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Gaspard Le Roux 1660-1707 Pièces De Clavessin (1705)
Gaspard Complete HarpsichordLe Roux Music Pieter-Jan Belder Siebe Henstra Gaspard le Roux 1660-1707 Pièces de Clavessin (1705) Suite in D minor/major Suite in F major 39. Sarabande (en douze couplets) 13’00 Pieter-Jan Belder harpsichord I 1. Prélude 0’46 21. Prélude 1’25 40. Menuet 1’01 (Solo on 16-26) 2. Allemande, “la Vauvert” 4’25 22. Allemande grave 3’05 41. Gigue (pour deux Clavecins) 1’52 Siebe Henstra harpsichord II 3. Courante 1’17 23. Courante 1’27 42. Courante (avec sa contre partie) 1’31 (Solo on harpsichord I, on 33-42 ) 4. Sarabande grave 2’05 24. Chaconne 4’03 5. Menuet 1’20 25. Menuet & 2 Doubles Suite in A minor/major Harpsichord I: Titus Crijnen after 6. Passepied 0’40 du Menuet 1’55 (solo version) Ruckers 1624, Sabiñan 2014 7. Courante luthée 1’55 26. Passepied 0’54 43. Prélude 0’50 Harpsichord II: Titus Crijnen after 8. Allemande grave, 27. Allemande 1’54 44. Allemande “l’Incomparable” 2’21 Blanchet 1731, Sabiñan 2013 “la Lorenzany” 3’28 45. Courante 1’29 9. Courante 1’28 Suite in F-sharp minor 46. Sarabande 2’02 10. Sarabande gaye 2’51 28. Allemande gaye 1’10 47. Sarabande en Rondeau 2’15 11. Gavotte 1’09 29. Courante 1’27 48. Gavotte 1’05 30. Double de la Courante 1’32 49. Menuet & double du Menuet 1’01 Suite in A minor/major 31. Sarabande grave en Rondeau 2’25 50. Second Menuet 0’32 12. Prélude 0’50 32. -
LOVE CHILD and ROOTS Creating Two Albums with Original Compositions and Arrangements for Trio and Quartet
96 | LOVE CHILD AND ROOTS – Creating two albums with original compositions and arrangements for trio and quartet LOVE CHILD AND ROOTS Creating two albums with original compositions and arrangements for trio and quartet By Torben Bjørnskov, assoc. professor, RAMA Why compose? and a main reason for me to compose, other In my musical career I mainly worked as a than the fact that I love doing it. sideman playing in other musicians’ groups playing other musicians’ compositions. In a way you can say that a personal sound When you are asked to play in different is a gift, great musical skills are a gift too, constellations there might be a wide range but something you can work on in a very of reasons why you are asked. concrete and professional way. Developing I want to focus on two that I find important a personal style for some is something that for this article. comes natural, for others something that 1. Your specific style of playing and perso- develops and changes over time. nal sound. When I compose, I seek to compose music 2. Your ability to play a certain genre and that I feel comfortable playing but also contribute to the overall band sound. music that I can relate to on as many levels as possible: harmonically, groove-wise, So my main issues here are how to develop emotionally, style-wise etc. Especially, I a personal style and find the most fruitful try to develop music that helps me define a way to express music, having developed all- more personal sound and style of playing, round musical skills. -
Allemande Johann Herrmann Schein Sheet Music
Allemande Johann Herrmann Schein Sheet Music Download allemande johann herrmann schein sheet music pdf now available in our library. We give you 1 pages partial preview of allemande johann herrmann schein sheet music that you can try for free. This music notes has been read 4280 times and last read at 2021-09-29 13:16:38. In order to continue read the entire sheet music of allemande johann herrmann schein you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Bassoon Solo Ensemble: Mixed Level: Beginning [ READ SHEET MUSIC ] Other Sheet Music Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet Canzon No 23 A Baroque Madrigal By Johann Hermann Schein For Brass Quintet sheet music has been read 3565 times. Canzon no 23 a baroque madrigal by johann hermann schein for brass quintet arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-27 17:32:11. [ Read More ] Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds Allemande From The French Suite Number V By Johann Sebastian Bach Arranged For 3 Woodwinds sheet music has been read 3664 times. Allemande from the french suite number v by johann sebastian bach arranged for 3 woodwinds arrangement is for Intermediate level. The music notes has 6 preview and last read at 2021-09-29 13:16:24. [ Read More ] Hinunter Ist Der Sonne Schein Fr Posaunenquartett Hinunter Ist Der Sonne Schein Fr Posaunenquartett sheet music has been read 3235 times. -
Harpsichord Suite in a Minor by Élisabeth Jacquet De La Guerre
