than at first it seems. We’re going to explore the neglect of classical music because of unusual instruments or combinations of instruments. Of course, in every era of music history there have been unusual instruments – instruments which, for various reasons, were not as popular, or well-known, or accessible as were others. But we’re not going to take a historical approach today. We’re just going to consider the present day, and the neglect of some excellent music in 2015. As we will see, the instruments, or combination of instruments, for which a piece is written, can result in several possible kinds of neglect. WHY COMPOSE MUSIC FOR UNUSUAL INSTRUMENTS? Why have composers, from time to time, written music for unusual instruments, or combinations of instruments? There are many reasons, from personal ones such as the desire to perform with a friend or family member, to more public ones, such as wanting to honor an excellent performer, or being commissioned by a performer to write such a piece. As we listen to some of these pieces, we’ll find out more about why they came to be written, and why they are neglected in the 21st century. ◊ ◊ ◊ NEGLECT OF MUSIC WRITTEN FOR ARCHAIC INSTRUMENTS One obvious reason for the neglect of some music today is that the instruments for which they were originally written are no longer used, or even available for us to hear. -
Complete Dissertation
LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre. -
L'age D'or of the Chamber Wind Ensemble
L’Age d’or of the Chamber Wind Ensemble A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree. -
Guide to Repertoire
Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well). -
2021-22 Music for Participation at Any Approved Event
school of the IHSAA. Cash may be accepted as expense money 2021-22 Music for participation at any approved event. 2. District awards given at Music Festivals’ or clinics’ expense may (Note: Adjudication forms are available at www.idahomusiced.org.) be allowed if approved by the respective district Board of I. Introduction, Philosophy and Definitions Control. Awards should be provided by the district music This section is a statement of policies, procedures, regulations, president. standards, and instructions for the festival manager, adjudicators, and music directors’ participation in Idaho High School Activities V. Eligibility Association (IHSAA) sanctioned Music Festival events. The 1. All students who participate in State Solo Contest, All-State, IHSAA does not sponsor any state music event. District Music Festivals or clinics are required to be members 1. In general, the IHSAA is concerned with music events of an appropriate large performing ensemble accredited class involving the students of member schools in music events at (band/percussion, orchestra, choir or show/jazz/madrigal which ratings are issued, and clinics at which music education ensemble) at an IHSAA member high school. Each student is emphasized. District music activities are scheduled and must be an active member in the division of competition or regulated by appointed music instructors and the elected Idaho event as his/her primary participation in the ensemble Music Educators Association officers of the district in which (band/percussion, orchestra, choir or show/jazz/madrigal the events occur. ensemble) at the time of both the district and state events. The 2. Music activities that fall under the jurisdiction of the IHSAA only exception to this rule may be if a class is not offered at that are District Music Festivals and Clinics. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Program Notes | Friday, February 21, 2020
