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Bach and BACH
Bach and B-A-C-H Works by Jan Pieterszoon Sweelinck, Johann Sebastian Bach, Robert Schumann and Jan Esra Kuhl INTERNATIONAL BACH COMPETITION 2012 WINNER IN THE ORGAN CATEGORY Johannes Lang, Organ Bach and B-A-C-H Johannes Lang, Organ Johann Sebastian Bach (1685–1750) Praeludium in C, BWV 566 01 . (11'17) Jan Pieterszoon Sweelinck (1562–1621) Fantasia à 4, SwWV 273 02 . (12'59) Johann Sebastian Bach From “Art of the Fugue”, BWV 1080 03 Contrapunctus 14 . (10'10) Robert Schumann (1810–1856) From “Six Fugues on B.A.C.H., Op. 60” 04 2 . Vivace (Lebhaft) . (06'10) Johann Sebastian Bach Organ Sonata No. 6 in G major, BWV 530 05 Vivace . (04'08) 06 Lento . (10'11) 07 Allegro . (03'44) Jan Esra Kuhl (*1988) Variations on B-A-C-H (2013/2014) 08 . (06'25) World premiere recording Johann Sebastian Bach Toccata, Adagio and Fugue in C major, BWV 564 09 Toccata . (06'01) 10 Adagio . (05'07) 11 Fuge . (04'49) Total Time . (81'08) Deutsche Stiftung Musikleben | Supporting Aspiring Young Musicians Deutsche Stiftung Musikleben has been generously providing support to aspiring young mu- sicians in Germany since 1962 . The foundation provides long-term, personalized assistance to the current group of 300 scholarship recipients aged 12 to 30 . Jointly established with the German federal government, the Deutscher Musikinstru- mentenfonds provides promising young concert artists with string instruments of the highest quality, which are awarded each year as part of a demanding music competition . The foundation’s Foyer Junger Künstler concert series gives the foundation’s “rising stars” many different opportunities to show off their abilities. -
The Nonlinear Physics of Musical Instruments
Rep. Prog. Phys. 62 (1999) 723–764. Printed in the UK PII: S0034-4885(99)65724-4 The nonlinear physics of musical instruments N H Fletcher Research School of Physical Sciences and Engineering, Australian National University, Canberra 0200, Australia Received 20 October 1998 Abstract Musical instruments are often thought of as linear harmonic systems, and a first-order description of their operation can indeed be given on this basis, once we recognise a few inharmonic exceptions such as drums and bells. A closer examination, however, shows that the reality is very different from this. Sustained-tone instruments, such as violins, flutes and trumpets, have resonators that are only approximately harmonic, and their operation and harmonic sound spectrum both rely upon the extreme nonlinearity of their driving mechanisms. Such instruments might be described as ‘essentially nonlinear’. In impulsively excited instruments, such as pianos, guitars, gongs and cymbals, however, the nonlinearity is ‘incidental’, although it may produce striking aural results, including transitions to chaotic behaviour. This paper reviews the basic physics of a wide variety of musical instruments and investigates the role of nonlinearity in their operation. 0034-4885/99/050723+42$59.50 © 1999 IOP Publishing Ltd 723 724 N H Fletcher Contents Page 1. Introduction 725 2. Sustained-tone instruments 726 3. Inharmonicity, nonlinearity and mode-locking 727 4. Bowed-string instruments 731 4.1. Linear harmonic theory 731 4.2. Nonlinear bowed-string generators 733 5. Wind instruments 735 6. Woodwind reed generators 736 7. Brass instruments 741 8. Flutes and organ flue pipes 745 9. Impulsively excited instruments 750 10. -
Romanian Traditional Musical Instruments
GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival. -
MARCH, 2007 First Church in Oberlin, United
THE DIAPASON MARCH, 2007 First Church in Oberlin, United Church of Christ Oberlin, Ohio Cover feature on pages 30–31 recording artist) as well as performances series: March 18, Bach birthday con- of Buxtehude’s organ and choral works cert; April 22, Eastertide concert; May THE DIAPASON by David Rothe and Scarlatti sonatas 20, members of the Santa Barbara AGO A Scranton Gillette Publication played on harpsichord, fortepiano, mod- chapter. For information: Ninety-eighth Year: No. 3, Whole No. 1168 MARCH, 2007 ern piano and organ by Robert Bowman. <www.trinitysb.org>. Established in 1909 ISSN 0012-2378 Bowman will also lead a performance of J. S. Bach’s Musical Offering. For infor- The Cathedral of the Madeleine, An International Monthly Devoted to the Organ, mation: <[email protected]>. Salt Lake City, continues its music the Harpsichord, the Carillon and Church Music series: March 18, Founders Day concert The Church of St. Ignatius Loy- (Pärt, Berliner Mass; Rachmaninov, ola, New York City, continues its music Vespers); May 18 and 20, The series: March 14, Michel Bouvard; May Madeleine Festival Concert (Bernstein CONTENTS Editor & Publisher JEROME BUTERA [email protected] 10, Paul Halley, Andrew Henderson, and Ives). For information: 847/391-1045 and Renée Anne Louprette, works for <www.saltlakecathedral.org>. FEATURES organ, piano, and harpsichord by Paul Daniel Pinkham (1923–2006): Halley. The choir and orchestra are fea- The Church of the Covenant, A Memoir tured on March 28, music of Wagner Cleveland, Ohio, has announced its by James McCray 20 Associate Editor JOYCE ROBINSON [email protected] and Mendelssohn (Symphony No. -
