Coronation Mass
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Köchel Numbers
Köchel numbers I have long associated Mozart's works with the numbers from the Köchel catalogue, so that, for example, the number 465 instantly evokes in my mind the slow chromatic introduction to the C major "Dissonance" quartet. During our first year in Canada, my wife and I lived at a house bearing the number 899, a disappointingly unevocative number, I thought, since I knew that Köchel’s catalogue ends at 626 with the Requiem. Then we moved to our present address, 529 Piccadilly Street. The number 529 was equally unevocative; a consultation of Alfred Einstein’s Mozart biography revealed it to correspond merely to an isolated song, unknown to me. Compounding my frustration was the fact that the number of the next door house is 533, the Köchel number of my beloved Mozart piano sonata, the contrapuntal two movement sonata in F. I was further chagrined to find that just down the street there are three successive houses bearing numbers corresponding to some of my favourite works, 499 (D major "Hoffmeister" quartet) 511 (A minor rondo for piano) and 515 (C major quintet)—the presence of an intervening side street explains the incongruous jump from 499 to 511. I remained unhappy with my house number until it struck me after a while (no Ramanujan am I) that 529 is the square of the prime number 23, Alban Berg's "magic" number, which pops up in many of his compositions (for example, the number of bars in each movement of his "Lyric Suite" is a multiple of 23). Stimulated by these revelations, it suddenly occurred to me that my initial house number 899 was less dull than I had first thought, mathematically at least: it's the product of 29 and 31, a pair of "twin" primes. -
Sept 2010 Pp. 20-23.Indd
A Celebration of Joe Hoppe’s Legacy at St. Patrick’s Church, New Orleans Marijim Thoene High school graduation, 1956 Notre Dame Seminary, 1967 concerts with the Saint Louis Cathedral M.T.: You have all the qualities I At St. Patrick’s Evening of Celebration, Choir under the direction of Elise Cam- think a man of the cloth should when Joe was honored for his 40 years bon and Father Stahl. have—compassion, a fi ne education, of service to the church and when he re- Joe at Evening of Celebration In August 1968 Msgr. John P. Reyn- integrity, reverence, a sense of hu- ceived the Alumnus of the Year Award from the University of New Orleans, olds hired him as the organist for St. Pat- mor. Are you glad that you chose to presented by his dear friend and de- Introduction rick’s Church, where, as Joe said, “There serve the church as a musician rath- partment chair, Dr. James Hammann Joe Hoppe has been organist and di- was no choir or cantor. I was the music er than as a priest, that you chose to rector of music for over 40 years at St. program!” Over time he recruited sing- follow “a road less traveled ?” Patrick’s Roman Catholic Church in New ers, and had a choir of over 40 voices. In J.H.: Yes. After two years in the active Orleans, Louisiana, located in the busi- September 1990 he was accepted into ministry, I came to the realization that ness district at 734 Camp Street. This the master’s program at the University for personal and spiritual reasons, I had historic church, completed in 1840, is in of New Orleans, where he studied or- to make a change in my life. -
Table of Contents
Sheet TM Version 2.0 Music 1 CD Haydn, Mozart, and Beethoven Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Haydn, Mozart, and Beethoven, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the book- marks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to find the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the files on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM HAYDN MOZART BEETHOVEN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC Sheet TM Version 2.0 Music 2 CD FRANZ JOSEPH HAYDN WOLFGANG AMADEUS MOZART The Creation (Die Schöpfung) Veni Sancte Spiritus, K. 47 Part I Te Deum in C Major, K. 141/66b Part II Mass in F, K. 192 Part III Litaniae Lauretanae in D Major, K. 195/186d Mass No. 3 in C Major (Missa Cellensis) (Mariazellermesse) Mass in C Major, K. 258 (Missa Brevis) Mass No. 6 in G Major Missa Brevis in C Major, K. 259 (Organ Solo) (Mass in Honor of Saint Nicholas) Sancta Maria, Mater Dei, K. 273 Mass No. 7 in B Major b Mass in Bb Major, K. -
Radio 3 Listings for 12 – 18 June 2010 Page 1
