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Bach & Grychtolik: St Mark Passion Audio CD Rondeau
A1 BACH St. Mark Passion (Grychtolik reconstruction) • Markus Teutschbein, cond; Gudrun Sidonie Otto (sop); Terry Wey (alt); Daniel Johannsen (Evangelist, ten); Hanno Müller-Brachmann (Jesus); Stephen MacLeod (bs); Knabenkantorei Basel; Capriccio Barock O • RONDEAU 609091 (2 CDs: 113:50 ) Bach & Grychtolik: St Mark Passion Audio CD Rondeau Recently, in 38:2, I reviewed a recording of the St. Mark Passion, also released by Rondeau but conducted by Jörg Breding. In that review, I provided a lengthy (perhaps too lengthy for some tastes) and detailed overview of the history of various reconstructions of this work for which only the libretto survives, but the music for which is generally thought to have been largely a pastiche that Bach cobbled together from previous creations, with the lion’s share coming from the BWV 198 Trauerode. In that review, I mentioned in passing that documents uncovered in 2009 from a Russian archive show that Bach had revised the work between its first definitively known performance in 1731 and a later one in 1744 to include two additional arias. Lo and behold, we now have here a new musical reconstruction of this work by harpsichordist and musicologist Alexander Grychtolik, the first to reconstruction of this work by harpsichordist and musicologist Alexander Grychtolik, the first to include those two additional arias: “Ich lasse dich, mein Jesus, nicht” and “Will ich doch gar gerne schweigen” (Nos. 12b and 33b in the libretto). Grychtolik allots them respectively to the tenor and alto; the first lasts five minutes, the second only 90 seconds. Since in that previous review I endorsed the Breding recording as the best option for this work, the most immediate question is: How does the Grychtolik reconstruction compare with the Simon Heighes one used by Breding? The short answer is that they are quite different; indeed, less than half of the music utilized by them (the opening and closing choruses, the chorales, and three of the arias) is identical. -
Henry Purcell Jeremiah Clarke
SON OF ENGLAND HENRY PURCELL JEREMIAH CLARKE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE MENU › TRACKLIST › TEXTE FRANÇAIS › ENGLISH TEXT › DEUTSCH KOMMENTAR › SUNG TEXTS SON OF ENGLAND JEREMIAH CLARKE (1674-1707) ODE ON THE DEATH OF HENRY PURCELL 1 I. OVERTURE 3’30 2 II. COME, COME ALONG FOR A DANCE AND A SONG 2’30 3 III. MR. CLARKE’S CEBELL 1’32 4 IV. HOLD, SHEPHERDS, HOLD! 3’48 5 V. NO MORE THIS LING’RING BLOW 2’03 6 VI. OH, DISMAL DAY! 5’58 7 VII. AND SEE, APOLLO HAS UNSTRUNG HIS LYRE 1’42 8 VIII. MR. PURCELL’S FAREWELL 1’26 9 IX. ALL’S UNTUNED, BUT YOND DIVINER SPHERE 2’53 HENRY PURCELL (1659-1695) FUNERAL SENTENCES FOR THE DEATH OF QUEEN MARY II 10 I. THE QUEEN’S FUNERAL MARCH SOUNDED BEFORE HER CHARIOT 2’46 11 II. MAN THAT IS BORN OF A WOMAN 2’27 12 III. IN THE MIDST OF LIFE 1’31 13 IV. YET, O LORD, MOST MIGHTY 2’44 14 V. CANZONA 2’09 15 VI. THOU KNOWEST, LORD 2’30 › MENU WELCOME TO ALL THE PLEASURES Z 339 16 I. SYMPHONY 1’59 17 II. WELCOME TO ALL THE PLEASURES 1’58 18 III. HERE THE DEITIES APPROVE 4’44 19 IV. WHILE JOYS CELESTIAL 3’12 20 V. BEAUTY, THOU SCENE OF LOVE 3’08 21 VI. IN A CONSORT OF VOICES 1’06 TOTAL TIME: 55’44 KATHERINE WATSON SOPRANO NICHOLAS TAMAGNA ALTO JEFFREY THOMPSON TENOR GEOFFROY BUFFIÈRE BASSE LES CRIS DE PARIS LE POÈME HARMONIQUE VINCENT DUMESTRE LES CRIS DE PARIS GEOFFROY JOURDAIN ANNE-MARIE BEAUDETTE, ADÈLE CARLIER*, ELLEN GIACONE, CÉCILE LARROCHE, MARIE PICAUT, AMANDINE TRENC SOPRANOS CÉCILE BANQUEY, ANNE-LOU BISSIERES, JOSQUIN GEST, STÉPHANIE LECLERCQ, WILLIAM SHELTON ALTO S ALBAN DUFOURT, -