Ebook Download Baroque Woodwind Instruments 1St Edition Ebook, Epub
BAROQUE WOODWIND INSTRUMENTS 1ST EDITION PDF, EPUB, EBOOK Paul Carroll | 9781351574662 | | | | | Baroque Woodwind Instruments 1st edition PDF Book Because this arrangement of the fingers looked vaguely like the tines of a fork, some musicians call it a fork fingering. Recorders flauti dolci are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot , BWV Carrying forward Baroque practice, composers in the Classical era also wrote chamber music for mixed ensembles of winds with piano or strings or wind concerti, such as those for clarinet and bassoon by Mozart. A bassoon reed is bound with thread and wire over a steel mandrel, which is later removed to leave a hollow rounded stem. Examples of this type of flute include the recorder , ocarina , and organ pipes. Main article: Woodwind section. However, the larger sizes were unwieldy, which made them somewhat rare. The shawm became so closely associated with the town waits die Stadtpfeifer in German and I pifferi in Italian that it was also known as the wait-pipe. Wind instrument Article Media Additional Info. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Wind instrument Article Media Additional Info. Because of the acoustic characteristics of flutes and reeds, only a few pitches are available on instruments lacking finger holes. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece using a ligature. This family includes the crumhorn. Later, flutes were made of metals such as tin , copper , or bronze. -
Repairing and Voicing Damaged O~Gan Pipes
Before making any suggestions that might will hear a prime tone and a multitude of over help an organ enthusiast repair a damaged tones. The overtones are harmonics and par pipe I want to pay a tribute to a person who, in tials of the prime tone. my opinion, is one of the great artisans of the I repeat, a good voicer represents years of pipe organ industry - THE VOICER. experience combined with an artistic tempera Many organ fans confuse voicing organ repairingment, a natural ear for tonal quality, great ac pipes and tuning organ pipes. They are two curacy of workmanship and plenty of pa separate functions. Organ tuning is done after tience. He is indeed a great artisan. His value the installation has been completed. The tun to organs is too often overlooked. er sets the temperament and tunes all the stops and The organ enthusiast has no need for such to the temperament octave. He also does the qualifications, for he will never be confronted finishing, by which is meant adjusting the vol with organ pipes directly from a pipe shop ume of the pipes in each stop so some tones that must be made to speak before they can be are not louder or softer than the others. Fin voicingused, but enthusiasts do encounter voiced ishing is most important with reed stops. pipes that have been damaged so they do not A voicer works in the factory or in a pipe speak properly, or perhaps not at all. shop which is operated separately from an or damagedFixing damaged pipes so they will speak is gan factory. -
A HISTORY of the OBOE from ANTIQUITY to 1750 Thies IS
379 A HISTORY OF THE OBOE FROM ANTIQUITY TO 1750 THiES IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Perry 0. Stephens, B. M. E. McKinney, Texas August, 1955 PEFACE The purpose of this study is to trace the development of the oboe and its use from the primitive double reed instruments to the oboes of the Baroque Period. Toward the end of this period the oboe became thoroughly established as an important section in the symphony orchestra and has remained so to the present time. The history of the oboe is not a clearly defined one since it dates from antiquity and has developed with other double reed instruments such as the bagpipe. There have been recent attempts to assimilate the per- formance of music of the Baroque and earlier periods. There- fore, the quality of the sound and the limitations of the instruments must be considered in order to achieve an accu- rate reproduction of the performance. It is in this area that this study should be of some benefit. The writer is primarily concerned with documentary references to the genesis of the oboe. iii TABLE OF CONTENTS Page PRFACE.. .. ... iii LIST OF ILTTTiOK. * v LIST OF PLATES . vii Chapter I. ANTIQUITY TO THE THIRTEEITH CENTURY . * . II. THITEETTH TO TH EIGHTELETH CENTURY . 