Harpsichord Suite in A Minor by Élisabeth Jacquet de la Guerre Arranged for Solo Guitar by David Sewell A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved November 2019 by the Graduate Supervisory Committee: Frank Koonce, Chair Catalin Rotaru Kotoka Suzuki ARIZONA STATE UNIVERSITY December 2019 ABSTRACT Transcriptions and arrangements of works originally written for other instruments have greatly expanded the guitar’s repertoire. This project focuses on a new arrangement of the Suite in A Minor by Élisabeth Jacquet de la Guerre (1665–1729), which originally was composed for harpsichord. The author chose this work because the repertoire for the guitar is critically lacking in examples of French Baroque harpsichord music and also of works by female composers. The suite includes an unmeasured harpsichord prelude––a genre that, to the author’s knowledge, has not been arranged for the modern six-string guitar. This project also contains a brief account of Jacquet de la Guerre’s life, discusses the genre of unmeasured harpsichord preludes, and provides an overview of compositional aspects of the suite. Furthermore, it includes the arrangement methodology, which shows the process of creating an idiomatic arrangement from harpsichord to solo guitar while trying to preserve the integrity of the original work. A summary of the changes in the current arrangement is presented in Appendix B. i ACKNOWLEDGMENTS I would like to express my great appreciation to Professor Frank Koonce for his support and valuable advice during the development of this research, and also to the members of my committee, Professor Catalin Rotaru and Dr. -
Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING
Music for the Countess of Sandwich Six Suites for Flûte du Voix and Harpsichord Charles Dieupart Ruth Wilkinson Linda Kent PREMIER RECORDING A rare opportunity to experience the unusual, haunting colours of the “voice flute”. Includes two suites copied by J.S. Bach. First release of the Linda Kent Ruth Wilkinson complete suites of Charles Dieupart. Six Suites for Flûte du Voix and Harpsichord (1701) by Charles Dieupart Music for the Countess of Sandwich P 1995 MOVE RECORDS Suitte 1 A major (13’35”) Suitte 4 e minor (12’23”) AUSTRALIA Siutte 2 D major (10’10”) Suitte 3 b minor (12’44”) Suitte 6 f minor (13’46”) Suitte 5 F major (14’19”) move.com.au harles Dieupart was of the 17th century for her health: a French violinist, it was possible that she became C harpsichordist and Dieupart’s harpsichord pupil composer who spent the last before returning to England. 40 years of his life in England. Two versions of the Suites He was known as Charles to his were published simultaneously contemporaries in England but about his final years. One story in Amsterdam by Estienne there is some evidence from letters claimed that Dieupart was on the Roger: one for solo harpsichord signed by Dieupart that he was known brink of going to the Indies to follow and the other with separate parts as Francois in his native France. He a surgeon who proposed using music for violin or flute with a continuo was active in the operatic world: as an anaesthetic for lithotomies. part for bass viol or theorbo and we learn from Sir John Hawkins Hawkins gives us the following figured bass. -
Le Temple De La Gloire
april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 15 A co-production of Cal Performances, Philharmonia Baroque Orchestra & Chorale, and Centre de musique baroque de Versailles Friday and Saturday, April 28 –29, 2017, 8pm Sunday, April 30, 2017, 3pm Zellerbach Hall Jean-Philippe Rameau Le Temple de la Gloire (The Temple of Glory) Opera in three acts with a prologue Libretto by Voltaire featuring Nicholas McGegan, conductor Marc Labonnette Camille Ortiz-Lafont Philippe-Nicolas Martin Gabrielle Philiponet Chantal Santon-Jeffery Artavazd Sargsyan Aaron Sheehan New York Baroque Dance Company Catherine Turocy, artistic director Brynt Beitman Caroline Copeland Carly Fox Horton Olsi Gjeci Alexis Silver Meggi Sweeney Smith Matthew Ting Andrew Trego Philharmonia Baroque Orchestra & Chorale Bruce Lamott, chorale director Catherine Turocy, stage director and choreographer Scott Blake, set designer Marie Anne Chiment, costume designer Pierre Dupouey, lighting designer Sarah Edgar, assistant director Cath Brittan, production director Major support for Le Temple de la Gloire is generously provided by Philharmonia Baroque Orchestra & Chorale supporters: David Low & Dominique Lahaussois, The Waverley Fund, Mark Perry & Melanie Peña, PBO’s Board of Directors, and The Bernard Osher Foundation. Cal Performances and Philharmonia Baroque Orchestra & Chorale dedicate Le Temple de la Gloire to Ross E. Armstrong for his extraordinary leadership in both our organizations, his friendship, and his great passion for music. This performance is made possible, in part, by Patron Sponsors Susan Graham Harrison and Michael A. Harrison, and Francoise Stone. Additional support made possible, in part, by Corporate Sponsor U.S. Bank. april insert 4.qxp_Layout 1 5/10/17 7:08 AM Page 16 Title page of the original 1745 libretto of Le Temple de la Gloire . -
Emily Dickinson in Song
