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Contemporary and Historical Performance Practice in Late Eighteenth-Century Violin Repertoire
Contemporary and historical performance practice in late eighteenth-century violin repertoire observations on articulation, bow strokes, and interpretation Jun He An exegesis submitted to Massey University and Victoria University of Wellington in fulfilment of the degree of the Doctor of Musical Art in violin performance NEW ZEALAND SCHOOL OF MUSIC 2014 Abstract Since the 1970s, historically-aware performances of late eighteenth- century repertoire (and that of Mozart and Beethoven in particular) have prompted demands for a finer stylistic awareness on the part of the performer. Articulation in late eighteenth-century repertoire is of particular importance in this regard. In violin performance, bow strokes constitute the primary technique with which to render articulatory effects. In this study, I consider not only the link between the theoretical discussions of historically-informed performance (HIP) practitioners and the conventions of mainstream performance practice on the violin, but I investigate how best to merge musicological discussions of HIP with the practice of frequently performed repertoire on modern instruments today. Violin bow models play an important role in any discussion of articulation and bow strokes, and the use of old-style instruments represents the main divergence between HIP and mainstream performance. In this regard, observations on execution with the bow models used during the Classical era are important, and the differences between the so-called transitional bows and modern bows in performance will be informed by my own practice with a copy of a 1785 bow. Notation, which conveys the interpretative instructions of the composer, is one of the major areas of critical research of contemporary studies of the performance practices of the Classical era. -
The Form of the Preludes to Bach's Unaccompanied Cello Suites
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 The orF m of the Preludes to Bach's Unaccompanied Cello Suites Daniel E. Prindle University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Composition Commons, Musicology Commons, Music Practice Commons, and the Music Theory Commons Prindle, Daniel E., "The orF m of the Preludes to Bach's Unaccompanied Cello Suites" (2011). Masters Theses 1911 - February 2014. 636. Retrieved from https://scholarworks.umass.edu/theses/636 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2011 Master of Music in Music Theory © Copyright by Daniel E. Prindle 2011 All Rights Reserved ii THE FORM OF THE PRELUDES TO BACH’S UNACCOMPANIED CELLO SUITES A Thesis Presented by DANIEL E. PRINDLE Approved as to style and content by: _____________________________________ Gary Karpinski, Chair _____________________________________ Miriam Whaples, Member _____________________________________ Brent Auerbach, Member ___________________________________ Jeffrey Cox, Department Head Department of Music and Dance iii DEDICATION To Michelle and Rhys. iv ACKNOWLEDGEMENTS First and foremost, I would like to acknowledge the generous sacrifice made by my family. -
The Journal of the Viola Da Gamba Society Text Has Been Scanned With
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up- dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 31 (2003) Editorial, p. 2 Pamela Willetts Who was Richard Gibbon(s)? Chelys, vol. 31 (2003), pp. 3-17 Michael Fleming How long is a piece of string? Understanding seventeenth- century descriptions of viols. Chelys, vol. 31 (2003), pp. 18-35 David J. Rhodes The viola da gamba, its repertory and practitioners in the late eighteenth century. Chelys, vol. 31 (2003), pp. 36-63 Review Annette Otterstedt: The Viol: History of an Instrument, Thomas Munck Chelys, vol. 31 (2003), pp. 64-67 Letter (and reprinted article) Christopher Field: Hidden treasure in Gloucester Chelys, vol. 31 (2003), pp. 68-71 EDITORIAL It is strange, but unfortunately true, that to many people the term 'musicology' suggests an arid intellectual discipline far removed from the emotional immedi- acy of music. -
1) Aspects of the Musical Careers of Grieg, Debussy and Ravel
