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37<F Aisid M . HZ-Li CADENTIAL SYNTAX and MODE in THE
37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 37<f AiSId M. HZ-li CADENTIAL SYNTAX AND MODE IN THE SIXTEENTH-CENTURY MOTET: A THEORY OF COMPOSITIONAL PROCESS AND STRUCTURE FROM GALLUS DRESSLER'S PRAECEPTA MUSICAE POETICAE DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By David Russell Hamrick, B.A., M.M, Denton, Texas May, 1996 Hamrick, David Russell, Cadential syntax and mode in the sixteenth-century motet: a theory of compositional process and structure from Gallus Dressier's Praecepta musicae poeticae. Doctor of Philosophy (Musicology), May, 1996, 282 pp., 101 tables, references, 127 titles. Though cadences have long been recognized as an aspect of modality, Gallus Dressier's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressier's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. -
Performing Michael Haydn's Requiem in C Minor, MH155
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service. -
Faure Requiem Program V2
FAURÉ REQUIEM Conceived and directed by Barbara Pickhardt, Artistic Director Produced by Barbara Scharf Schamest Premiered: June 13, 2021 Ars Choralis Barbara Pickhardt, artistic director REQUIEM, Op. 48 (1893) Gabriel Fauré (1845-1924) Introit Brussels Choral Society Eric Delson, conductor Kyrie Ars Choralis Chamber Orchestra Barbara Pickhardt, conductor Offertory Ars Choralis Chuck Snyder, baritone Eribeth Chamber Players Barbara Pickhardt, conductor Sanctus The Dessoff Choirs Malcolm J. Merriweather, conductor Pie Jesu (Remembrances) Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Sebastiano Valentino, music director Agnus Dei Ars Choralis Magna Graecia Flute Choir Carlo Verio Sirignano, guest conductor Chamber Orchestra Barbara Pickhardt, conductor Libera Me Ars Choralis Harvey Boyer, tenor Douglas Kostner, organ Barbara Pickhardt, conductor Memorial Prayers Tatjana Myoko Evan Pritchard Rabbi Jonathan Kligler Elizabeth Lesser Pastor Sonja Tillberg Maclary In Paradisum Brussels Choral Society Eric Delson, conductor 1 Encore Performances Pie Jesu Ars Choralis Amy Martin, soprano Eribeth Chamber Playersr Barbara Pickhardt, conductor In Paradisum The Dessoff Choirs Malcolm J. Merriweather, conductor About This Virtual Concert By Barbara Pickhardt The Fauré Requiem Reimagined for a Pandemic This virtual performance of the Fauré Requiem grew out of the need to prepare a concert while maintaining social distancing. We would surely have preferred to blend our voices as we always have, in a live performance. But the pandemic opened the door to a new and different opportunity. As we saw the coronavirus wreak havoc around the world, it seemed natural to reach out to our friends in other locales and include them in this program. In our reimagined version of the Fauré Requiem, Ars Choralis is joined, from Belgium, by the Brussels Choral Society, the Magna Graecia Flute Choir of Calabria, Italy, the Dessoff Choirs from New York City, and, from New York, instrumentalists from the Albany area, New York City and the Hudson Valley. -
Chamberfest Cleveland Announces 2016 Season by Daniel Hathaway
ChamberFest Cleveland announces 2016 season by Daniel Hathaway ChamberFest Cleveland has announced its fifth season under the joint artistic direction of its founders, Cleveland Orchestra principal clarinet emeritus Franklin Cohen and his daughter, Diana Cohen, concertmaster of Canada’s Calgary Symphony. Eleven concerts over fourteen days will be held at venues throughout metropolitan Cleveland from June 16 through July 2. The theme for 2016 is “Tales and Legends.” Concerts will center around stories ranging from the profane to the divine, including the fantastical, mystical, and obsessive. Performers who will join Franklin and Diana Cohen include (to name just a few) pianists Orion Weiss and Roman Rabinovich, violinist/violist Yura Lee, violinist Noah BendixBalgley, and accordionist Merima Ključo, who is composing a piece to be premiered at the festival. The complete schedule is as follows (performers for each event will be announced later). For subscriptions and ticket information, visit the ChamberFest website. Wednesday, June 15 — Nosh at Noon at WCLV’s Smith Studio