1 Emily Dickinson in Song A Discography, 1925-2019 Compiled by Georgiana Strickland 2 Copyright © 2019 by Georgiana W. Strickland All rights reserved 3 What would the Dower be Had I the Art to stun myself With Bolts of Melody! Emily Dickinson 4 Contents Preface 5 Introduction 7 I. Recordings with Vocal Works by a Single Composer 9 Alphabetical by composer II. Compilations: Recordings with Vocal Works by Multiple Composers 54 Alphabetical by record title III. Recordings with Non-Vocal Works 72 Alphabetical by composer or record title IV: Recordings with Works in Miscellaneous Formats 76 Alphabetical by composer or record title Sources 81 Acknowledgments 83 5 Preface The American poet Emily Dickinson (1830-1886), unknown in her lifetime, is today revered by poets and poetry lovers throughout the world, and her revolutionary poetic style has been widely influential. Yet her equally wide influence on the world of music was largely unrecognized until 1992, when the late Carlton Lowenberg published his groundbreaking study Musicians Wrestle Everywhere: Emily Dickinson and Music (Fallen Leaf Press), an examination of Dickinson's involvement in the music of her time, and a "detailed inventory" of 1,615 musical settings of her poems. The result is a survey of an important segment of twentieth-century music. In the years since Lowenberg's inventory appeared, the number of Dickinson settings is estimated to have more than doubled, and a large number of them have been performed and recorded. One critic has described Dickinson as "the darling of modern composers."1 The intriguing question of why this should be so has been answered in many ways by composers and others. -
Johann Sebastian Bach Orchestral Suite No. 3 in D Major, BWV No. 3 in D Major, BWV 1068
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 3 in D Major, BWV 1068 Although the dating of Bach’s four orchestral suites is uncertain, the third was probably written in 1731. The score calls for two oboes, three trumpets, timpani, and harpsichord, with strings and basso continuo. Performance time is approximately twenty -one minutes. The Chicago Sympho ny Orchestra’s first subscription concert performances of Bach’s Third Orchestral Suite were given at the Auditorium Theatre on October 23 and 24, 1891, with Theodore Thomas conducting. Our most recent subscription concert performances were given on May 15 , 16, 17, and 20, 2003, with Jaime Laredo conducting. The Orchestra first performed the Air and Gavotte from this suite at the Ravinia Festival on June 29, 1941, with Frederick Stock conducting; the complete suite was first performed at Ravinia on August 5 , 1948, with Pierre Monteux conducting, and most recently on August 28, 2000, with Vladimir Feltsman conducting. When the young Mendelssohn played the first movement of Bach’s Third Orchestral Suite on the piano for Goethe, the poet said he could see “a p rocession of elegantly dressed people proceeding down a great staircase.” Bach’s music was nearly forgotten in 1830, and Goethe, never having heard this suite before, can be forgiven for wanting to attach a visual image to such stately and sweeping music. Today it’s hard to imagine a time when Bach’s name meant little to music lovers and when these four orchestral suites weren’t considered landmarks. -
Pavey Poster Final.Pptx
French Impressionism and the Baroque: Connection and Influence The Rise of Early Music in France Diémer and the Harpsichord The interest in Baroque music in France began at least partially from a sense of Along with the increased interest in music from the past, there was a pronounced nationalistic pride in France in the late 19th century. At this time, publications of fascination with early instruments and, in particular, the harpsichord. The German music emphasized a sense of lineage and canon of composers stemming harpsichord was displayed at the Exposition Universelle (1889) inParis in recitals from the early Baroque, to the present day. French composers consciously began performed by Louis Diémer, a French pianist and harpsichordist. Shortly after looking back to music from earlier periods in France to create their own lineage, becoming a professor at the Paris Conservatoire, Diémer founded the Société des ancestry, and canon. Composers and performers of late 19th century France, explored Instruments Anciens, which organized additional concerts for audiences a variety of Baroque music, but of particular popularity were works by Jean-Baptiste interested in early instruments. Lully, Jean-Philippe Rameau, and François Couperin. Diémer’s performances helped to popularize not only the harpsichord, but also Composers of this period, including Claude Debussy and Maurice Ravel turned to the repertoire written for the instrument. In the early 20th century, he edited early French Baroque works for inspiration and imitated formal techniques, textural several volumes of Les Clavecinistes Français, which published works of F. elements, and dance styles. Excepting “Clair de lune,” Debussy’s Suite bergamasque Couperin, Rameau, Daquin, Dandrieu, and more. -
PROGRAM NOTES Johann Sebastian Bach Orchestral Suite No. 1 in C