Edvard Grieg, Claude Debussy and Maurice Ravel. Biographical issues and a comparison of their string quartets Juliette L. Appold I. Grieg, Debussy and Ravel – Biographical aspects II. Connections between Grieg, Debussy and Ravel III. Observations on their string quartets I. Grieg, Debussy and Ravel – Biographical aspects Looking at the biographies of Grieg, Debussy and Ravel makes us realise, that there are few, yet some similarities in the way their career as composers were shaped. In my introductory paragraph I will point out some of these aspects. The three composers received their first musical training in their childhood, between the age of six (Grieg) and nine (Debussy) (Ravel was seven). They all entered the conservatory in their early teenage years (Debussy was 10, Ravel 14, Grieg 15 years old) and they all had more or less difficult experiences when they seriously thought about a musical career. In Grieg’s case it happened twice in his life. Once, when a school teacher ridiculed one of his first compositions in front of his class-mates.i The second time was less drastic but more subtle during his studies at the Leipzig Conservatory until 1862.ii Grieg had despised the pedagogical methods of some teachers and felt that he did not improve in his composition studies or even learn anything.iii On the other hand he was successful in his piano-classes with Carl Ferdinand Wenzel and Ignaz Moscheles, who had put a strong emphasis on the expression in his playing.iv Debussy and Ravel both were also very good piano players and originally wanted to become professional pianists. -
Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia Or Online at Wrti.Org
Next on Discoveries from the Fleisher Collection Listen to WRTI 90.1 FM Philadelphia or online at wrti.org. Encore presentations of the entire Discoveries series every Wednesday at 7:00 p.m. on WRTI-HD2 Saturday, August 4th, 2012, 5:00-6:00 p.m. Claude Debussy (1862-1918). Danse (Tarantelle styrienne) (1891, 1903). David Allen Wehr, piano. Connoiseur Soc 4219, Tr 4, 5:21 Debussy. Danse, orch. Ravel (1923). Philharmonia Orchestra, Geoffrey Simon. Cala 1024, Tr 9, 5:01 Maurice Ravel (1875-1937). Shéhérazade (1903). Anne Sofie von Otter, mezzo-soprano, Cleveland Orchestra, Pierre Boulez. DG 2121, Tr 1-3, 17:16 Ravel. Introduction and Allegro (1905). Rachel Masters, harp, Christopher King, clarinet, Ulster Orchestra, Yan Pascal Tortelier. Chandos 8972, Tr 7, 11:12 Debussy. Sarabande, from Pour le piano (1901). Larissa Dedova, piano. Centaur 3094, Disk 4, Tr 6, 4:21 Debussy. Sarabande, orch. Ravel (1923). Ulster Orchestra, Yan Pascal Tortelier. Chandos 9129, Tr 2, 4:29 This time, he’d show them. The Paris Conservatoire accepted Ravel as a piano student at age 16, and even though he won a piano competition, more than anything he wanted to compose. But the Conservatory was a hard place. He never won the fugue prize, never won the composition prize, never won anything for writing music and they sent him packing. Twice. He studied with the great Gabriel Fauré, in school and out, but he just couldn’t make any headway with the ruling musical authorities. If it wasn’t clunky parallelisms in his counterpoint, it was unresolved chords in his harmony, but whatever the reason, four times he tried for the ultimate prize in composition, the Prix de Rome, and four times he was refused. -
Brentano String Quartet
“Passionate, uninhibited, and spellbinding” —London Independent Brentano String Quartet Saturday, October 17, 2015 Riverside Recital Hall Hancher University of Iowa A collaboration with the University of Iowa String Quartet Residency Program with further support from the Ida Cordelia Beam Distinguished Visiting Professor Program. THE PROGRAM BRENTANO STRING QUARTET Mark Steinberg violin Serena Canin violin Misha Amory viola Nina Lee cello Selections from The Art of the Fugue Johann Sebastian Bach Quartet No. 3, Op. 94 Benjamin Britten Duets: With moderate movement Ostinato: Very fast Solo: Very calm Burlesque: Fast - con fuoco Recitative and Passacaglia (La Serenissima): Slow Intermission Quartet in B-flat Major, Op. 67 Johannes Brahms Vivace Andante Agitato (Allegretto non troppo) Poco Allegretto con variazioni The Brentano String Quartet appears by arrangement with David Rowe Artists www.davidroweartists.com. The Brentano String Quartet record for AEON (distributed by Allegro Media Group). www.brentanoquartet.com 2 THE ARTISTS Since its inception in 1992, the Brentano String Quartet has appeared throughout the world to popular and critical acclaim. “Passionate, uninhibited and spellbinding,” raves the London Independent; the New York Times extols its “luxuriously warm sound [and] yearning lyricism.” In 2014, the Brentano Quartet succeeded the Tokyo Quartet as Artists in Residence at Yale University, departing from their fourteen-year residency at Princeton University. The quartet also currently serves as the collaborative ensemble for the Van Cliburn International Piano Competition. The quartet has performed in the world’s most prestigious venues, including Carnegie Hall and Alice Tully Hall in New York; the Library of Congress in Washington; the Concertgebouw in Amsterdam; the Konzerthaus in Vienna; Suntory Hall in Tokyo; and the Sydney Opera House. -
Hamilton's Celebrated Dictionary, Comprising an Explanation of 3,500