in Playhouse Square, featuring ChamberFest Cleveland’s 2016 Young Artists (free event). Thursday, June 16 at 8:00 pm — Schumann Fantasies at CIM’s Mixon Hall, 11021 East Blvd. (Openingnight party follows the performance at Crop Kitchen, 11460 Uptown Ave.) Robert Schumann’s Fantasiestucke, Movement from the “F.A.E” Sonata and Piano Quintet, Gyorgy Kurtág’s Hommage à Schumann, and Stephen Coxe’s A Book of Dreams. Friday, June 17 at 8:00 pm — To My Distant Beloved in Reinberger Chamber Hall at Severance Hall (sponsored by The Cleveland Orchestra). Frank Bridge’s Three Songs for MezzoSoprano, Antonín Dvořák’s Cypresses, Gyorgy Kurtág’s One More Voice from Far Away, Ludwig van Beethoven’s To My Distant Beloved, and Johannes Brahms’s Piano Quartet in c. -
The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017
Music@Menlo CHAMBER MUSIC FESTIVAL AND INSTITUTE The Fifteenth Season: The Glorious Violin David Finckel and Wu Han, Artistic Directors July 14–August 5, 2017 REPERTOIRE LIST (* = Carte Blanche Concert) Joseph Achron (1886–1943) Hebrew Dance, op. 35, no. 1 (1913) Johann Sebastian Bach (1685–1750) Chaconne from Partita no. 2 in d minor for Solo Violin, BWV 1004 (1720)* Prelude from Partita no. 3 in E Major, BWV 1006 (arr. Kreisler) (1720)* Double Violin Concerto in d minor, BWV 1043 (1730–1731) Ludwig van Beethoven (1770–1827) String Quintet in C Major, op. 29 (1801) Violin Sonata no. 10 in G Major, op. 96 (1812) Heinrich Franz von Biber (1644–1704) Passacaglia in g minor for Solo Violin, The Guardian Angel, from The Mystery Sonatas (ca. 1674–1676)* Ernest Bloch (1880–1959) Violin Sonata no. 2, Poème mystique (1924)* Avodah (1929)* Bluegrass Fiddling (To be announced from the stage)* Alexander Borodin (1833–1887) String Quartet no. 2 in D Major (1881) Johannes Brahms (1833–1897) Horn Trio in E-flat Major, op. 40 (1865) String Quartet no. 3 in B-flat Major, op. 67 (1875)* Arcangelo Corelli (1653–1713) Concerto Grosso in g minor, op. 6, no. 8, Christmas Concerto (1714) Violin Sonata in d minor, op. 5, no. 12, La folia (arr. Kreisler) (1700)* John Corigliano (Born 1938) Red Violin Caprices (1999) Ferdinand David (1810–1873) Caprice in c minor from Six Caprices for Solo Violin, op. 9, no. 3 (1839) Claude Debussy (1862–1918) Petite suite for Piano, Four Hands (1886–1889) Ernő Dohnányi (1877–1960) Andante rubato, alla zingaresca (Gypsy Andante) from Ruralia hungarica, op. -
September 2019 Catalogue Issue 41 Prices Valid Until Friday 25 October 2019 Unless Stated Otherwise
September 2019 Catalogue Issue 41 Prices valid until Friday 25 October 2019 unless stated otherwise ‘The lover with the rose in his hand’ from Le Roman de la 0115 982 7500 Rose (French School, c.1480), used as the cover for The Orlando Consort’s new recording of music by Machaut, entitled ‘The single rose’ (Hyperion CDA 68277). [email protected] Your Account Number: {MM:Account Number} {MM:Postcode} {MM:Address5} {MM:Address4} {MM:Address3} {MM:Address2} {MM:Address1} {MM:Name} 1 Welcome! Dear Customer, As summer gives way to autumn (for those of us in the northern hemisphere at least), the record labels start rolling out their big guns in the run-up to the festive season. This year is no exception, with some notable high-profile issues: the complete Tchaikovsky Project from the Czech Philharmonic under Semyon Bychkov, and Richard Strauss tone poems from Chailly in Lucerne (both on Decca); the Beethoven Piano Concertos from Jan Lisiecki, and Mozart Piano Trios from Barenboim (both on DG). The independent labels, too, have some particularly strong releases this month, with Chandos discs including Bartók's Bluebeard’s Castle from Edward Gardner in Bergen, and the keenly awaited second volume of British tone poems under Rumon Gamba. Meanwhile Hyperion bring out another volume (no.79!) of their Romantic Piano Concerto series, more Machaut from the wonderful Orlando Consort (see our cover picture), and Brahms songs from soprano Harriet Burns. Another Hyperion Brahms release features as our 'Disc of the Month': the Violin Sonatas in a superb new recording from star team Alina Ibragimova and Cédric Tiberghien (see below). -
Constantin Silvestri Conducts the Bournemouth Symphony Orchestra Hiviz Ltd
CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 20 - 1 The RMA (Romanian Musical Adventure) With special thanks to: was formed to record outstanding works The Bournemouth Symphony Orchestra by Romanian composers, new and and the Musicians Union CONSTANTIN SILVESTRI David Lee, Wessex Film & Sound Archive lesser-known repertoire and well-known Raymond Carpenter and Kenneth Smith repertoire interpreted in a new light. Glen Gould, Audio restoration ABOURNEMOUTHLOVEAFFAIR 72 Warwick Gardens, London W14 8PP Georgina Rhodes and Richard Proctor, Design. Email: [email protected] Photograph of the sea, Richard Proctor The legendary Constantin Silvestri conducts the Bournemouth Symphony Orchestra www.romanianmusicaladventure.org HiViz Ltd. Media Solutions, CD Production and print BBC The George Enescu Museum, Bucharest Constantin Silvestri’s BBC recordings are also available on BBC Legends www.mediciarts.co.uk © 2009 RMA, London. The BBC word mark and logo is a trade mark of the British Broadcasting Corporation and is used under license from BBC Worldwide. BBC logo © BBC 1996 2CD DIGITALLY RE-MASTERED CTP Template: CD_DPS1 COLOURS Compact Disc Booklet: Double Page Spread CYAN MAGENTA Customer YELLOW Catalogue No. BLACK Job Title Page Nos. 2 - 19 Constantin Silvestri conducts the Bournemouth Symphony Orchestra Disc 1 69.93 Disc 2 75.73 George Enescu (1881–1955) George Enescu (1881–1955) Symphony No. 1 First Orchestral Suite 1 Assez vif et rythmé 11.17 1 Prélude à l’unisson 6.40 2 Lent 12.42 2 Menuet lent 11.13 3 Vif et vigoureux 8.53 3 Intermède 3.40 4 Vif 6.05 Wolfgang Amadeus Mozart (1756–1791) Second Orchestral Suite 4 The Magic Flute Overture 6.52 5 Ouverture 3.43 6 Sarabande 4.12 Wolfgang Amadeus Mozart 7 Gigue 2.29 Symphony No. -
Ambassador Auditorium Collection ARS.0043
http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity. -
Abbe R. Krieger, Flute and Hélène Jeanney, Piano with Special Guests Pentawinds
NICHOLAS ROERICH MUSEUM 319 West 107th Street, New York NY 10025-2715 • tel: 212 864 7752 • email: [email protected] Sunday, October 29, 2017, at 5 p.m. Abbe R. Krieger, flute and Hélène Jeanney, piano with Special Guests PentaWinds Sonata in F Major, KV 13 Wolfgang Amadeus Mozart (1756-1791) Allegro Andante Menuetto Sonata in G Minor, BWV 1020 Johann Sebastian Bach (1685-1750) Allegro Andante Allegro “A Havdalah Meditation” for solo flute Robert Strassburg (1915-2003) World Premiere Intermission Sonatine Walter Gieseking (1895-1956) Moderato Allegretto Vivace Sextet in B flat Major, Op. 6 Ludwig Thuille (1861-1907) Allegro Moderato (with PentaWinds Quintet) Program Notes I selected the works on this program to give you a taste of flute repertoire from several different musical eras and to give myself (and Hélène) a chance to explore the Baroque, Classical, Roman- tic, Neo-Romantic and Contemporary genres—a process that I am learning could take lifetimes. Given that Hallowe’en is almost here, I would like to say that this recital is a musical “trick or treat,” if you will, in which, instead of candy, your senses get to experience Baroque, Classical, Contemporary, Romantic and Neo-Romantic styles. The appetizing Mozart Sonata was written when he was 8 years old! Queen Charlotte of Eng- land commissioned him to write this for her in 1764. Fortunately, he had the help of his childhood mentor, Johann Christian Bach, otherwise known as the “Bach” of London…He was the youngest son of Johann Sebastian Bach. Differing from the traditional organization of movements into an allegro-andante-allegro pattern, this sonata ends with a minuet. -
Artes 21-22.Docx
DOI: 10.2478/ajm-2020-0004 Artes. Journal of Musicology Constantin Silvestri, the problematic musician. New press documents ALEX VASILIU, PhD “George Enescu” National University of Arts ROMANIA∗ Abstract: Constantin Silvestri was a man, an artist who reached the peaks of glory as well as the depths of despair. He was a composer whose modern visions were too complex for his peers to undestand and accept, but which nevertheless stood the test of time. He was an improvisational pianist with amazing technique and inventive skills, and was obsessed with the score in the best sense of the word. He was a musician well liked and supported by George Enescu and Mihail Jora. He was a conductor whose