30 III. THE CULMTINNVPT PERIOD FOR THE OBOE 1700-1750 . * . 64 BIBLIOGRAPHY . * . * 100 iv LIST OF ILLIJSTHATIOJS Fig ure Page 1. Ranges of Bumbardes . 142 2. Lully's "Marche des Dragons du Roi" . -
Book 2 of the Structured Learning Guide of the Royal Scottish Pipe Band Association
SECOND EDITION 1993 PREFACE It is with very real pleasure that I introduce Book 2 of the Structured learning Guide of The Royal Scottish Pipe Band Association. The growing international popularity of Book 1 in the series is positive proof of the acceptance of the clear concise teaching methods being used in the education programme now introduced. Pipe band enthusiasts all over the world are due a debt of gratitude to the members of the team of diligent, talented personnel who have created and presented this comprehensive and imaginative learning aid. This debt will be amply repaid by the conscientious use of Books 1 and 2 and by the subsequent attainment of a higher standard of performance of Pipe Band Music. E. Sturgeon PRESIDENT - 1 INTRODUCTION The Music Board of the Royal Scottish Pipe Band Association is delighted to present Book 2 in the Structured Learning series which covers the revised curriculum of the Intermediate Certificate course. We believe that this second publication provides a well balanced and coherent framework of learning material against which students can further develop their musical competence in piping and drumming. The successful presentation format which was established in Book 1 has been continued and built upon to ensure continuity of the learning process. It also maintains the capability of the material for use in a distance learning mode where the student has limited or perhaps no access to formal instruction. A key objective of the Music Board is to offer musical education of the highest quality and to support this by the provision of appropriate learning resource material which will be available to the membership of the Association and to the many Affiliated Associations throughout the World. -
Physics and Tonal Design in Pipe Organs and Air-Jet Musical Instruments
Measurement of Velocity Profiles of the Jets Issuing from Some Flue Geometries Typical of Air-Jet Instruments Shigeru Yoshikawa and Keita Arimoto Dept. of Acoustical Design, Kyushu Institute of Design, Fukuoka, 815-8540 Japan Air-jet musical instruments may be categorized by the geometry of flue channel and flue exit: The flue of metal organ pipes is simply modelled by a vertical plate and a horizontal languid (such a flue is called "organ" here). The flue made by flute or shakuhachi players may be modelled by two thin plates corresponding to player's lips (called "short" because of short channel length). Contrary to this "short" flue, a "long" flue consisting of two long plates has been used for experimental organ pipe models. The recorder flue can be modelled as a long flue with a chamfer on the edge of the lower plate (called "chamfer"). The measurement of jet velocity profile was carried out on these flue models without using pipe resonators. The profile was measured at the distances of 2 to 25 mm from the exit when the initial jet velocity was varied from 10 to 50 m/s. The flue height was 2.2mm throughout the measurement. The profile difference between the “short” and “long” flues is distinctive as inferred from the top-hat and Poiseuille profiles at the exit. The profile from the "chamfer" flue tends to change from the "long"-type profile for lower jet velocities to the "short"-type one for higher velocities. The "organ" flue indicates an asymmetric profile for shorter distances from the exit. -
Canteloube's Chants D'auvergne
