The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson

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The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson Sundays at 10 P.M. at FM 90.1 Over-the-air & LIVE STREAM at wabe.org Tuesdays at 3 p.m. & Saturdays at 10 a.m. at 90.1-2 on WABE’s Classics Stream on your HD Radio, Internet Radio or online at WABE.org and with the WABE Mobile App available for free download at WABE.org Underwriting of the Atlanta Music Scene is provided by ACA Digital Recording with additional support from Robert Hubert. July 4, 2021 – 8:00pm - 10:00pm On Air Broadcast Preempted by “A Capitol Fourth” A Capitol Fourth is an annual July 4th tradition with a live concert direct from the steps of the U.S. Capitol. NPR is pleased to offer this special for broadcast again this year. Emanuel Ax, piano [HD-2 and Online Broadcasts as scheduled Tuesday, July 6 @ 3:00pm & Saturday July 10 @ 10:00am Johannes Brahms: Two Rhapsodies, Op. 79 George Benjamin: Piano Figures Frédéric Chopin: Three Mazurkas, Op. 50 Chopin: Nocturnes, Op. 62 No. 1 in B Major and Op. 15, No. 2 in F-Sharp Major Chopin: Andante spianato et Grande Polonaise brillante in E-Flat Major, Op. 22 [Recorded at Clayton State University’s Spivey Hall 03/24/2019] Program Time 01:06:42 July 11, 2021 – 10:00pm Paul Halley, organ J.S. Bach: Chorale Prelude on “In Dulci Jubilo” Maurice Dupre: Choral “In Dulci Jubilo” Paul Halley: Improvisation on “Good Christian Folk Rejoice” J. S. Bach: Passacaglia & Fugue in C Minor, BWV 582 Johannes Brahms: Chorale Prelude on “Es ist ein Ros’ entsprungen” Paul Halley: Improvisation on “Lo, How A Rose E’re Blooming” J. S. Bach: Chorale Prelude on “Wachet Auf, ruft uns die Stimme” Paul Halley: Improvisation on “Sleeper’s Wake” Jehan Alain: Litanies César Franck: Chorale No. 2 in B Minor [Recorded at Clayton State University’s Spivey Hall 12/06/1998] Program Time 01:11:08 July 18, 2021 – 10:00pm Ebène Quartet Pierre Colombet and Gabriel Le Magadure – violins Mathieu Herzog – viola & Raphaël Merlin – cello Wolfgang Amadeus Mozart: Quartet in E-Flat Major, K. 428 St. Lawrence String Quartet Geoff Nuttall & Scott St. John – violins Lesley Robertson – viola & Christopher Costanza – cello Dmitri Shostakovich’s String Quartet No. 3 in F Major, Op. 73 [Recorded at Clayton State University’s Spivey Hall 11/08/2014 & 2/4/2007] Program Time 01:00;42 July 25, 2021 – 10:00pm Kodály String Quartet Attila Falvay & Tamás Szabó – violins, János Fejérvári – viola and György Éder – cello Michiko Otaski – piano Zolton Kodàly: String Quartet No. 2, Op. 10 Ludwig van Beethoven: String Quartet in C Major, Op. 59, No. 3 “Razoumovsky” Ernst von Dohnányi: Piano Quintet in C Minor, Op. 1 [Recorded at Clayton State University’s Spivey Hall 11/11/2003] Program Time 01:19:59 .

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THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
{ to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke.
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Conceiving Musical Transdialection
Conceiving Musical Transdialection By Richard Beaudoin, Harvard University and Joseph Moore, Amherst College Abstract: We illuminate the wandering notion of a musical transcription by reflecting on the various ways “transcription” and its cognates have been used in musical discourse, and by examining some notable 20th century transcriptions of J. S. Bach, which became increasingly loose through the decades. At root, musical transcription aims at preservation, but, as we bring out, exactly which musical ingredients are preserved across which transformations varies from transcriptional project to transcriptional project. We defend as intelligible one very interesting such project—we call it “transdialection”—by exploring an analogy with poetic translation, and by directly taking on some natural objections to it. We conclude that certain controversial transcriptions are justifiably and usefully so-called. 1 0. Transcription Traduced While it may not surprise you to learn that the first bit of music above is the opening of a chorale prelude by Baroque master, J. S. Bach, who would guess that the second bit is a so-called transcription of it? But it is—it’s a transcription by the contemporary British composer, Michael Finnissy. The two passages look very different from one another, even to those of us who don’t read music. And hearing the pieces will do little to dispel the shock, for here we have bits of music that seem worlds apart in their melodic makeup, harmonic content and rhythmic complexity. It’s a far cry from Bach’s steady tonality to Finnissy’s floating, tangled lines—a sonic texture in which, as one critic put it, real music is “mostly thrown into a seething undigested, unimagined heap of dyslexic clusters of multiple key- and time-proportions, as intricately enmeshed in the fetishism of the written notation as those 2 with notes derived from number-magic.”1 We’re more sympathetic to Finnissy’s music.