interpretations of any opus, particularly Romantic, captivate from the very first notes; the movements of the baton, the expression of his face, even one single look successfully brought to life the oeuvres of various composers, endowing them with expressiveness, suppleness and a modern character that few other composers have ever managed to achieve. Regarded as a very promising conductor, a favourite with the audiences, wanted by the orchestras in Bucharest in the hope of creating new repertoires, Constantin Silvestri was nevertheless quite the problematic musician for the Romanian press. Newly researched documents reveal fragments from this musician’s life as well as the features of a particular time period in the modern history of Romanian music. Keywords: Romanian press; the years 1950; socialist realism. 1. Introduction The present study is not necessarily occasioned by the 50th anniversary of Constantin Silvestri’s death (23rd February 1969). -
31^ Lezione Di Rock (1^ Anno 2017/2018)
31^ LEZIONE DI ROCK (1^ ANNO 2017/2018) Al termine delle vacanze, che spero siano trascorse nel miglior modo possibile per tutti, ritorna puntuale il nostro appuntamento ludico/culturale con i protagonisti della nostra musica. Ormai siano giunti al quarto anno dei nostri incontri, che hanno suscitato vivo interesse, tracciando umilmente la storia del “rock”, a partire dai canti degli schiavi/afro americani, di metà ottocento, e ripercorrendo le gesta dei padri fondatori, fino all’ascolto guidato e partecipato, di “ragtime”, “jazz”, “blues”, “country”, declinato dai solisti, ma anche dalle grandi orchestre, ed approdando al “rock and roll”, ed al mito di Elvis. Sono state raccontate poi, con taglio monografico e/o tematico, le vicende di gruppi o solisti che hanno fatto la leggenda del “rock”, quali “Beatles”, “Rolling Stones”, Bob Dylan, “Led Zeppelin”, “Pink Floyd”, e tanti altri, oltre a narrare eventi che hanno caratterizzato la societa’ ed il costume, oltreché la musica, quali il “Festival di Woodstock”, o quello dell’ “Isola di Wight”. Si è poi trattato dei vari generi che hanno trovato multiformi espressioni nell’ambito del “rock”, quali l’ “hard/rock”, il “folk/rock”, il “blues/rock”, il “progressive/rock”, non trascurando di analizzare il panorama italiano, che seppur con un certo ritardo, ha trovato un suo spazio, anche internazionale, grazie a gruppi quali “P.F.M.”, “BANCO” “ORME”, ECC, ECC. Una lezione è stata dedicata alle “donne del rock”, con l’ascolto di Aretha Franklin, Tina Tuner, Joan Baez, e la mitica Janis Joplin, fino alla trattazione di Joni Mitchell, Sandy Denny, Patti Smith, chiudendo il tema, con la “chicca” delle “Heart”, sorelle statunitensi che hanno reso omaggio ai “Led Zeppelin”, con una stratosferica versione di “Stairway To Heaven”, nel dicembre del 2012, ai “Kennedy Center Honors”, alla presenza del presidente Obama e consorte, e degli stessi “Zeppelin”. -
Romanian Folkloric Influences on George Enescu’S Artistic and Musical
The Treatise Committee for Maria Zlateva Zlateva certifies that this is the approved version of the following treatise: Romanian Folkloric Influences on George Enescu’s Artistic and Musical Development as Exemplified by His Third Violin Sonata. Committee: ____________________________________ James Buhler, Supervisor ____________________________________ Eugene Gratovich, Co-Supervisor ____________________________________ Andrew Dell’Antonio ____________________________________ Phyllis Young ____________________________________ David Neubert ____________________________________ Martha Mason Romanian Folkloric Influences on George Enescu’s Artstic and Musical Development as Exemplified by His Third Violin Sonata. by Maria Zlateva Zlateva, BMus, M.M. 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, 2003 UMI Number: 3119655 ________________________________________________________ UMI Microform 3119655 Copyright 2004 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ____________________________________________________________ ProQuest Information and Learning Company 300 North Zeeb Road PO Box 1346 Ann Arbor, MI 48106-1346 Table of Contents Chapter 1: Introduction…………………………………………………………1 Chapter 2: Life and Works……………………………………………………...8 Chapter 3: Formal and Stylistic