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The Application of the Kinesthetic Sense: an Introduction of Body Awareness in Cello Pedagogy and Performance
The Application of the Kinesthetic Sense: An Introduction of Body Awareness in Cello Pedagogy and Performance A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music March 2014 by Gustavo Carpinteyro-Lara BM, University of Southern Mississippi, 2001 MM, Bowling Green State University, 2003 Committee Chair: Lee Fiser, BM Abstract This document on cello pedagogy and playing focuses on the importance of the kinesthetic sense as it relates to teaching and performance quality. William Conable, creator of body mapping, has described how the kinesthetic sense or movement sense provides information about the body’s position and size, and whether the body is moving and, if so, where and how. In addition Craig Williamson, pioneer of Somatic Integration, claims that the kinesthetic sense enables one to sense what the body is doing at any time, including muscular effort, tension, relaxation, balance, spatial orientation, distance, and proportion. Cellists can develop and awaken the kinesthetic sense in order to have conscious body awareness, and to understand that cello playing is a physical, aerobic, intellectual, and musical activity. This document describes the physical, motion, aerobic, anatomic, and kinesthetic approach to cello playing and is supported by somatic education methods, such as the Alexander Technique, Feldenkrais Method, and Yoga. By applying body awareness and kinesthesia in cello playing, cellists can have freedom, balance, ease in their movements, and an intelligent way of playing and performing. ii Copyright © 2014 by Gustavo Carpinteyro-Lara. -
Composer Title Publisher No. of Parts Instruments Price
Composer Title Publisher No. of parts Instruments Price Arnold, M Three Shanties for wind quintet Paterson's 5 oboe, flute, clarinet, horn, bassoon £5 Arnold, M Trio Op 54 Paterson's 3 violin, cello, paino £5 de Arriaga, J C Three Quartets Pegasus 3x4 2x violin, viola, cello £5 Assorted Album of Easy String Quartets vol 2 Kalmus 4 2x violin, viola, cello £5 Auton Aunt Nan & The Old Man Musicland 30 18 x violin, 4 x viola, 7 x cello, full score £5 Auton Folk Songs for Junior String Orchestra Set 1 Musicland 5 3x violin, viola cello/double bass £5 Auton Folk Songs for Junior String Orchestra Set 3 Musicland 5 3x violin, viola, cello/double bass £5 Auton Nancy's Fancy Musicland 5 3x violin, viola, cello/double bass £5 Auton Up and Back A Double Musicland 6 3x violin, viola, cello, double bass £5 Bach, C P E Trio No 3 in G major International Music Co 3 flute, clarinet, piano £5 International Music Bach, C P E Trio No 3 in G major Company 4 piano, viola, flute or violin, clarinet, £5 Bach Quartet in A Musica Rara 4 viola, flute, violin, cello £5 Bach The Art of Fuge OUP 4 2x violin, viola, cello £5 Bach 3 Trio Sonaten Peters 3 violin, viola, piano £5 Bach, J C Quintet in A Op 11 No 5 Music Rara 5 oboe, flute, violin, viola, cello £5 Bach, J C Quintet in F Op 11 No 3 Musica Rara 5 oboe, flute, violin, viola, cello £5 Bach, J C Quartet in C Musica Rara 4 2x violin (or flute) viola (or flute), cello (or flute) £5 Bach, J C Six easy trios for strings Op 4 Marbot GMBH 3 2x violin, cello £5 Bach, J S Sheep May Safely Schott & Co 5 voice, 2x treble recorders, cello, piano £5 Bach, J S (arr. -
Interpretation of Mozart Concertos with an Historical View
Kurs: CA 1004 30 hp 2018 Master in Music 120 ECTS Institutionen för Klassisk musik Handledare: Katarina Ström-Harg Examinator: Ronny Lindeborg Mónica Berenguer Caro Interpretation of Mozart concertos with an historical view 1 Preface The basis of this research originally came from my passion for my instrument. I started to think about the importance of Mozart's concertos about 4 years ago, when I began taking orchestra auditions and competitions. A horn player will perform Mozart concertos through his entire musical career, so I think it is necessary to know more about them. I hope to contribute to knowledge for new and future students and I hope that they will be able to access to the content of my thesis whenever they need it. In fact, I may have not achieved my current level of success without a strong support group. First, my parents, who have supported me with love and understanding. Secondly there are my teachers, Katarina Ström-Harg and Annamia Larsson, each of whom has provided patient advices and guidance throughout the research process. Thank you all for your unwavering support. 2 Abstract This thesis is an historical, technical and stylistic investigation of Mozart horn concertos. It includes a description of Mozart’s life; the moment in his life where the concertos were developed. It contains information about Ignaz Leitgeb, the horn player who has a close friendship with Mozart. Also, the explanation of his technical characteristics of the natural horn and the way of Mozart deal with the resources and limitations of this instrument, as well as the way of the interpretation of these pieces had been facilitated by the arrival of the chromatic horn. -