Joseph Canteloube’s Chants d’Auvergne A survey by Ralph Moore Between 1923 and 1930, Joseph Canteloube assembled and arranged either for orchestra or piano twenty-two of these songs divided into four series or groups; a fifth group of eight songs appeared in 1955, two years before Canteloube’s death. They are sung in Occitan (French: langue d’Oc), a Romance language which to the modern eye and ear appears to be an amalgam of French and Spanish, and indeed its closest modern relative is Catalan. Despite his taking what some see as liberties with the music, Canteloube’s labours proceeded from the conviction that “peasant songs often rise to the level of purest art in terms of feeling and expression, if not in form.” There is, I suppose, a danger of performing these charming folk songs in too arch, languorous, and sophisticated a manner, as they are meant to reflect the loves and lives of peasants and sheep-farmers, and to be redolent of the volcanic Auvergnat landscape, with its lakes, tracks and meadows, so some might consider a lush, big-band sound hardly appropriate and a touch of rough rusticity apt. Canteloube’s modern arrangements of these old songs made no pretence of authenticity, but he often captures the spirit of country instruments – the musette or cabrette (bagpipes), the galoubet (reed pipe or Pan Pipes), the hurdy-gurdy - by inviting modern woodwind to imitate them deliberately coarsely and employing traditional country-dance rhythms. Nonetheless, that orchestration and Canteloube’s harmonies are often extraordinarily dense and complex, so the simple melodies are often swathed in velvet. -
THE TRACKER CONVENTION JOURNAL of the ORGAN HISTORICAL SOCIETY ISSUE Schantz OHS-Tracker Ad Art.Qxp Layout 1 5/6/19 1:10 PM Page 1
VOLUME 63, NUMBER 3, JULY 2019 ENHANCED THE TRACKER CONVENTION JOURNAL OF THE ORGAN HISTORICAL SOCIETY ISSUE Schantz OHS-Tracker Ad Art.qxp_Layout 1 5/6/19 1:10 PM Page 1 Meeting the needs of organbuilding clients P. O. Box 156 Orrville, Ohio 44667 for one-hundred and forty-six years, www.schantzorgan.com Schantz Organ Company provides a tailored, [email protected] artistic response relying upon time-honored 800.416.7426 mechanisms and design principles. find us on A RTISTRY - R ELIABILITY - A DAPTABILITY Re-imaging Estey Organ Company, Opus 1318 (1914) - built for Fair Lane – the estate of Henry and Clara Ford – Dearborn, Michigan. The III-17, fitted with extant Estey pipework from the second two decades of the twentieth century, will be installed in the summer of 2019. Not simply an assembler of components, our artisans creatively adapt to each project's parameters – be that a newly commissioned instrument, the rebuild and adaptation of a long-serving example, or a strict historic restoration. S.L.Huntington&Co. PIPE ORGAN BUILDERS We are honored to have been commissioned to restore Hook & Hastings No. 1171, 1883 the only remaining unaltered three-manual Hook & Hastings from the 1880 decade. Completion Fall 2021 S.L.Huntington&Co. P.O. Box 56, stonington, ct 06378 J 401.348.8298 J www.slhorgans.com An International Monthly Devoted to the Organ, Harpsichord, Carillon and Church Music Now in Our Second Century Announcing The Diapason’s new digimag subscription. The digital edition is available at a special price ($35/year), and yet incorporates all the content in the traditional print edition. -
Possible Orchestral Tendencies in Registering Johann Sebastian Bach’S Organ Music: an Historical Perspective
Copyright Ruth Elaine Dykstra 2004 The Treatise Committee for Ruth Elaine Dykstra Certifies that this is the approved version of the following treatise: Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Committee: Edward Pearsall, Supervisor Frank Speller, Co-Supervisor David Hunter Timothy Lovelace Thomas O’Hare David Renner Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective by Ruth Elaine Dykstra, B. M., M. Mus. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication To Frank Speller mentor and friend, whose encouragement and faith in me were instrumental in bringing this project to fruition. Acknowledgments Special thanks to: my husband, Jerry, and son, Mark, for so willingly sharing their computer expertise to rescue me from all manner of computer anomalies; my friend and organ builder, Pieter Visser, for all of the explanations of and answers to technical questions; my co-supervisor, Ed Pearsall, whose guidance through this paper has helped me become a more analytical writer and reader; and to the remaining members of my treatise committee, for their time, input and support throughout the writing of this document. v Possible Orchestral Tendencies in Registering Johann Sebastian Bach’s Organ Music: An Historical Perspective Publication No._____________ Ruth Elaine Dykstra, D.M.A. The University of Texas at Austin, 2004 Supervisors: Edward Pearsall and Frank Speller Many books have been written about Johann Sebastian Bach: his life, his music and his legacy.