PROGRAM NOTES | FRIDAY, FEBRUARY 21, 2020 LUDWIG VAN BEETHOVEN There is a transcription for piano and Born in Bonn, Germany, December 16, 1770 orchestra of the famous D Major Violin Died in Vienna, Austria, March 26, 1827 Concerto that Beethoven wrote out on a commission from Muzio Clementi’s The Five Beethoven Piano Concertos London publishing house, but this work is a at the Wichita Symphony Orchestra, curiosity done without much commitment February 21 and 23, 2020 from Beethoven. A couple of juvenilia By Don Reinhold, CEO, Wichita Symphony compositions exist mostly in fragments. There are even sketches from around 1816 The five piano concertos of Ludwig van of a first movement for what would have Beethoven are familiar works to regular been the sixth concerto, but Beethoven concertgoers. Even at a regional orchestra abandoned this work. such as Wichita’s, performances of all five as individual works would be typical over Following in Mozart’s footsteps, Beethoven a decade. Hearing them in chronological wrote his concertos as vehicles to display his sequence over a single weekend is rare keyboard virtuosity, which, as we’ll see, was and unusual, but appropriate this year accomplished up until his Fifth Concerto. It that marks the 250th anniversary of was only after “playing them around” a few Beethoven’s birth on December 16. While times for personal benefit that he sent them a few other orchestras will accomplish the off to publishers. feat this year with a single soloist or with five different soloists, Wichita is privileged Beethoven’s model and point of departure to enjoy performances by Stewart were the piano concertos of Mozart, Goodyear, regarded by many as one of especially those composed during Mozart’s today’s leading interpreters in the world of Viennese years, 1784 - 1791. -
16-1108 Program
NEC Wind Ensemble Charles Peltz, conductor with This organization is supported in part Frank Epstein, guest conductor by the Massachusetts Cultural Council, a state agency, and by a grant from the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events. Unauthorized use of cameras and tape recorders is not allowed in Jordan Hall. Please switch off cellular phones, pagers, and watch alarms. Assistive Listening Devices are available for Jordan Hall concerts at the coatroom, or by contacting the Head Usher or House Manager on duty. necmusic.edu/cloud Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Tuesday, November 8, 2016 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts Upcoming Wind Ensemble Concerts at NEC –continued PROGRAM NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , ____________________ William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors A Holiday Concert Thursday, December 1, 2016 at 7:30 p.m., Jordan Hall Giovanni Gabrieli Canzona X NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , (ca. 1554–ca. 1612) William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors ed. Salfelder/Peltz A Holiday Concert, part of the Brown Bag Concert series Wednesday, December 7, 2016 at 12:00 noon, Mechanics Hall, Worcester, MA (free admission) Edgard Varèse Ionisation (1929-1931) NEC WIND ENSEMBLE STUDENT CONDUCTORS – Holly Hyun Choe, Emily Eng, and (1883–1965) Harris Malasky – conduct members of the wind ensembles Frank Epstein, guest conductor Thursday, December 15, 2016 at 7:30 p.m., Brown Hall Carl Reinecke Octet in B-flat, op. -
The Critical Reception of Beethoven's Compositions by His German Contem- Poraries, V
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 92 to Op. 100 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-1-3 Center for Beethoven Research Boston University Contents Foreword 7 Op. 92. Symphony no. 7 in A Major 92.1 “Review.” 9 Allgemeine musikalische Zeitung 18 (27 November 1816): col. 817–22. 92.2 “Review” 20 Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 1 (23 and 30 January 1817): 25–27, 37–40. 92.3 “News. Leipzig. Weekly Concerts in the Gewandhaussaal.” 26 Allgemeine musikalische Zeitung 19 (28 February 1817): col. 163. 92.4 “Fragment from Rosaliens Briefen an Serena, 27 Edited by Friedrich Mosengeil.” Allgemeine musikalische Zeitung 19 (26 March 1817): col. 217–22. 92.5 “This Year’s Concerts by the Philharmonic Society in London.” 31 Allgemeine musikalische Zeitung 24 (19 June 1822): col. 409. 92.6 “News. Strassburg.” 32 Allgemeine musikalische Zeitung 24 (28 August 1822): col. 570. 3 contents 92.7 “Aachen, 28 Feb.” 33 Stadt Aachener Zeitung (2 March 1823). 92.8 K. Br[eidenstein?]. 34 “The Lower Rhine Music Festival in Elberfeld, 1823.” Beiblatt der Kölnischen Zeitung 19 (1 June 1823). 92.9 C. Fr. Ebers 37 “Reflections.” Caecilia 2 (1825): 271–72. 92.10 “News. Cassel, 10 December 1827.” 39 Allgemeine Musikzeitung zur Beförderung der theoretischen und praktischen Tonkunst für Musiker und für Freunde der Musik überhaupt 1 (9 January 1828): 21–22. Op. 93. Symphony no. 8 in F Major 93.1 A. W. 41 “On Beethoven’s Newest Symphony.” Leipziger Kunstblatt für gebildete Kunstfreunde 1 (14 February 1818): 280. -