B ornia lal y * :v^><< Ex Libris C. K. OGDEN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES i4 ^}^^^D^ /^Ic J- HAMILTON'S DICTIONAIiY 3,500 MUSICAL TERMS. JOHN BISHOP. 130th EDITION. Price One Shilling. ROBERT COCKS & CO., 6, NEW BURLNGTON ST. JiJuxic Publishers to Her Most Gracious Majesty Queen Victoria, and H.R.H. the Prince of Wales. ^ P^ fHB TIME TABLE. or ^ O is e:iual to 2 or 4 P or 8 or 1 6 or 3 1 64 fi 0| j^ f 2 •°lT=2,«...4f,.8^..16|..52j si: 2?... 4* HAMILTON 8s CELEBRATED DICTIONARY, ooMrkiRiKo XM izpLAKATioa or 3,500 ITALIAN, FRENCH, GERMAN, ENGLISH, AMJ> OTHBK ALSO A COPIOUS LIST OF MT7SICAL CHARACTERS, 8U0H AS ARB FOUND IN THB WOWS OT Adam, Aguado, AlbreehUberger Auber, Baeh (J. S.), Baillot, Betthoven, Bellini, JJerbiguier, Bertini, Burgmuller, Biikop (John), Boehia-, Brunntr, Brieeialdi, Campagnoli, Candli, Chopin, Choron, Chaidieu, Cherubini, Cl<irke (J.y dementi, Cramer, Croisez, Cxemy, De Beriot, Diatedi, Dcehler, Donizetti, Dotzauer, Dreytehoek, Drouec, Dutsek. Fetis, Fidd, Fordt, Gabrieltky, Oivliani, Ooria, Haydn, Handd, Herald, Hert, Herzog, Hartley, Hummel, Hunt^n, Haentel, Htntelt, Kalkbrenner, Kuhe, Kuhlau, Kreutzer, Koeh, Lanner, Lafoitzky, Lafont, Ltmke, Lemoine, Liszt, l^barre, Marpurg, Mareailhou, Shyteder, Meyerbeer, Mereadante, MendeUtohn, Mosehelet. Matart, Musard, NichoUon, Nixon, Osborne, Onslow, Pacini, Pixis, Plachy. Rar'^o, Reicha, Rinck, Rosellen, Romberg (A. and B.), Rossini, Rode. 6st iau, Rieci, Reistiger, SehmiU (A.), Schubert (C), Sehulhoff. Sar, Spohr. 8f, .jss, Santo$ (D J. Dot), Thalberg, Tulou, ViotU, WMaet (W. F.). W«^ ren, WcOdtier, Webtr, Wetley (S. S.), Ac. WITH AN APPENDIX, OOKSISTIMO OF A RBPRIKT OF /OHH TIKCTOR'S " TERMINORUM MUSIC^E DIFFIlTlTORIUlh,- The First Kusical Dictionary known. -
The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
A Pedagogical Analysis of Dvorak's Cello Concerto in B Minor, Op
A Pedagogical Analysis of Dvorak’s Cello Concerto in B Minor, Op. 104 by Zhuojun Bian B.A., The Tianjin Normal University, 2006 M.Mus., University of Victoria, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Cello) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2017 © Zhuojun Bian, 2017 Abstract I first heard Antonin Dvorak’s Cello Concerto in B Minor, Op. 104 when I was 13 years old. It was a memorable experience for me, and I was struck by the melodies, the power, and the emotion in the work. As I became more familiar with the piece I came to understand that it holds a significant position in the cello repertory. It has been praised extensively by cellists, conductors, composers, and audiences, and is one of the most frequently performed cello concertos since it was premiered by the English cellist Leo Stern in London on March 19th, 1896, with Dvorak himself conducting the Philharmonic Society Orchestra. In this document I provide a pedagogical method as a practical guide for students and cello teachers who are planning on learning this concerto. Using a variety of historical sources, I provide a comprehensive understanding of some of the technical challenges presented by this work and I propose creative and effective methods for conquering these challenges. Most current studies of Dvorak’s concerto are devoted to the analysis of its structure, melody, harmony, rhythm, texture, instrumentation, and orchestration. Unlike those studies, this thesis investigates etudes and student concertos that were both precursors to – and contemporary with – Dvorak’s concerto. -
A Guide to Extended Techniques for the Violoncello - By
Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques. -
GIOCOSO QUARTET Thursday 5 April 2018, 8Pm Hobart Town Hall
GIOCOSO QUARTET Thursday 5 April 2018, 8pm Hobart Town Hall Programme Joseph HAYDN (1732-1809) String Quartet in D major, op 71 no 2 (1793) 19 min I Adagio – allegro II Adagio cantabile III Menuetto: Allegretto – Trio IV Finale: Allegretto Robert SCHUMANN (1810-1856) String Quartet no 1 in A minor, op 41 no 1 (1842) 26 min I Andante espressivo-Allegro II Scherzo: Presto III Adagio IV Allegro INTERVAL Maurice RAVEL (1875-1937) String Quartet in F major (1902-03) 28 min I Allegro moderato II Assez vif, très rythmé III Très lent IV Vif et agité Programme Notes Joseph Haydn (1732-1809) String Quartet in D major, op 71 no 2 (1793) I Adagio - Allegro II Adagio cantabile III Menuetto: Allegro & Trio IV Finale: Allegretto – Allegro Upon his triumphal return to London in February 1794, Haydn brought with him one whole symphony (no 99), parts for two others (nos 100 &101) and six new string quartets, soon to be known as op 71 and 74 (because they were issued in two sets, each one provided, wrongly with a separate opus number). The quartets were destined to serve as a double purpose. They had been commissioned by an old friend and patron, Anton Georg, Count von Apponyi, a Freemason who sponsored Haydn's entrance into the Craft in 1785. It was customary for a commissioner to have exclusive performing rights of such works for a period of years, but in this case Haydn obviously intended the works - completed and delivered only in the previous year, 1793 - not so much for the limited circle of Apponyi and his Austrian friends, as for the forthcoming season in the fashionable concert rooms of his London impresario, the violinist Johann Peter Salomon.