PROGRAM NOTES by Phillip Huscher Johann Sebastian Bach Born March 21, 1685, Eisenach, Thuringia, Germany. Died July 28, 1750, Leipzig, Germany. Orchestral Suite No. 1 in C Major, BWV 1066 The dating of Bach’s four orche stral suites is uncertain. The first and fourth are the earliest, both composed around 1725. Suite no. 1 calls for two oboes and bassoon, with strings and continuo . Performance time is approximately twenty -one minutes. The Chicago Symphony Orchestra’s fir st subscription concert performances of Bach’s First Orchestral Suite were given at Orchestra Hall on February 22 and 23, 1951, with Rafael Kubelík conducting. Our most recent subscription concert performances were given on May 15, 16, and 17, 2003, with D aniel Barenboim conducting. Today it’s hard to imagine a time when Bach’s name meant little to music lovers, and when his four orchestral suites weren’t considered landmarks. But in the years immediately following Bach’s death in 1750, public knowledge o f his music was nil, even though other, more cosmopolitan composers, such as Handel, who died only nine years later, remained popular. It’s Mendelssohn who gets the credit for the rediscovery of Bach’s music, launched in 1829 by his revival of the Saint Ma tthew Passion in Berlin. A great deal of Bach’s music survives, but incredibly, there’s much more that didn’t. Christoph Wolff, today’s finest Bach biographer, speculates that over two hundred compositions from the Weimar years are lost, and that just 15 to 20 percent of Bach’s output from his subsequent time in Cöthen has survived. -
Baroque Dance
BAROQUE DANCE To understand and interpret musical style of the Baroque era (1600 to 1750) we need to explore a wider field of the Baroque times – the social and political events, the art and architecture, and most importantly Baroque Dance. During the reign of Louis XIV (1638 – 1715) in France the arts flourished. Not only was the King a great patron of the arts, he was also a skilled performer as instrumentalist, singer and above all an outstanding ballet dancer. Dancing was popular not only at Louis XIV’s court but in many aristocratic ballrooms; the influence of Louis XIV’s court was widespread and French dancing masters (with their manuals) travelled throughout Europe. Dancing was considered to be healthful exercise for women, and was a necessary skill for men along with fencing and riding. The Dance Suite, rhythmic patterns from dances pervaded all Baroque music, and instrumental pieces inspired by court dances were frequently grouped into Suites. BAROQUE DANCES Dances from the Baroque period had a great influence on keyboard music. Dance forms included allemande, bourree, chaconne, courante, gavotte, gigue, hornpipe, minuet, musette, polonaise, rigaudon, sarabande, tambourin. Some of the dances were based on folk dances. Minuet the “queen of dances”, the most popular dance of aristocratic society – often performed by one couple at a time, after bowing to the King or whomever was presiding while others observed. The dance had small steps and a complex two bar foot pattern. Allemande of German origin, duple meter, intricate footwork. Courante (courir, to run) used mostly hop-step combinations Gavotte regular part of formal court balls; a joyful dance in duple meter, had “springing” steps Sarabande originally from Latin America and Spain, became very popular in Europe; is in triple meter with frequent accents and longer notes on second beat, a stately, dignified dance. -
A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music
Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. By © 2018 Sunjung Lee Submitted to the graduate degree program in the School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. Chair: Steven Spooner Colin Roust Michael Kirkendoll Hannah Collins Jerel Hilding Date Defended: 4 September 2018 The dissertation committee for Sunjung Lee certifies that this is the approved version of the following dissertation: Music in Motion: A Study of How the Knowledge of Dance Movements Affects the Interpretation of Music. Chair: Steven Spooner Date Approved: 4 September 2018 ii Abstract This paper will discuss research on how knowledge of actual dance movements affects the interpretation of music. The essence of rhythmic elements can be easily misunderstood, despite performers’ efforts to study the context of the notes including programmatic backgrounds, dynamics, harmonic languages, and textures. One of the reasons why rhythm can be easily misinterpreted is the current notation system, which hardly can give the performers enough information to show the characteristics of rhythmic movements unless the performer comprehends the context of the rhythm. This problem can lead musicians to misinterpretations of the aesthetics of the piece because rhythm is one of the major elements that makes music distinctive. People often think music inspires the dancer’s movements. However, we should know the beat is, in fact, from our body’s natural rhythms. Eventually, our body rhythm and the beat are intermingled. Also, even before composers write their music, what they hear and experience in their culture, which is deeply associated with the folk dances, courtly dances, and simple body movements, can have a strong influence on their music.