Chor an Der Saar 1/2005
0151.sabu.ztg.umbr.01.05.411 26.01.2005 15:57 Uhr Seite 1 U 217 44 F Zeitschrift 49. Jahrgang des Saar- Nr.1 Januar/Februar 2005 www.saar-saengerbund.de Sängerbundes Heftpreis: € 1,– Sonderprojekte des Saar-Sängerbundes 2005 Chorleiterinnen- und ChorleiterChor Jazzworkshop ChorleiterInnen-Ausbildung LandesChorwettbewerb Saar 0151.sabu.ztg.umbr.01.05.411 26.01.2005 15:57 Uhr Seite 2 Inhalt Neuer Redakteur Chorleiterinnen- und IHREM Engagement, IHREN Anregungen Chorleiterversammlung 2005 2 und von IHREN qualitätsvollen Beiträgen – Chorleiterinnen- und die durchaus auch kritisch sein dürfen, wenn es berechtigt erscheint. In diesem ChorleiterChor des SSB 3 Sinne hoffe ich auf eine offene und kon- Konzert zum neuen Jahr 2005 4 struktive Zusammenarbeit mit Ihnen für eine lesenswerte Zeitung „Chor an der Rückblick „Chor total“ 6 Saar“. LandesChorwettbewerb Ihr Saar 2005 7 Rainer Knauf Aus dem Chor- und Vereinsleben: Sängerkreis Homburg 7 Sängerkreis Merzig-Wadern 8 Sängerkreis Neunkirchen 9 Sängerkreis Saarbrücken 12 Sängerkreis Saarlouis 17 Sängerkreis St. Wendel 22 Chorleiterinnen- Sängerkreis St. Ingbert 27 und Chorleiterver- Zum Gedenken 31 Veranstaltungskalender 31 Verehrte Leserinnen und Leser, sammlung 2005 liebe Freunde der Chormusik, Nach der Satzung des Saar-Sängerbun- des e.V. sind seitens des Bundesmusik- mit Beginn des neuen Jahres hat mich der ausschusses jährlich die Empfehlungen Vorstand des Saar-Sängerbundes mit der der Chorleiterinnen und Chorleiter der Redaktion dieser Zeitung beauftragt – Mitgliedschöre einzuholen. Grund genug, mich Ihnen kurz vorzustel- len: Ich heiße Rainer Knauf, bin 38 Jahre Hiermit ergeht die Einladung zur und komme aus Saarbrücken. Neben mei- „Chorleiterinnen- und Chorleiterver- nen publizistischen Aktivitäten als Redak- sammlung“ 2005: teur und (Mit-)Herausgeber – derzeit z.B. -
Fundación Juan March
TEMPORADA DE CONCIERTOS 2015 / 2016 DE CONCIERTOS TEMPORADA Fundación Juan March TEMPORADA DE CONCIERTOS 2015/2016 FUNDACIÓN JUAN MARCH www.march.es Fundación Juan March TEMPORADA DE CONCIERTOS 2015/2016 Fundación Juan March TEMPORADA DE CONCIERTOS 2015/2016 Madrid, 2015 FUNDACIÓN JUAN MARCH www.march.es Presentación Pulsión teatral Cuando se conmemora el 60 aniversario de su creación en 1955, y tras cuatro décadas ininterrumpidas de programación musical, la Fundación Juan March presenta una nueva temporada de conciertos con más de 150 recitales distribuidos en 27 proyectos musicales. Esta propuesta sigue fiel al principio rector de organizar ciclos articulados por conceptos o perspectivas que induzcan al oyente a experimentar nuevos modos de escucha. Distintos criterios sirven de base para la concepción de estos proyectos: la intensa relación con la música de literatos y pintores (como Boris Vian, Bertolt Brecht, Julio Cortázar, Max Bill o Paul Klee); la presentación de repertorios hispanos enmarcados en su contexto histórico y cultural (los Scarlatti en Nápoles, obras inéditas del Madrid de Carlos IV o la Renaixença y el Noucentisme en Barcelona); la visión de la contemporaneidad (a través de jóvenes compositores españoles, de autores estadounidenses o de la influyente figura de George Benjamin); o la interpretación de estilos infrecuentes en la sala de conciertos (Aflamencados, Polifonías del mundo). También la propia historia de la música sirve de inspiración en otros casos, como Chopin y la posteridad, Las pasiones del alma o Reciclar, reutilizar, recomponer. Pero es en el ámbito de la representación teatral donde esta temporada pone un particular énfasis con dos nuevas coproducciones: una trilogía de tonadillas inéditas de Blas de Laserna, figura clave del teatro breve español de quien se conmemora el bicentenario de su fallecimiento, y el programa doble conformado por Mavra de Igor Stravinsky y El Pelele de Julio Gómez, en las versiones para canto y piano de los propios compositores. -