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Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
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The Organ Music of Ethel Smyth
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks THE ORGAN MUSIC OF ETHEL SMYTH: A GUIDE TO ITS HISTORY AND PERFORMANCE PRACTICE BY SARAH M. MOON Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________ Janette Fishell, Research Director __________________________________ Gretchen Horlacher __________________________________ Bruce Neswick __________________________________ Christopher Young ii Copyright © 2014 Sarah M. Moon iii This document is dedicated to my family. iv ACKNOWLEDGEMENTS I would foremost like to thank the members of my Doctoral Committee: Professor Janette Fishell, Professor Gretchen Horlacher, Professor Bruce Neswick, and Professor Christopher Young. I truly appreciate my five years at Indiana University under their guidance and admire their inspirational models of character and excellence. I would especially like to thank Dr. Janette Fishell, my organ professor and research director, who has provided invaluable musical and academic encouragement. I am also grateful to many people and institutions in England who helped with my research: Fiona McHenry and the helpful staff at the British Library’s Music and Rare Books Reading Room; Michael Mullen and the librarians at the Royal College of Music; Peter Graham Avis, a fellow Ethel Smyth scholar; and Alex Joannides from Boosey and Hawkes for granting me permission to make a copy of “Prelude on a Traditional Irish Air” for study purposes.
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Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
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574252-53 Itunes Pott
Francis PO TT Christus Improvisation on Adeste, Fideles Schmücke dich, O liebe Seele • Surrexit Hodie Tom Winpenny, Organ Francis Pott (b. 1957) ground itself begins to distort rhythmically and to unfold in tonal point, D. Far-distant references to the chorale Christus fewer bars, as if unsteady beneath hostile buffeting. The conjure a faint memory of the living world reaching into an flow of ancillary counterpoint progressively features a entombed stillness. Christus (1986–1990) owes little to the French organ This is destined for increasing significance throughout the descending chromatic motif from the previous movement, Resurrectio attempts formal balance with Logos while symphony tradition. Its concern with motivic unity and work as a whole, assuming many harmonic guises and as well as the chorale outline and ironic mimicry of the articulating a great struggle toward the light. It begins with evolving tonality arises mainly from interest in the ultimately crowning the Resurrectio finale. ‘ground’ notes, whose final reiteration (now reduced thunderous declamation of the motto theme and a stormy (orchestral) symphonic methods of the Danish composer An extended free development follows. In due course almost beyond coherence) ignites a jagged scherzo. At its cadenza-like introduction which comes to rest on a chord Carl Nielsen, while certain harmonic habits relate more the Allegro is recapitulated, but rising tension is dissipated height three abruptly recessed quiet passages occur, of F sharp (anticipating but not forestalling the work’s specifically to his Fourth and Fifth Symphonies. Above all, by a remote chordal statement of the chorale (which marking the arrival at Golgotha and each followed by peroration).
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Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today.
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To the Claire Coci Organ Score Collection
INDEX TO THE CLAIRE COCI ORGAN SCORE COLLECTION SPECIAL COLLECTIONS MUSSELMAN LIBRARY GETTYSBURG COLLEGE This guide to the Clair Coci collection was created by transcribing the card index that Ms. Coci created for her own use. No attempt has been made to conform the composer's name or the composition title to the standard forms (Uniform Titles) established by the Library of Congress and used by music catalogers. Many of the scores have markings by Ms. Coci or her teacher Marcel Dupre. Some scores are in manuscript. Scores that are not marked are available for checkout from the library. Marked scores are for use within Special Collections only. The index numbering system was devised by Ms. Coci and is retained in this listing. The following codes are used for better access of certain categories of music. BR = Brasses and Organ CEM = Cembalo and Organ DC = Scores by Marcel Dupre DE = Scores annotated by Marcel Dupre FL = Flute and Organ OB = Oboe and Organ OG = Guitar and Organ OH = Horn and Organ OP = Piano and Organ OVI = Organ and Various Instruments ST = Strings and Organ TO = Two Organs TR = Trumpet and Organ TYM = Tympani and Organ VAR = Various Instruments VI = Violin VO = Voices and Organ Compiled by Frances Playfoot and David Hedrick © 1995 Special Collections Gettysburg College COMPOSER/ NUMBER TITLE OF WORK Abt, Franz A 51 Practical Singing Tutor Abreu, Zequinha S 110 Tico-tico Abt, Franz S 117 Practical Singing Tutor Achtzig Choralvorspiele Deutscher Meister Des 17 und 18 Jahrhunderts Collection 24 Keller, Hermann, Editor Adam, Adolph A 19 Cantique de Noel Adler, Samuel A 20 Three Devotions (Only Pastorale in file) Adler, Samuel A 30 Tocatta, Recitative and Postlude Adler, Samuel TYM 4 Xenia, A Dialogue for Organ and Percussion Advent to Whitsuntide, Vols.
