Performing Michael Haydn's Requiem in C Minor, MH155
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Köchel Numbers
Köchel numbers I have long associated Mozart's works with the numbers from the Köchel catalogue, so that, for example, the number 465 instantly evokes in my mind the slow chromatic introduction to the C major "Dissonance" quartet. During our first year in Canada, my wife and I lived at a house bearing the number 899, a disappointingly unevocative number, I thought, since I knew that Köchel’s catalogue ends at 626 with the Requiem. Then we moved to our present address, 529 Piccadilly Street. The number 529 was equally unevocative; a consultation of Alfred Einstein’s Mozart biography revealed it to correspond merely to an isolated song, unknown to me. Compounding my frustration was the fact that the number of the next door house is 533, the Köchel number of my beloved Mozart piano sonata, the contrapuntal two movement sonata in F. I was further chagrined to find that just down the street there are three successive houses bearing numbers corresponding to some of my favourite works, 499 (D major "Hoffmeister" quartet) 511 (A minor rondo for piano) and 515 (C major quintet)—the presence of an intervening side street explains the incongruous jump from 499 to 511. I remained unhappy with my house number until it struck me after a while (no Ramanujan am I) that 529 is the square of the prime number 23, Alban Berg's "magic" number, which pops up in many of his compositions (for example, the number of bars in each movement of his "Lyric Suite" is a multiple of 23). Stimulated by these revelations, it suddenly occurred to me that my initial house number 899 was less dull than I had first thought, mathematically at least: it's the product of 29 and 31, a pair of "twin" primes. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
2. Kammerkonzert „HAYDNS ENTDECKER“ Eine Hommage an Den Komponisten Johann Georg Reutter So 13
Generalmusikdirektor Axel Kober PROGRAMM 2. Kammerkonzert „HAYDNS ENTDECKER“ Eine Hommage an den Komponisten Johann Georg Reutter So 13. Oktober 2019, 19.00 Uhr Philharmonie Mercatorhalle Hana Blažíková Sopran Barockensemble nuovo aspetto Ermöglicht durch Kulturpartner Gefördert vom Duisburger Kammerkonzerte Johann Georg Reutter Sonntag, 13. Oktober 2019, 19.00 Uhr „Soletto al mio caro“, Arie aus „Alcide trasformato in dio“ Philharmonie Mercatorhalle für Sopran, Salterio und Basso continuo (1729) Giuseppe Porsile Andante aus „Il giorno felice“ (1723) Hana Blažíková Sopran Francesco Bartolomeo Conti (1681-1732) „Dei colli nostri", nuovo aspetto: Arie aus „Il trionfo dell’amicizia e dell’amore“ für Sopran, Christian Binde Horn Mandoline, Harfe, Baryton und Basso continuo (1711) Jörg Schultess Horn Helena Zemanová Violine Pause Frauke Pöhl Violine Corina Golomoz Viola Joseph Haydn (1732-1809) / Henri Compan Elisabeth Seitz Salterio „Je ne vous disais point: j’aime“ Johanna Seitz Harfe aus „Le Fat dupé“ für Sopran und Harfe Michael Dücker Laute, Mandolino Ulrike Becker Violoncello, Barytono Johann Georg Reutter „Dura legge a chi t’adora“, Arie aus „Archidamia“ Francesco Savignano Wiener Bass für Sopran, Salterio, Laute und Basso continuo (1727) Luca Quintavalle Cembalo Joseph Haydn Aus: Sinfonie C-Dur „Le Distrait“ Hob. I:60 Programm in der Kammermusikfassung für Harfe, Violine, Viola und Bass von Meingosus Gaelle (1774/1809) Adagio – Finale Johann Georg Reutter (1708-1772) „Dal nostro nuovo aspetto“, „The Inspired Bard“ Hob. XXXIb:25 aus -
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. -
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. -
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). -
Antonio Salieri's Revenge
Antonio Salieri’s Revenge newyorker.com/magazine/2019/06/03/antonio-salieris-revenge By Alex Ross 1/13 Many composers are megalomaniacs or misanthropes. Salieri was neither. Illustration by Agostino Iacurci On a chilly, wet day in late November, I visited the Central Cemetery, in Vienna, where 2/13 several of the most familiar figures in musical history lie buried. In a musicians’ grove at the heart of the complex, Beethoven, Schubert, and Brahms rest in close proximity, with a monument to Mozart standing nearby. According to statistics compiled by the Web site Bachtrack, works by those four gentlemen appear in roughly a third of concerts presented around the world in a typical year. Beethoven, whose two-hundred-and-fiftieth birthday arrives next year, will supply a fifth of Carnegie Hall’s 2019-20 season. When I entered the cemetery, I turned