ACET Junior Academies'
ACET Junior Academies’ Scheme of Work for music Year 5 Unit 1.1: A Musical Masque About this unit: This unit of work is linked to the History scheme of work HT 1.1 Post 1066 Study: The Tudors. It is a starting point for exploration into Tudor music. In it children will begin to learn about Tudor Dance music, in particular the Pavan as a popular Tudor dance. Children will identify its characteristic musical features and rhythms before attempting to dance the Pavan and performing their own Pavan melody over a drone accompaniment. Children will then move on to learn about traditional Tudor musical instruments before exploring Tudor songs and madrigal-style songs with a ‘fa, la, la, la’ refrain. Where they will compose their own lyrics to a madrigal melody. Fanfares are explored briefly before children work towards putting on a Tudor style banquet/concert combining elements of all the musical learning in to a class performance. Unit structure National Curriculum objectives: This unit is structured around six sequential music enquiries: 1. What is a Pavan? Links to previous and future National Curriculum 2. How do we perform a Pavan? units/objectives 3. What do Tudor instruments sound like? KS2 4. What is a Madrigal? ● Listen with attention to detail and recall sound with 5. What is a Fanfare? increasing aural memory. BBC Ten Pieces 6. A musical masque – banquet/concert. ● Appreciate and understand a wide range of high-quality live and recorded music drawn from different traditions and from great composers and musicians. ● Play and perform in solo ensemble contexts, using their voices and playing musical instruments with increasing accuracy, fluency, control and expression. -
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 Email: [email protected]
Guild Music Limited Guild Catalogue 36 Central Avenue, West Molesey, Surrey, KT8 2QZ, UK Tel: +44 (0)20 8404 8307 email: [email protected] CD-No. Title Composer/Track Artists GMCD 7101 Canticum Novum My soul, there is a country - Charles H.H.Parry; All Wisdom cometh from the Lord - Philip The Girl Choristers, The Boy Choristers and The Lay Vicars of Moore; Tomorrow shall be my dancing day - John Gardner; Psalm Prelude (2nd Set, No.1) - Salisbury Cathedral directed by Richard Seal / David Halls Organ / Herbert Howells; Quem vidistis pastores dicite - Francis Poulenc; Videntes stellam - Francis Martin Ings Trumpet Poulenc; The old order changeth - Richard Shepard; Even such is time - Robert Chilcott; Paean - Kenneth Leighton; When I survey the wondrous Cross - Malcolm Archer; Magnificat (Salisbury Service) - Richard Lloyd; A Hymn to the Virgin - Benjamin Britten; Pastorale - Percy Whitlock; Psalm 23 (Chant) - Henry Walford Davies; Love's endeavour, love's expense - Barry Rose; Ye Choirs of new Jerusalem - Richard Shepard GMCD 7102 Coronation Anthems & Hymns “Jubilant” Fanfare - Arthur Bliss; I was glad when they said unto me - Charles H.H. Parry; O The Choir of St Paul’s Cathedral directed by Barry Rose / Christopher taste and see - Ralph Vaughan Williams; Credo from the “Mass in G minor” - Ralph Vaughan Dearnley Organ Williams; Praise, my soul, the King of heaven - John Goss; Trumpet Tune f GMCD 7103 In Dulci Jubilo Ad Libitum/O Come, all ye faithful - Hark! the Herald-Angels Sing - Once in Royal David's city - - Festive & Christmas Music - Paul Plunkett Trumpets & Rudolf Lutz The First Nowell - Ding Dong! Merrily on High - Away in a Manger - Angels from the Realms Organ of Glory - Noël Op. -
