PROGRAM NOTES Anton Bruckner
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The 17-Tone Puzzle — and the Neo-Medieval Key That Unlocks It
The 17-tone Puzzle — And the Neo-medieval Key That Unlocks It by George Secor A Grave Misunderstanding The 17 division of the octave has to be one of the most misunderstood alternative tuning systems available to the microtonal experimenter. In comparison with divisions such as 19, 22, and 31, it has two major advantages: not only are its fifths better in tune, but it is also more manageable, considering its very reasonable number of tones per octave. A third advantage becomes apparent immediately upon hearing diatonic melodies played in it, one note at a time: 17 is wonderful for melody, outshining both the twelve-tone equal temperament (12-ET) and the Pythagorean tuning in this respect. The most serious problem becomes apparent when we discover that diatonic harmony in this system sounds highly dissonant, considerably more so than is the case with either 12-ET or the Pythagorean tuning, on which we were hoping to improve. Without any further thought, most experimenters thus consign the 17-tone system to the discard pile, confident in the knowledge that there are, after all, much better alternatives available. My own thinking about 17 started in exactly this way. In 1976, having been a microtonal experimenter for thirteen years, I went on record, dismissing 17-ET in only a couple of sentences: The 17-tone equal temperament is of questionable harmonic utility. If you try it, I doubt you’ll stay with it for long.1 Since that time I have become aware of some things which have caused me to change my opinion completely. -
MUSICWEB INTERNATIONAL Recordings of the Year 2018 This
MUSICWEB INTERNATIONAL Recordings Of The Year 2018 This is the fifteenth year that MusicWeb International has asked its reviewing team to nominate their recordings of the year. Reviewers are not restricted to discs they had reviewed, but the choices must have been reviewed on MWI in the last 12 months (December 2017-November 2018). The 130 selections have come from 25 members of the team and 70 different labels, the choices reflecting as usual, the great diversity of music and sources - I say that every year, but still the spread of choices surprises and pleases me. Of the selections, 8 have received two nominations: Mahler and Strauss with Sergiu Celibidache on the Munich Phil choral music by Pavel Chesnokov on Reference Recordings Shostakovich symphonies with Andris Nelsons on DG The Gluepot Connection from the Londinium Choir on Somm The John Adams Edition on the Berlin Phil’s own label Historic recordings of Carlo Zecchi on APR Pärt symphonies on ECM works for two pianos by Stravinsky on Hyperion Chandos was this year’s leading label with 11 nominations, significantly more than any other label. MUSICWEB INTERNATIONAL RECORDING OF THE YEAR In this twelve month period, we published more than 2400 reviews. There is no easy or entirely satisfactory way of choosing one above all others as our Recording of the Year, but this year the choice was a little easier than usual. Pavel CHESNOKOV Teach Me Thy Statutes - PaTRAM Institute Male Choir/Vladimir Gorbik rec. 2016 REFERENCE RECORDINGS FR-727 SACD The most significant anniversary of 2018 was that of the centenary of the death of Claude Debussy, and while there were fine recordings of his music, none stood as deserving of this accolade as much as the choral works of Pavel Chesnokov. -
MTO 0.7: Alphonce, Dissonance and Schumann's Reckless Counterpoint
Volume 0, Number 7, March 1994 Copyright © 1994 Society for Music Theory Bo H. Alphonce KEYWORDS: Schumann, piano music, counterpoint, dissonance, rhythmic shift ABSTRACT: Work in progress about linearity in early romantic music. The essay discusses non-traditional dissonance treatment in some contrapuntal passages from Schumann’s Kreisleriana, opus 16, and his Grande Sonate F minor, opus 14, in particular some that involve a wedge-shaped linear motion or a rhythmic shift of one line relative to the harmonic progression. [1] The present paper is the first result of a planned project on linearity and other features of person- and period-style in early romantic music.(1) It is limited to Schumann's piano music from the eighteen-thirties and refers to score excerpts drawn exclusively from opus 14 and 16, the Grande Sonate in F minor and the Kreisleriana—the Finale of the former and the first two pieces of the latter. It deals with dissonance in foreground terms only and without reference to expressive connotations. Also, Eusebius, Florestan, E.T.A. Hoffmann, and Herr Kapellmeister Kreisler are kept gently off stage. [2] Schumann favours friction dissonances, especially the minor ninth and the major seventh, and he likes them raw: with little preparation and scant resolution. The sforzato clash of C and D in measures 131 and 261 of the Finale of the G minor Sonata, opus 22, offers a brilliant example, a peculiarly compressed dominant arrival just before the return of the main theme in G minor. The minor ninth often occurs exposed at the beginning of a phrase as in the second piece of the Davidsbuendler, opus 6: the opening chord is a V with an appoggiatura 6; as 6 goes to 5, the minor ninth enters together with the fundamental in, respectively, high and low peak registers. -