left, disregarding Beethoven and company. Along the perimeter wall, I passed an array of lesser-known but not uninteresting figures: Simon Sechter, who gave a counterpoint lesson to Schubert; Theodor Puschmann, an alienist best remembered for having accused Wagner of being an erotomaniac; Carl Czerny, the composer of piano exercises that have tortured generations of students; and Eusebius Mandyczewski, a magnificently named colleague of Brahms. Amid these miscellaneous worthies, resting beneath a noble but unpretentious obelisk, is the composer Antonio Salieri, Kapellmeister to the emperor of Austria. I had brought a rose, thinking that the grave might be a neglected and cheerless place. Salieri is one of history’s all-time losers—a bystander run over by a Mack truck of malicious gossip. -
The Sackbut and Pre-Reformation English Church Music
146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another. -
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus
Framing a Critical, Interdisciplinary Approach to Film: Teaching Amadeus Nancy Rachel November, University of Auckland Brenda Allen, University of Auckland ow might I interpret the film Amadeus as a Mozart reception doc- ument of the 1980s?” “What does ‘authenticity’ mean in relation to that film’s soundtrack and screenplay?” “How is Salieri char- “Hacterized in the film, and why?” These are the sorts of questions one might wish that students would formulate when considering the popular music biopic (biographical film) Amadeus in relation to music history. The reality can be quite different. Surveys of second year Music History students at the University of Auckland in 2012-2014 show that they tend to view music history as estab- lished fact, and have great difficulty posing complex critical questions and constructing critical, evidence-based arguments. Most writers on the subject of historical literacy agree that the ability to read, write and think critically about a range of media is an especially valuable skill. These abilities not only serve stu- dents’ immediate studies within historical disciplines, but also enable graduates “to negotiate and create the complex texts of the Information Age.”1 This is espe- cially true of music history: one can draw on a broad range of sonic, visual and digital media to answer the increasingly varied questions that music historians address. But how is one to help students prepare for the interdisciplinary skills, attitudes and understandings this requires? How do we best equip students to analyze and read critically the films, YouTube clips, cartoons and diverse other source material they might want and need to study? One useful way to address such questions is for music history teachers to bring co-teachers from other disciplines in to a given music history course: a cartoon historian, for example, or a teacher from film studies, as befits the sub- ject matter. -
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
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). -
The Magic Flute
THE MAGIC FLUTE (German title: Die Zauberflöte) Teacher study guide Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder Presented by Bay Shore Lyric Opera Company Children’s Opera Production Bay Shore Lyric Opera Children’s Production Company is proud to present The Magic Flute as part of our Children’s Opera Season. We are striving to give children from pre‐school to 8th grade the opportunity to experience opera in a theater as a fully staged production. The production was developed by Bay Shore Lyric Opera Company to introduce children to opera while educating them in the classics. We are very excited to perform at the beautiful Villa Montalvo in Saratoga and hope that your class will walk away with a melody in the pocket and more love for music in the heart. Jennifer Studley Liliane Cromer Co‐Producers Characters in the Opera Tamino handsome prince, in love with Pamina, Tenor Papageno Queen’s bird catcher, dressed in plumage, Baritone Pamina Sarastro’s prisoner, Soprano The Queen of the Night beautiful evil queen, Pamina’s mother, Coloratura Soprano Sarastro wise priest of Isis and Osiris, Bass Three Ladies servants of Queen of the Night, Sopranos and Mezzo Monostatos servant of Sarastro, in love with Pamina, Tenor Three Spirits will lead the way for Tamino and Papageno Speaker of the Temple priest Papagena beautiful bird‐woman, Soprano Friends, women When Mozart composed The Magic Flute in 1791 he did so in German to appeal to a wider audience. Mozart composed this work in the style of the Singspiel (Sing Play).