18 CONTACTE INTERNACIONAL Dedicat a Francisco Correa De Arauxo Associació Amics Dels Orgues De Les Valls D’Andorra Massanaorgue 2018 CONTACTE
CONCURS Qui Som INTERNACIONAL CONCURS Qui Som MassanaOrgue 2018 CONTACTE INTERNACIONAL Dedicat a Francisco Correa de Arauxo Associació Amics dels Orgues de les Valls d’Andorra MassanaOrgue 2018 CONTACTE Dedicat a Francisco Correa de Arauxo Associació Amics dels Orgues de les Valls [email protected] d’Andorra [email protected] 5-6 d’octubre 5-6 d’octubre Concurs internacional d’orgue, participants internacionals Concurs internacional d’orgue, participants internacionals 22 23 22 23 1st International Organ Competition dedicated to Francisco Correa de Arauxo 5-6th of October 2018. la Massana, Principality of Andorra ___________________ Program 1st Round * th th 1) A work of iberian music (16 -17 centuries). Recommended composers: Antonio de Cabezón, Manuel Rodrigues Coelho, Francisco Correa de Arauxo, Pablo Bruna. 2) A work of (chose one): Jan Pieterszoon Sweelinck, Georg Muffat, or Girolamo Frescobaldi. 3) A work of Johann Sebastian Bach: a movement of a trio sonata, a prelude or a fugue. (*) pre-selection on video (wmv, mpg. o .mov. Max. 20’) The name of the candidates should not appear on the video. The jury will favorably rate the program selections that prove to be suited for a competition. nd 2 Round (face-to-face) 1) 6 candidates will be selected. 2) The 6 organists selected will play a public concert of 30'. 3) Concerts will be in two sessions of 1h30’ each, with three candidates in every session. 4) The program of the concert will be up to every participant, and should be fitting for the features of the instrument. It should include at least: a) A work of Francisco Correa de Arauxo. -
A Critical Study of Five Reconstructions of Bach's Markuspassion BWV 247 with Particular Reference to the Parody Technique
A critical study of five reconstructions of Bach’s Markuspassion BWV 247 with particular reference to the parody technique Paula Fourie Supervisor: Professor John Hinch Submitted in fulfilment of the requirements of the degree MMus Department of Music University of Pretoria November 2010 © University of Pretoria Acknowledgements I would like to thank the following people for their part in this dissertation: • Professor John Hinch for his guidance and supervision • Johann van der Sandt for guiding me to this topic and for providing scores and recordings of several of the reconstructions under discussion • Isobel Rycroft from the UP music library for her unwavering help in locating information sources • My parents who have shown that learning is a life-long quest • Etienne, for his patience and assistance with proofreading ©© Abstract A part of Johann Sebastian Bach’s musical duties in Leipzig was to present an annual setting of the passion for Good Friday Vespers. One such work was the Markuspassion, performed in 1731. Although the score of this companion work to the Matthäuspassion and Johannespassion has been lost, the original text of the Markuspassion is extant. Bach frequently made use of the parody