Chamber Music Repertoire Trios
Rubén Rengel January 2020 Chamber Music Repertoire Trios Beethoven , Piano Trio No. 7 in B-lat Major “Archduke”, Op. 97 Beethoven , String Trio in G Major, Op. 9 No. 1 Brahms , Piano Trio No. 1 in B Major, Op. 8 Brahms , Piano Trio No. 2 in C Major, Op. 87 Brahms , Horn Trio E-lat Major, Op. 40 U. Choe, Piano Trio ‘Looper’ Haydn, P iano Trio in G Major, Hob. XV: 25 Haydn, Piano Trio in C Major, Hob. XV: 27 Mendelssohn , Piano Trio No. 1 in D minor, Op. 49 Mendelssohn, Piano Trio No. 2 in C minor, Op. 66 Mozart , Divertimento in E-lat Major, K. 563 Rachmaninoff, Trio élégiaque No. 1 in G minor Ravel, Piano Trio in A minor Saint-Saëns , Piano Trio No. 1, Op. 18 Shostakovich, Piano Trio No. 2 in E minor, Op. 67 Stravinsky , L’Histoire du Soldat Tchaikovsky, Piano Trio in A minor, Op. 50 Quartets Arensky , Quartet for Violin, Viola and Two Cellos in A minor, Op. 35 No. 2 (Viola) Bartok, String Quartet No. 1 in A minor, Sz. 40 Bartok , String Quartet No. 5, Sz. 102, BB 110 Beethoven , Piano Quartet in E-lat Major, Op. 16 Beethoven , String Quartet No. 4 in C minor, Op. 18 No. 4 Beethoven , String Quartet No. 5 in A Major, Op. 18 No. 5 Beethoven, String Quartet No. 8 in E minor, Op. 59 No. 2 Borodin , String Quartet No. 2 in D Major Debussy , String Quartet in G Major, Op. 10 (Viola) Dvorak, Piano Quartet No. 2 in E-lat Major, Op. -
Program Notes Coming to Vienna
he is respected and welcomed, especially in the great houses.” Drawn to the city multiple times, both Wolfgang Amadè Mozart and Ludwig van Beethoven spent the majority of their adult lives in Vienna. Mozart was born in Salzburg on January 27, 1756. At the age of six, Wolfgang, sometimes along with his sister Maria Anna, began performing to enthusiastic audiences in Vienna and, over the next eight years, traveled to European capitals, astonishing professional musicians and amateurs alike with his musical abilities and knowledge. With this experience as a young boy and certainly some innate knowledge of his own abilities, it is no wonder that Mozart spent most of the 1770s trying to leave Salzburg, which was considered a provincial town. Mozart had been officially appointed to the post of concert master for the court orchestra of the Archbishop of Salzburg on July 9, 1772 with a modest salary of 150 florins. Five years later, Mozart, with the support of his father, asked Instrument Spotlight: to be released from these responsibilities. The Clarinet archbishop responded by firing both father and son. His father’s position was soon restored, By 1800, the clarinet PROGRAM NOTES but Mozart’s was not. Free to pursue other had become established opportunities, he searched for a new position, throughout Europe as a COMING TO VIENNA but nothing was offered. In 1778, disappointed five-key instrument made of with his job prospects and mourning the death of boxwood, with ivory rings and his mother, who had died while she and her son brass keys. The single reed Vienna “is so rich in composers, As the capital of the Austrian empire was tied on to the mouthpiece were in Paris, Mozart returned to Salzburg and and encloses within its walls such and the home of its powerful ruling with a string, a tradition still a number of musicians of superior family, the Habsburgs, Vienna was his old position, now combined with a new post favored today in Germany and merit, that [it is], among German an international and cosmopolitan as court organist.