1 Ludwig Van Beethoven Symphony #9 in D Minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion
1 Ludwig van Beethoven Symphony #9 in D minor, Op. 125 2 Johann Sebastian Bach St. Matthew Passion "Ebarme dich, mein Gott" 3 George Frideric Handel Messiah: Hallelujah Chorus 4 Wolfgang Amadeus Mozart Symphony 41 C, K.551 "Jupiter" 5 Samuel Barber Adagio for Strings Op.11 6 Wolfgang Amadeus Mozart Clarinet Concerto A, K.622 7 Ludwig van Beethoven Piano Concerto 5 E-Flat, Op.73 "Emperor" (3) 8 Antonin Dvorak Symphony No 9 (IV) 9 George Gershwin Rhapsody In Blue (1924) 10 Wolfgang Amadeus Mozart Requiem in D minor K 626 (aeternam/kyrie/lacrimosa) 11 George Frideric Handel Xerxes - Largo 12 Johann Sebastian Bach Toccata And Fugue In D Minor, BWV 565 (arr Stokowski) 13 Ludwig van Beethoven Symphony No 5 in C minor Op 67 (I) 14 Johann Sebastian Bach Orchestral Suite #3 BWV 1068: Air on the G String 15 Antonio Vivaldi Concerto Grosso in E Op. 8/1 RV 269 "Spring" 16 Tomaso Albinoni Adagio in G minor 17 Edvard Grieg Peer Gynt 1, Op.46 18 Sergei Rachmaninov Piano Concerto No 2 in C minor Op 18 (I) 19 Ralph Vaughan Williams Lark Ascending 20 Gustav Mahler Symphony 5 C-Sharp Min (4) 21 Peter Ilyich Tchaikovsky 1812 Overture 22 Jean Sibelius Finlandia, Op.26 23 Johann Pachelbel Canon in D 24 Carl Orff Carmina Burana: O Fortuna, In taberna, Tanz 25 Wolfgang Amadeus Mozart Serenade G, K.525 "Eine Kleine Nachtmusik" 26 Johann Sebastian Bach Brandenburg Concerto No 5 in D BWV 1050 (I) 27 Johann Strauss II Blue Danube Waltz, Op.314 28 Franz Joseph Haydn Piano Trio 39 G, Hob.15-25 29 George Frideric Handel Water Music Suite #2 in D 30 Wolfgang Amadeus Mozart Ave Verum Corpus, K.618 31 Johannes Brahms Symphony 1 C Min, Op.68 32 Felix Mendelssohn Violin Concerto in E minor, Op. -
AP Music Theory: Unit 2
AP Music Theory: Unit 2 From Simple Studies, https://simplestudies.edublogs.org & @simplestudiesinc on Instagram Music Fundamentals II: Minor Scales and Key Signatures, Melody, Timbre, and Texture Minor Scales ● Natural Minor ○ No accidentals are changed from the relative minor’s key signature ○ Scale Pattern: W H W W H W W (W=whole note; H=half note) ○ Solfege: Do Re Mi Fa Sol La Ti Do ○ Scale Degrees: 1 2 b3 4 5 b6 b7 8 ● Harmonic Minor ○ The seventh scale degree is raised (it becomes the leading tone) ○ Scale Pattern: W H W W H m3 H ○ Solfege: Do Re Mi Fa Sol La Ti Do ○ Scale Degrees: 1 2 b3 4 5 b6 7 8 ● Melodic Minor ○ Ascending: the sixth and seventh degrees are raised ○ Descending: it becomes natural minor (meaning that the sixth and seventh degrees are no longer raised) ○ Scale Pattern (Ascending): W H W W W W H ○ Solfege (Ascending): Do Re Mi Fa Sol La Ti Do ○ Solfege (Descending): Do Te Le Sol Fa Mi Re Do ○ Scale Degrees (Ascending): 1 2 b3 4 5 6 7 8 ● Minor Pentatonic Scale ○ 5-note minor scale (made of the 5 diatonic pitches) ○ Scale Pattern: m3 W W m3 W ○ Solfege: Do Mi Fa Sol Te Do ○ Scale Degrees 1 b3 4 5 b7 8 Key Relationships ● Parallel Keys ○ Keys that share a tonic ○ One major and one minor ■ Example: d minor and D major are parallel keys because they share the same tonic (D) ● Relative Keys ○ Keys that share a key signature (but have different tonics) ■ Example: a minor and C major are relative keys (since they both don’t have any sharps or flats) ● Closely Related Keys ○ Keys that differ from each other by at most -
The Impact of the Third Reich on Famous Composers by Bwaar Omer
The Impact of the Third Reich on Famous Composers By Bwaar Omer Germany is known as a land of poets and thinkers and has been the origin of many great composers and artists. In the early 1920s, the country was becoming a hub for artists and new music. In the time of the Weimar Republic during the roaring twenties, jazz music was a symbol of the time and it was used to represent the acceptance of the newly introduced cultures. Many conservatives, however, opposed this rise of for- eign culture and new music. Guido Fackler, a German scientist, contends this became a more apparent issue when Adolf Hitler (1889-1945) took power in 1933 and created the Third Reich. The forbidden music during the Third Reich, known as degen- erative music, was deemed to be anti-German and people who listened to it were not considered true Germans by nationalists. A famous composer who was negatively affected by the brand of degenerative music was Kurt Weill (1900-1950). Weill was a Jewish composer and playwright who was using his com- positions and stories in order to expose the Nazi agenda and criticize society for not foreseeing the perils to come (Hinton par. 11). Weill was exiled from Germany when the Nazi party took power and he went to America to continue his career. While Weill was exiled from Germany and lacked power to fight back, the Nazis created propaganda to attack any type of music associated with Jews and blacks. The “Entartete Musik” poster portrays a cartoon of a black individual playing a saxo- phone whose lips have been enlarged in an attempt to make him look more like an animal rather than a human. -