Radio 3 Listings for 12 – 18 June 2010 Page 1 of 11 SATURDAY 12 JUNE 2010 Symphony No.22 in E flat, 'The Philosopher' Tom Service meets conductor Jonathan Nott, principal Amsterdam Bach Soloists conductor of the Bamberg Symphony Orchestra, and talks to SAT 01:00 Through the Night (b00smvg2) tenor Ian Bostridge and director David Alden about performing Jonathan Swain presents rarities, archive and concert recordings 4:35 AM Janacek. Robin Holloway talks about the appeal for from Europe's leading broadcasters Abel, Carl Friedrich (1723-1787) contemporary composers of Schumann's music, plus a report on Sonata No.6 in G major (Op.6 No.6) classical club nights. 1:01 AM Karl Kaiser (transverse flute), Susanne Kaiser (harpsichord) Wagner, Richard (1813-1883) Wie Lachend sie mir Lieder singen ( Tristan und Isolde, Act 1) 4:45 AM SAT 13:00 The Early Music Show (b00sq42f) Brigit Nilsson (Isolde), Irene Dalis (Brangäne), Metropolitan Rore, Cipriano de (c1515-1565) Ghostwriter: The Story of Henri Desmarest Opera Orchestra, Karl Böhm (conductor) Fera gentil The Consort of Musicke, Anthony Rooley (director) Henry Desmarest was obviously a talented musican and 1:10 AM composer, first boy page and then musician in Louis XIV's Wagner, Richard (1813-1883) 4:51 AM court, he began ghost-writing Grands Motets for one of the Amfortas! Die Wunde! (Parsifal, Act 1) Berlioz, Hector (1803-1869) chapel directors Nicholas Goupillet when he was in his early Jon Vickers (Parsifal), Christa Ludwig (Kundry), Metropolitan Le Carnaval romain - overture (Op.9) twenties. -
Pentecost IV
X Week from Sunday 17 th to Sunday 24th June 2018 X Music at English Martyrs’ PILGRIMAGE TO HOLYWELL Low Mass today - organist away Sunday 1st July Music at St. Walburge’s A coach will leave from SW at 11am. Price £15. Gregorian Chant sung by the Sisters Adorers For those not going to Holywell Mass Setting: Kyriale XI & Credo III there will be a Low Mass at SW at the usual time of 10.30 am. Offertory: Da Pacem Domine (M. Franck) Communion: Panis Angelicus (C. Franck) 2.30pm in Holywell (CH8 7PN): Last Gospel: Salve Regina (simple tone) Solemn High Mass, Recessional: All people that on earth do dwell (20) followed by Rosary Procession to St Winefride’s We l l . TEA & COFFEE AFTER MASS TODAY PLEASE PRAY Please join us for conversation for the sick members of our shrines: and refreshments after Mass today. Anita Richards, Jean O’Connor, Nathan and many others. WEEKLY SCHEDULE SAINT WALBURGE’S WEEKLY SCHEDULE SAINT THOMAS OF Sunday CANTERBURY & ENGLISH MARTYRS 10 am Confessions Sunday 10.30 am High Mass 9am Low Mass with organ 5.30 pm Vespers, Rosary & Benediction Monday - Friday Monday – Thursday 7.30 am Lauds (except Thurs) (morning prayer) 11.30am Rosary 8.30 am Angelus, followed by Low Mass 12 noon Angelus followed by Low Mass 5 pm Confessions 5.30 pm Vespers (evening prayer) Friday 6 pm Adoration 11.30am Rosary 7 pm Compline (night prayer) 12 noon Angelus followed by Sung Mass 12.45pm Devotions to the English Martyrs Saturday Saturday 7.30 am Lauds (morning prayer) 10am Low Mass 10 am Rosary (Confessions during) 10.45am Adoration of the Blessed 10.30 am Low Mass & Devotions Sacrament with Confessions available 5 pm Rosary & Benediction 5.30pm Mass (Ordinary Form – Parish 6pm Mass (Ordinary Form – Parish Priest) Priest) NEW 24 H VOTIVE CANDLES for your personal devotion towards CONFIRMATIONS The Sacred Heart, the Immaculate If would like to receive this sacrament and its FOR YOUR DIARY preparation, please contact us asap. -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Mönster Och Möjligheter Programblad 2
Mönster och möjligheter Genus och gestaltning i 1700-talsopera Operahögskolan/Stockholms konstnärliga högskola, 20 september 2018 Ett gästspel från Musikhögskolan vid Luleå tekniska universitet, i Piteå och Högskolan för scen och musik, Göteborgs universitet Medverkande På scen: Tove Dahlberg, alla roller Bo Wannefors, piano Idé, manus, och iscensättning: Tove Dahlberg och Kristina Hagström-Ståhl Ljusdesign: Tobias Hagström-Ståhl/Lumination of Sweden Övriga pianister: Eric Skarby, Tommy Jonsson, Rut Pergament Coach, maskulinitet: Eva Johansson * * * Hur kan genusforskning och kritiska perspektiv användas i en konstnärlig praktik? Vilka är möjligheterna att arbeta normkritiskt – och normkreativt – med opera? I det här proJektet undersöker Tove Dahlberg och Kristina Hagström-Ståhl tillsammans sångarens handlingsutrymme i den konstnärliga processen, samt relationen mellan scenisk och