Boston Symphony Orchestra Concert Programs, Season 49,1929
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Broschuere-Walter-Braunfels-Ger3.Pdf
WALTER BRAUNFELS WALTER WALTER BRAUNFELS WALTER BRAUNFELS (1882–1954) Eine Ausstellung der Walter–Braunfels–Gesellschaft in Zusammenarbeit mit der Deutschen Oper Berlin aus Anlass der szenischen Uraufführung der Oper „Jeanne d‘Arc – Szenen aus dem Leben der Heiligen Johanna“ Inhaltsverzeichnis Vorwort 5 Walter Braunfels, gefeierter Opernkomponist der 20iger Jahre 6 Das symphonische und vokalsymphonische Werk und seine Interpreten 24 Letzte große Erfolge als Opernkomponist – die produktiven Jahre der erzwungenen Isolation – weltweite Wiederentdeckung des Komponisten Walter Braunfels 42 Zeittafel 64 Literaturverzeichnis 68 Bildnachweis 70 Danksagung 71 Impressum 72 Vorwort Walter Braunfels entstammte einer alten jüdischen Familie aus Frankfurt a. M. Er zog nach München und wurde unter dem Eindruck von Felix Mottl Musiker. Bruno Walter machte die Uraufführung der Oper „Die Vögel“ zu einer der erfolgreichsten im ganzen 20. Jahrhundert am Münchner Natio- naltheater. Es folgten die Uraufführungen des „Te Deum“ und der „Großen Messe“ in Köln sowie der Oper „Don Gil von den grünen Hosen“ unter Hans Knappertsbusch in München: Walter Braunfels war plötzlich – neben Strauss und Schreker – einer der meistaufgeführten deutschen Kompo- nisten der zwanziger Jahre. Adolf Hitler forderte meinen Großvater 1923 in München auf, die Hymne für die nationalsozialistische Bewegung zu komponieren, was dieser jedoch empört ablehnte. Wenige Jahre danach übernahmen die Nationalsozialisten die Macht in Deutschland, und Walter Braunfels wurde 1933 aus dem Amt als Gründungsdirektor -
The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1. -
Boston Symphony Orchestra Concert Programs, Season 45,1925-1926
PRoGRJWYE 124.1 M>/ ITS HERE! It is the world's first electrical reproducing instrument. There is no other like it. It is the result of a joint effort of the Radio Corpo- ration of America, the General Electric "Company, the Westinghouse Electric and Mfg. Co., and Brunswick. See and hear it before you purchase any musical instrument for your home. Convenient Terms CCHarvey® 144Boylston Street Boston SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 INC. SERGE KOUSSEVITZKY, Conductor FORTY-FIFTH SEASON, 1925-1926 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1926, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT ...... President GALEN L. STONE Vice-President ERNEST B. DANE ....... Treasurer FREDERICK P. CABOT ARTHUR LYMAN ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W. WARREN FREDERICK E. LOWELL E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1933 After more than half a century on Fourteenth Street, Steinway Hall is now located at 1-09 West 57th Street. The new Steinway Hall is one of the handsomest buildings in New York on a street noted for finely designed business structures. As a center of music, it will extend the Steinway tradition to the new generations of music lovers. \t THE INST%U<ZMENT OF THE IMMORTALS 1934 Bostoi Forty-fifth Season, 1925-1926 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Gundersen, R. -
Marco Polo – the Label of Discovery
Marco Polo – The Label of Discovery Since its launch in 1982, the Marco Polo label has for over twenty years sought to draw attention to unexplored repertoire.␣ Its main goals have been to record the best music of unknown composers and the rarely heard works of well-known composers.␣ At the same time it originally aspired, like Marco Polo himself, to bring something of the East to the West and of the West to the East. For many years Marco Polo was the only label dedicated to recording rare repertoire.␣ Most of its releases were world première recordings of works by Romantic, Late Romantic and Early Twentieth Century composers, and of light classical music. One early field of exploration lay in the work of later Romantic composers, whose turn has now come again, particularly those whose careers were affected by political events and composers who refused to follow contemporary fashions.␣ Of particular interest are the operas by Richard Wagner’s son Siegfried, who ran the Bayreuth Festival for so many years, yet wrote music more akin to that of his teacher Humperdinck. To Der Bärenhäuter (The Man in the Bear’s Skin), Banadietrich, Schwarzschwanenreich (The Kingdom of the Black Swan), and Bruder Lustig, which further explores the mysterious medieval world of German legend is now added Der Heidenkönig (The Heathen King).␣ Other German operas included in the catalogue are works by Franz Schreker and Hans Pfitzner. Earlier Romantic opera is represented by Weber’s Peter Schmoll, and by Silvana, the latter notable in that the heroine of the title remains dumb throughout most of the action. -