75Thary 1935 - 2010
ANNIVERS75thARY 1935 - 2010 The Music & the Artists of the Bach Festival Society The Mission of the Bach Festival Society of Winter Park, Inc. is to enrich the Central Florida community through presentation of exceptionally high-quality performances of the finest classical music in the repertoire, with special emphasis on oratorio and large choral works, world-class visiting artists, and the sacred and secular music of Johann Sebastian Bach and his contemporaries in the High Baroque and Early Classical periods. This Mission shall be achieved through presentation of: • the Annual Bach Festival, • the Visiting Artists Series, and • the Choral Masterworks Series. In addition, the Bach Festival Society of Winter Park, Inc. shall present a variety of educational and community outreach programs to encourage youth participation in music at all levels, to provide access to constituencies with special needs, and to participate with the community in celebrations or memorials at times of significant special occasions. Adopted by a Resolution of the Bach Festival Society Board of Trustees The Bach Festival Society of Winter Park, Inc. is a private non-profit foundation as defined under Section 509(a)(2) of the Internal Revenue Code and is exempt from federal income taxes under IRC Section 501(c)(3). Gifts and contributions are deductible for federal income tax purposes as provided by law. A copy of the Bach Festival Society official registration (CH 1655) and financial information may be obtained from the Florida Division of Consumer Services by calling toll-free 1-800-435-7352 within the State. Registration does not imply endorsement, approval, or recommendation by the State. -
Supplement to the Executive Order of the Director of Emergency Services Declaring the Existence of a Local Emergency
DocuSign Envelope ID: 182BFB2E-2690-4482-B76A-CFCA7DB5494C TWENTY-NINTH SUPPLEMENT TO THE EXECUTIVE ORDER OF THE DIRECTOR OF EMERGENCY SERVICES DECLARING THE EXISTENCE OF A LOCAL EMERGENCY WHEREAS international, national, state, and local health and governmental authorities are responding to an outbreak of respiratory disease caused by a novel coronavirus named “SARS-CoV-2,” and the disease it causes has been named “coronavirus disease 2019,” abbreviated COVID-19, (“COVID-19”); and WHEREAS, on March 4, 2020, the Los Angeles County Board of Supervisors and Department of Public Health declared a local emergency and local public health emergency to aid the regional healthcare and governmental community in responding to COVID-19; and WHEREAS, on March 4, 2020, the Governor of the State of California declared a state of emergency to make additional resources available, formalize emergency actions already underway across multiple state agencies and departments, and help the State prepare for broader spread of COVID-19; and WHEREAS, on March 12, 2020, in response to social distancing guidance issued by the Centers for Disease Control and Prevention, the California Department of Public Health, and the Los Angeles County Department of Public Health, the City of Santa Monica (“the City”) cancelled all social gatherings (events, activities, programs, and gatherings) in City facilities that were scheduled to occur through permit or license between March 12, 2020, and March 31, 2020, absent a persuasive showing by the permittee or licensee that the -
Ninth, Eleventh and Thirteenth Chords Ninth, Eleventh and Thirteen Chords Sometimes Referred to As Chords with 'Extensions', I.E