musikalisk gestaltning i operarepertoar. Med Mozarts opera Figaros bröllop (1786) som utgångspunkt och material har Tove och Kristina mötts i en serie laborationer, som syftat till att väcka frågor kring konventioner och ”tyst kunskap” inom opera, men även att utveckla metoder för breddade och medvetna val i den konstnärliga processen. Med sig har de haft pianister med lång erfarenhet av att arbeta med Mozarts operor. Tove tar sig an fem kvinnliga och manliga roller ur operan, med en dubbel målsättning: att utmana sina egna vokala och sceniska register och att låta operans scener och arior bli föremål för konstnärlig undersökning. Särskilt har vi tittat på hur sångliga och kroppsliga praktiker tillsammans påverkar hur maskulinitet och femininitet kan gestaltas och hur gestaltningen blir läsbar för en publik. En genomgående frågeställning har gällt relationen mellan operan som material och konstnärligt verk i egen rätt – mellan sångarens och rollens behov. -
Performing Michael Haydn's Requiem in C Minor, MH155
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service. -
Berlioz's Les Nuits D'été
Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board. -
The Critical Reception of Beethoven's Compositions by His German Contemporaries, Op. 123 to Op
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 123 to Op. 124 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-4-4 Center for Beethoven Research Boston University Contents Foreword 6 Op. 123. Missa Solemnis in D Major 123.1 I. P. S. 8 “Various.” Berliner allgemeine musikalische Zeitung 1 (21 January 1824): 34. 123.2 Friedrich August Kanne. 9 “Beethoven’s Most Recent Compositions.” Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 8 (12 May 1824): 120. 123.3 *—*. 11 “Musical Performance.” Wiener Zeitschrift für Kunst, Literatur, Theater und Mode 9 (15 May 1824): 506–7. 123.4 Ignaz Xaver Seyfried. 14 “State of Music and Musical Life in Vienna.” Caecilia 1 (June 1824): 200. 123.5 “News. Vienna. Musical Diary of the Month of May.” 15 Allgemeine musikalische Zeitung 26 (1 July 1824): col. 437–42. 3 contents 123.6 “Glances at the Most Recent Appearances in Musical Literature.” 19 Caecilia 1 (October 1824): 372. 123.7 Gottfried Weber. 20 “Invitation to Subscribe.” Caecilia 2 (Intelligence Report no. 7) (April 1825): 43. 123.8 “News. Vienna. Musical Diary of the Month of March.” 22 Allgemeine musikalische Zeitung 29 (25 April 1827): col. 284. 123.9 “ .” 23 Allgemeiner musikalischer Anzeiger 1 (May 1827): 372–74. 123.10 “Various. The Eleventh Lower Rhine Music Festival at Elberfeld.” 25 Allgemeine Zeitung, no. 156 (7 June 1827). 123.11 Rheinischer Merkur no. 46 27 (9 June 1827). 123.12 Georg Christian Grossheim and Joseph Fröhlich. 28 “Two Reviews.” Caecilia 9 (1828): 22–45. -
Instructions for Authors
Journal of Science and Arts Supplement at No.1- 2, pp. 29-32, 2011 BENCHMARKS IN VIENESE CLASSICAL CHAMBER MUSIC TRIOS WITH CLARINET – W. A. MOZART FELIX C-TIN GOLDBACH1, ILIA BILBIE GEORGESCU2 _________________________________________________ Manuscript received: 10.04.2011. Accepted paper: 11.05.2011. Published online: 10.06.2011. Abstract. Johann Chrysostom Wolfgang Amadeus Mozart (Salzburg, 27th of January 1756 – Vienna 5th of December 1791) through his music an his immensely contribution to bloom the artistic and aesthetic classical movement, remained in the humanity and musical history one of the most representative personality of the Viennese Classicism – a cornerstone for the subsequent musical movement birth and development. Keywords: music, pre-classicism, chamber music, clarinet. 1. INTRODUCTION W. A. Mozart, son of the composer, violinist and musical pedagogue Leopold, having become a prodigy child, stride across European musical capitals and aristocracy palaces. Soon, he will be recognised as a violin and harpsichord virtuoso; above, he receives order to compose music, art for which he proves a brilliant talent. The power of his memory accumulates with agility all the characteristics and new trends appeared in Europe and has the chance to accomplish them. The ideas and the most illustrative music schools affluences will be joint with the depth of his musical style, starting from the brilliance virtuosity to the absolute expressive eloquence from his gallant style, rococo works. 2. DISCUSSIONS The testimony of his compositional -
The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years
THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24