Andrzej Bauer
Andrzej Bauer Winner of the first prize at the ARD International Competition in Munich, prizewinner at the Prague Spring International Competition and recipient of the prize awarded under the auspices of the European Parliament and the Council of Europe. Andrzej Bauer was born in Łódź, where he completed his studies under Kazimierz Michalik’s guidance. He continued his musical education, working with e.g. André Navarra, Miloš Sadlo and Daniel Szafran during numerous masterclasses. He also completed a two-year course in London, under William Pleeth, thanks to a scholarship funded by Witold Lutosławski. Andrzej Bauer has given recitals in Amsterdam, Paris, Hamburg and Munich, and performed with symphony orchestras, including the Munich Philharmonic Orchestra, RAI Naples Orchestra, Orchestre Philharmonique de Strasbourg, Stuttgart Radio Symphony Orchestra and Berlin Radio Symphony Orchestra. He has appeared in concert as a soloist with most Polish symphony and chamber orchestras, with ensembles like the National Philharmonic Orchestra and Sinfonia Varsovia inviting him to join them as a soloist on their European concert tours. Andrzej Bauer has recorded music for a number radio and television stations in Poland and other countries. He has taken part in international festivals, performing in most European countries as well as the United States and Japan. The artist’s recording with works by Schubert, Brahms and Schumann (Koch/Schwann) won the quarterly German Record Critics’ Award. His subsequent CDs featured works by Shostakovich, Prokofiev, Stravinsky, Messiaen, Panufnik as well as Witold Lutosławski’s Cello Concerto. 2000 saw the release of the first ever Polish recording (on two CDs) of all of Bach’s cello suites, recorded by Bauer for the CD Accord label, for which the artist won the 2000 Fryderyk Award of the Polish Academy of Phonography. -
Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier. -
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. -
The Inspiration Behind Compositions for Clarinetist Frederick Thurston
THE INSPIRATION BEHIND COMPOSITIONS FOR CLARINETIST FREDERICK THURSTON Aileen Marie Razey, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Kimberly Cole Luevano, Major Professor Warren Henry, Committee Member John Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Razey, Aileen Marie. The Inspiration behind Compositions for Clarinetist Frederick Thurston. Doctor of Musical Arts (Performance), August 2018, 86 pp., references, 51 titles. Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston’s legacy is often overlooked among clarinetists in the United States. Thurston’s playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston’s career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston’s playing, clarinetists may gain a fuller understanding of Thurston’s ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers’ inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. -
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. -
The Clarion Wind Quintet
VOLUME 17, NUMBER 10, 11 Published by the BNL Personnel Ofke DECEMBER 3, 1963 BERA FILM SERIES BEtA PRESENTS CLEO FROM 5 TO 7 THE CLARION WIND QUINTET Thursday, Dec. 5, 8:30 p.m., Lecture Hall “Cieo” is Agnes Varda’s first feature Thursday - December 12 - 8:30 p.m. THE BROOKHAVEN CENTER film, although because of her earlier short subjects, she is generally regalpded The second concert of the 1963-64 BERA Concert Series will be presented on as the precursor of France’s “New December 12 by the Clarion Wind Quintet. The Quintet is comprised of Philip Wave.” Alain Resnais was the editor Dunigan, flute; Henry Schuman, oboe; Robert Listokin, clarinet; Howard Hillyer, on her first short film. horn; and Maril Popkin, bassoon. The story is that of a glamorous In the spring of 1961, five American musicians, long associated in various young girl, primarily interested in luxury orchestra and chamber- groups, came together to form the Clarion Wind Quintet. and pleasure, and 90 minutes of her All are now members of the Clarion Orchestra, and their first concerts were given life - the period between her visit to a under the auspices of the Clarion Music Society. They have gained a wide reputa- fortune teller and the time she is sched- tion as splendid performers of an extensive repertoire ranging from Mozart and uled to meet her doctor to hear thle re- Beethoven to choice modern compositions by Carl Nielsen, Samuel Barber, Wal- sults of some extensive medical tests. In lingford Riegger, Elliot Carter and others. They also perform some outstanding this brief period, faced with the pos- chamber music for wind instruments with piano, and such rarely heard classics as sibi!ity of an incurable cancer, Cleo Mozart’s Symphonie Concertante for four wind instruments and orchestra. -
Critical Success Factors in Cello Training a Comparative Study