Ninth, Eleventh and Thirteenth chords Ninth, Eleventh and Thirteen chords sometimes referred to as chords with 'extensions', i.e. extending the seventh chord to include tones that are stacking the interval of a third above the basic chord tones. These chords with upper extensions occur mostly on the V chord. The ninth chord is sometimes viewed as superimposing the vii7 chord on top of the V7 chord. The combination of the two chord creates a ninth chord. In major keys the ninth of the dominant ninth chord is a whole step above the root (plus octaves) w w w w w & c w w w C major: V7 vii7 V9 G7 Bm7b5 G9 ? c ∑ ∑ ∑ In the minor keys the ninth of the dominant ninth chord is a half step above the root (plus octaves). In chord symbols it is referred to as a b9, i.e. E7b9. The 'flat' terminology is use to indicate that the ninth is lowered compared to the major key version of the dominant ninth chord. Note that in many keys, the ninth is not literally a flatted note but might be a natural. 4 w w w & #w #w #w A minor: V7 vii7 V9 E7 G#dim7 E7b9 ? ∑ ∑ ∑ The dominant ninth usually resolves to I and the ninth often resolves down in parallel motion with the seventh of the chord. 7 ˙ ˙ ˙ ˙ & ˙ ˙ #˙ ˙ C major: V9 I A minor: V9 i G9 C E7b9 Am ˙ ˙ ˙ ˙ ˙ ? ˙ ˙ The dominant ninth chord is often used in a II-V-I chord progression where the II chord˙ and the I chord are both seventh chords and the V chord is a incomplete ninth with the fifth omitted. -
Boris's Bells, by Way of Schubert and Others
Boris's Bells, By Way of Schubert and Others Mark DeVoto We define "bell chords" as different dominant-seventh chords whose roots are separated by multiples of interval 3, the minor third. The sobriquet derives from the most famous such pair of harmonies, the alternating D7 and AI? that constitute the entire harmonic substance of the first thirty-eight measures of scene 2 of the Prologue in Musorgsky's opera Boris Godunov (1874) (example O. Example 1: Paradigm of the Boris Godunov bell succession: AJ,7-D7. A~7 D7 '~~&gl n'IO D>: y 7 G: y7 The Boris bell chords are an early milestone in the history of nonfunctional harmony; yet the two harmonies, considered individually, are ofcourse abso lutely functional in classical contexts. This essay traces some ofthe historical antecedents of the bell chords as well as their developing descendants. Dominant Harmony The dominant-seventh chord is rightly recognized as the most unambiguous of the essential tonal resources in classical harmonic progression, and the V7-1 progression is the strongest means of moving harmony forward in immediate musical time. To put it another way, the expectation of tonic harmony to follow a dominant-seventh sonority is a principal component of forehearing; we assume, in our ordinary and long-tested experience oftonal music, that the tonic function will follow the dominant-seventh function and be fortified by it. So familiar is this everyday phenomenon that it hardly needs to be stated; we need mention it here only to assert the contrary case, namely, that the dominant-seventh function followed by something else introduces the element of the unexpected. -
PROGRAM NOTES by Phillip Huscher
PROGRAM NOTES by Phillip Huscher Wolfgang Mozart – Piano Concerto No. 20 in D Minor, K. 464 Born January 27, 1756, Salzburg, Austria. Died December 5, 1791, Vienna, Austria. Piano Concerto No. 20 in D Minor, K. 464 Mozart entered this concerto in his catalog on February 10, 1785, and performed the solo in the premiere the next day in Vienna. The orchestra consists of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. At these concerts, Shai Wosner plays Beethoven’s cadenza in the first movement and his own cadenza in the finale. Performance time is approximately thirty-four minutes. The Chicago Symphony Orchestra’s first subscription concert performances of Mozart’s Piano Concerto no. 20 were given at Orchestra Hall on January 14 and 15, 1916, with Ossip Gabrilowitsch as soloist and Frederick Stock conducting. Our most recent subscription concert performances were given on March 15, 16, and 17, 2007, with Mitsuko Uchida conducting from the keyboard. The Orchestra first performed this concerto at the Ravinia Festival on July 6, 1961, with John Browning as soloist and Josef Krips conducting, and most recently on July 8, 2007, with Jonathan Biss as soloist and James Conlon conducting. This is the Mozart piano concerto that Beethoven admired above all others. It’s the only one he played in public (and the only one for which he wrote cadenzas). Throughout the nineteenth century, it was the sole concerto by Mozart that was regularly performed—its demonic power and dark beauty spoke to musicians who had been raised on Beethoven, Chopin, and Liszt. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2012). Instrumental performance in the nineteenth century. In: Lawson, C. and Stowell, R. (Eds.), The Cambridge History of Musical Performance. (pp. 643-695). Cambridge University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/6305/ Link to published version: http://dx.doi.org/10.1017/CHOL9780521896115.027 Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] C:/ITOOLS/WMS/CUP-NEW/2654833/WORKINGFOLDER/LASL/9780521896115C26.3D 643 [643–695] 5.9.2011 7:13PM . 26 . Instrumental performance in the nineteenth century IAN PACE 1815–1848 Beethoven, Schubert and musical performance in Vienna from the Congress until 1830 As a major centre with a long tradition of performance, Vienna richly reflects