technique in his compositions. This practice consisted of adapting existing music to a new text that was based on the rhyme scheme of the original one, resulting in two compositions essentially sung to the same music, barring a number of enforced changes. This particular feature of Bach’s compositional technique makes it possible that the lost music originally contained in the Markuspassion could be discovered within his oeuvre. In the late 19th century, Bach scholars began to research the possibility of reconstructing the Markuspassion, recognizing that it may have contained music parodied from other compositions basing, to a large extent, their research on textual comparison. -
LBW: Public-2
Chav compositor composicao Ano Detalhes duração Intérpretes ? Cembalo nach A. Vivaldi * Abel, Carl Fried Sonate für Viola da Gamb 1723-1 5'10 Veronika Hampe - Gambe Abel, K.F. Sonate für Viola da Gamb 1723-1 Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Abel, K.F. Sonate K 176 für Gitarren 1723-1 Moderato; 6'50 D.E. Lovell - Synth. Cantabile; Vivace Adson, J. Aria für Flöte und BC 2'00 (P) 1969 Discos beverly LTDA conjunto musikantiga de são paulo Adson, J. Courtly masquino ayres 3 1590-1 5'06 (P) 1968 rozenblit conjunto musikantiga de são paulo Alain, Jehan 2 Stücke für Orgel 1911-1 Marie-Claire Alain Albéniz, I. Danzas españolas Op.37 1860-1 2-Tango; 2' Nr. ?? Tango 3-Malagueña Nr. 2: Pepe und Celin Romero - Gitarre Nr. 3: Pepe und Celin Romero - Gitarre Albéniz, I. Estudio sem luz 1860-1 3' Albéniz, I. Suite Española Op. 47 1860-1 Für Orchester 37'16 5. Asturias gesetzt von Rafael Frühbeck de Burgos 1. Granada (Serenata); 2. Cataluna (Curranda); 3. Sevilla; 4. Cádiz (Saeta); 5. Astúrias (arr. A. Segovia) (Leyenda); 6.Aragon (Fantasia); 7.Castilla (Sequidillas); 8. Cuba (Nocturno) Chav compositor composicao Ano Detalhes duração Intérpretes Orchesterzusatz: 8. Cordoba Nr. 1 Granada: Pepe und Celin Romero - Gitarre Nr. 1 Granada (5'20) : Julien Bream - Gitarre (P) 1968 DECCA Reihenfolge: 7, 5, 6, 4, 3, 1, 2, 8 New Philharmonia Rafael Frühbeck de Burgos Albicastro, H. Concerto Op. 7 Nr. 6 F-Du 1659-1 9'20 Süsdwestdeutsches Kammerorchester Pforzheim Leitung: Paul Angerer Albinoni, T. -
The Trumpet Voluntary Author(S): Charles Cudworth and Franklin B
IranTrumpet The Trumpet Voluntary Author(s): Charles Cudworth and Franklin B. Zimmerman Source: Music & Letters, Vol. 41, No. 4 (Oct., 1960), pp. 342-348 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/733054 Accessed: 26-11-2016 04:51 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Music & Letters This content downloaded from 188.118.81.43 on Sat, 26 Nov 2016 04:51:10 UTC All use subject to http://about.jstor.org/terms IranTrumpet THE TRUMPET VOLUNTARY CHARLES CUDWORTH & FRANKLIN B. ZIMMERMAN THE tercentenary of Purcell's birth has afforded an excellent oppor- tunity to summarize the known facts about the so-called 'Trumpet Voluntary' which we now know was composed by his younger contemporary Jeremiah Clarke. Year by year the evidence for Clarke's authorship grows stronger, while Purcell's claim recedes. There is no authentic evidence for the Purcellian attribution, whereas a firm ascription to Clarke appears in at least four early sources; there are also several anonymous sources. The most important of the printed sources is 'A Choice Collection of Ayres for the Harpsichord or Spinett' (London, 1700), in which the piece appears on page 13 as 'The Prince of Denmark's March by Mr Clarke' (see the reproduction opposite). -
Juilliard415 Rachel Podger, Director and Violin