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A Pedal Study of Johann Sebastian Bach's Orgelbüchlein
A Pedal Study of Johann Sebastian Bach’s Orgelbüchlein A document proposal submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music April, 2013 by Yoonnah L. Lee BM, Ewha Womans University, Korea, 2002 MM, University of Cincinnati, 2005 Committee Chair: Roberta Gary, DMA ABSTRACT This study explores diverse figures in the pedal passages in Johann Sebastian Bach’s Orgelbüchlein in order to improve pedal technique by a more effective practice style. The Orgelbüchlein has been thought to include easy pieces that are usually played by beginning students. One of the reasons for this belief is that the pieces are short. In fact, however, none of the chorale settings in the Orgelbüchlein are easy to play. Their various levels of difficulty and styles prove Bach’s pedagogical purpose. I will take full advantage of the obbligato pedal writing in the Orgelbüchlein to develop a pedal technique for music composed before 1750. This study provides pedal exercises according to level of difficulty with directions for practicing included. These pedal exercises based on the Orgelbüchlein will challenge organ students in the great variety they include. ii Copyright © 2013 by Yoonnah L. Lee. All rights reserverd. iii ACKNOWLEDGEMENTS My long journey of graduate studies at CCM would not have been possible without the support of many people. I would like to acknowledge my advisor, Dr. Roberta Gary. Her teaching and mentorship throughout the completion of my studies will always be remembered with a profound gratitude.
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View Repertoire List
Repertoire List Victor Lim Solo J.S. Bach Prelude and Fugue in F sharp major Book 1 BWV 858 Prelude and Fugue in B flat major Book 1 BWV 866 Prelude and Fugue in F major Book 2 BWV 880 Bach/F,Busoni Chorale Prelude ‘Wachet Auf, Ruft Uns Die Stimme’ Bach/Cohen Chorale Prelude ‘Ertödt' uns durch dein' Güte’ Bach/Siloti Prelude in B minor J. Rameau La Dauphine D. Scarlatti Sonata in C K159 L.v. Beethoven Piano Sonata No.10 Op.14 No.2 Piano Sonata No.21 Op.53 'Waldstein' Piano Sonata No.26 Op.81a 'Les Adieux' Piano Sonata No.25 Op.57 ‘Appassionata’ Piano Sonata No.29 Op.106 ‘Hammerklavier’ J. Haydn Piano Sonata in F major Hob.XVI.23 Piano Sonata in B minor Hob.XVI:32 Piano Sonata in E minor Hob.XVI:34 Piano Sonata in C major Hob.XVI:50 W.A. Mozart Piano Sonata in B flat major K.570 Piano Sonata in A minor K.310 F. Schubert Piano Sonata No.13 in A major D.664 Allegreto in C minor D.915 J. Brahms 6 Klavierstücke Op.118 F. Bridge Three sketches F. Chopin Etudes Op.10 No.1,2,3,5,10,12 Fantaisie Op.49 Ballade No.4 Op.52 Barcarolle Op.60 Preludes Op.28 Mazurkas Op.59 Nocturne Op.9 No.2, Op.32 No.1&2 P. Grainger Ramble on the last duet in Richard Strauss’s Opera ‘Der Rosenkavalier’ E. Grieg Lyric Pieces Op.12 No.1, ‘Arietta’, Op.47 No.3 ‘Melodie’, Op.54 No.4 ‘Nocturne F.
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Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
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Summary of Dissertation Recitals by Eun Young Lee a Dissertation Submitted in Partial Fulfillment of the Requirements for the De
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