Critical success factors in cello training a comparative study by Anzél Gerber Submitted in partial fulfilment of the requirements for the degree PhD Music (Performance Practice) in the Department of Music Goldsmiths College, University of London Supervisor Professor Alexander Ivashkin 2008 (ii) DECLARATION I, Anzél Gerber, the undersigned, hereby declare that this dissertation, submitted in partial fulfilment for the degree PhD Music (Performance Practice), is my own original work. Signed: _______________________ Anzél Gerber (iii) ABSTRACT The research focused on the identification and ranking of critical success factors that contribute most significantly towards the training of a cello student. The empirical study was based on a sample of cello teachers in four countries selected for the study, namely Germany, Russia, the United Kingdom and the United States of America. A literature study, identifying a broad category of factors that could contribute towards successful cello training, formed the basis of the questionnaire. These critical success factors included the quality of the teacher, acquired skills, the talent and giftedness of the student, support rendered to the student, and the curriculum. Each of these factors comprised five sub factors. The respondents were required to rank these factors in order of importance. In the final analysis, they were requested to rank the five main factors. A statistical process of ranking (forced ranking) and Kruskal-Wallis was applied to rank and analyse the responses of the cello teachers in the survey. The critical success factors that contribute the most significantly towards successful cello training were identified and compared. ________________________________ (iv) PREFACE This study is in partial fulfilment for the degree PhD Music Performance at Goldsmiths College, University of London. -
2019 Preview Notes • Week Three
2019 Preview Notes • Week Three Friday, July 26 at 8:00pm—Marlboro College Dining Hall Piano Trio in F Major, Op. 80 (1847) Three Songs from William Robert Schumann Shakespeare (1953) Born June 8, 1810 Igor Stravinsky Died July 29, 1856 Born June 17, 1882 Duration: approx. 30 minutes Died April 6, 1971 Last Marlboro performance: 2018 Duration: approx. 7 minutes Last Marlboro Performance: 2012 Schumann wrote three piano trios, and though the opus designations between Schumann’s first two trios span When Mitsuko Uchida announced her co-directorship of almost 20 numbers, the trios were both composed in the Marlboro Music with Jonathan Biss last summer, she same year. Schumann himself stated that the second quoted Shakespeare’s beloved comment on music from makes a “friendlier and more immediate impression” than Twelfth Night: “If music be the food of love, play on!” The the first, which was written in a “time of gloomy moods.” Bard’s references to music, throughout his plays as well as This trio in F Major romps through a version of sonata his poems, are many. In this collection of songs, form in the first movement, exuberantly exploring Stravinsky chose to set Sonnet VIII, Music to hear, Ariel’s unexpected keys and closing with enthusiasm. The lyrical song “Five Fathoms Deep” from The Tempest, and the second movement provides balance, and the third cuckoo’s song “When Daisies Pied” from Love’s Labour’s movement continues with a quirkily elegant, dance-like Lost. Stravinsky combines some tonal implications with sense of motion. The final movement draws on previous limited serialist techniques to illustrate each song, themes to conclude the piece with mounting excitement. -
Rhapsody in Blue Wind Octet Wind Ensemble Sheet Music
Rhapsody In Blue Wind Octet Wind Ensemble Sheet Music Download rhapsody in blue wind octet wind ensemble sheet music pdf now available in our library. We give you 6 pages partial preview of rhapsody in blue wind octet wind ensemble sheet music that you can try for free. This music notes has been read 3037 times and last read at 2021-09-26 23:12:04. In order to continue read the entire sheet music of rhapsody in blue wind octet wind ensemble you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Glockenspiel Ensemble: Chamber Music Level: Advanced [ READ SHEET MUSIC ] Other Sheet Music Bohemian Rhapsody Wind Dectet Wind Ensemble Bohemian Rhapsody Wind Dectet Wind Ensemble sheet music has been read 2729 times. Bohemian rhapsody wind dectet wind ensemble arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 10:59:03. [ Read More ] Rhapsody In Blue String Ensemble String Orchestra String Octet Rhapsody In Blue String Ensemble String Orchestra String Octet sheet music has been read 5556 times. Rhapsody in blue string ensemble string orchestra string octet arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-26 00:30:02. [ Read More ] Wind Octet In Eb Major Op 103 Arranged For Wind Quintet Wind Octet In Eb Major Op 103 Arranged For Wind Quintet sheet music has been read 4599 times. Wind octet in eb major op 103 arranged for wind quintet arrangement is for Advanced level.