Juilliard415 Rachel Podger, Director and Violin The Juilliard School presents Juilliard415 Rachel Podger, Director and Violin Recorded on March 31, 2021 Peter Jay Sharp Theater Madness and Enchantment: Music of the English 17th Century by Purcell, Clarke, and Matteis Sett 1: Music from Shakespeare's Plays by Purcell and Clarke JEREMIAH CLARKE Overture to Titus Andronicus (c. 1674-1707) HENRY PURCELL First Music: Hornpipe from The Fairy Queen (1659-95) Second Music: Air from The Fairy Queen Rondeau from The Fairy Queen Curtain Tune from Timon of Athens First Act Tune: Jig from The Fairy Queen Song Tune: “If Love’s a Sweet Passion” from The Fairy Queen Dance for the Fairies from The Fairy Queen Second Act: Introduction from King Arthur Air from King Arthur Air: “How Blest Are Shepherds” from King Arthur Air: “Fairest Isle” from King Arthur Passacaglia: “How Happy the Lovers” from King Arthur Sett 2: Chamber Music by Purcell and Matteis PURCELL Pavan in B Flat, Z. 750 Three Parts Upon a Ground, Z. 731 Fantasia Upon One Note, Z. 745 Fantasia à 4 in G Major, Z. 742 NICOLA MATTEIS Suite in D Minor (c. 1670-1713) Preludio in D la sol rè Grave Ground in D la sol re per far la mano Program continues 1 Sett 3: Music for The Tempest MATTHEW LOCKE First Musick: Introduction (c. 1621-77) Galliard Gavot Second Musick: Sarabrand Lilk Curtain Tune First Act Tune: Rustick Air Second Act Tune: Minoit Third Act Tune: Corant Fourth Act Tune: A Martial Jigge Conclusion: A Canon 4 in 2 Welcome to the 2020-21 Historical Performance season! The Historical Performance movement began as a revolution: a reimagining of musical conventions, a rediscovery of instruments, techniques, and artworks that inspire and teach us, and a celebration of diversity in repertoire. -
Music Suggestions for Weddings at Brick Church
MUSIC SUGGESTIONS FOR WEDDINGS AT BRICK CHURCH PROCESSIONAL PIECES: Air on the G String - Bach Jesu, Joy of Man’s Desiring - Bach Rigaudon - André Campra Prelude to Te Deum - Marc-Antoine Charpentier Trumpet Voluntary in D – Jeremiah Clarke Musique Royale – Michel Delalande Air from Water Music Suite in F – George Frideric Handel Psalm 19 The Heavens Declare the Glory of God - Benedetto Marcello Rondeau (Masterpiece Theatre) – Jean-Joseph Mouret Canon in D - Johann Pachelbel Trumpet Tune in D – Henry Purcell Trumpet Voluntary in D – John Stanley Wedding March (Here Comes the Bride) – Richard Wagner Crown Imperial March - William Walton RECESSIONAL PIECES: Now Thank We All Our God - Bach Ode to Joy - Beethoven Prelude to Te Deum - Marc-Antoine Charpentier Trumpet Voluntary in D – Jeremiah Clarke Arrival of the Queen of Sheba - Handel Hornpipe from Water Music Suite in F – Handel La Rejouissance from Music for the Royal Fireworks – Handel Fanfare- Lemmens Psalm 19 The Heavens Declare the Glory of God - Benedetto Marcello Wedding Recessional from A Midsummer Night’s Dream –Felix Mendelssohn Rondeau (Masterpiece Theatre) – Jean-Joseph Mouret Trumpet Voluntary in D – John Stanley Toccata from Symphonie No. V – Charles Marie Widor HYMNS: All Creatures of Our God and King - #455 Be Thou My Vision - #339 Christ is made the sure foundation – #417 For the beauty of the earth – #473 Joyful, joyful, we adore thee – #464 Love divine, all loves excelling – #376 Morning Has Broken - #469 Now thank we all our God – #555 Praise, my soul, the King of heaven – #478 Praise Ye the Lord, the Almighty – #482 The King of Love My Shepherd Is - #171 CHORAL MUSIC (if you are having a choir): Rejoice in the Lord alway anon.