Oboe in Oxford Music Online
14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes. -
Turangalîla-Symphonie and His American Harmonies Program Are a Perfect Expression of David’S Musical Leadership
CONCERT DIARY DECEMBER All That Jazz Sun 1 Dec, 3pm Verbrugghen Hall, Sydney WITH THE SYDNEY SYMPHONY FELLOWS Conservatorium of Music Program includes: HINDEMITH Kammermusik No.1 EISLER Overture to a Comedy SHOSTAKOVICH Jazz Suite No.1 Roger Benedict conductor Sydney Symphony Orchestra Fellows Guest Musicians from the Sydney Conservatorium of Music Mahler's Klagende Lied Abercrombie & Kent Masters Series SIMONE YOUNG’S VISIONS OF VIENNA Wed 4 Dec, 8pm MAHLER Das klagende Lied (The Sorrowful Song) Fri 6 Dec, 8pm Sat 7 Dec, 8pm Simone Young conductor Eleanor Lyons soprano Sydney Opera House Michaela Schuster mezzo-soprano Steve Davislim tenor Andrew Collis bass-baritone Sydney Philharmonia Choirs FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. -
Upbeat Summer 2014
The Magazine for the Royal College of MusicI Summer 2014 Treasures beyond Measure Reimagining the Museum What’s inside... Welcome to upbeat... The cover of this issue shows the amazing transformation of the RCM Museum of Music, courtesy of celebrated artist Hugo Dalton. The previously grey walls have been Contents white washed and adorned with colourful paint and you can find out more about the project and the artist himself on page 13. 4 In the news The treasures in the Museum, alongside many manuscripts, books and programmes Updating you on recent RCM housed in the RCM Library, form part of the RCM collections – one of the UK’s most activities including Junior Department pianist Martin James wide-ranging and substantial resources relating to the history of music. In recent Bartlett’s spectacular win at BBC months both departments have been involved in a reorganisation of the collections as Young Musician 2014 and our Museum Curator Gabriele Rossi Rognoni and Librarian Peter Linnitt explain on page annual visit from HRH The Prince 10. And, if you’ve never heard of a tenoroon or contrabassophon turn to page 12 for of Wales details of a very special donation to the Museum. As usual Upbeat is also packed full with news from around the RCM including pianist 10 Changing the Guard Martin James Bartlett’s spectacular performance and win at BBC Young Musician 2014 Explore the RCM collections and the premiere performance of a lost song by Mendelssohn on BBC Radio 4’s Today with Librarian Peter Linnitt and programme. Museum Curator Gabriele Rossi Rognoni We’re always keen to hear from students past and present so if you have anything you’d like us to feature in the next issue of Upbeat, please send your news and pictures to 12 New Arrivals [email protected] by Monday 22 September. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Suite Jurijev Krug for the Opera Zvezdani Grad By
New Sound 42, II/2013 Article received on 09 November 2013 Article accepted on 30 November 2013 UDC SUITE JURIJEV KRUG FOR THE OPERA ZVEZDANI GRAD BY DRAGANA JOVANOVIû; CHAMBER OPERA KO JE UBIO PRINCEZU MOND? BY TATJANA MILOEVIû; CHAMBER OPERA PETERSBURG BY BRANKA POPOVIû Rado Mitroviü University of Arts in Belgrade Faculty of Music Department of Musicology On some elements of the narrative structure of the works Abstract: Three works by contemporary Serbian female composers, although disparate as to the manner of their realization, do have some similarities. An affinity can be per- ceived by analysing the poetical planes supporting the textual bases of these compositions, as well as their relationships with the musical component. The intersections can be found in the specific attitude towards the subject and the subjects identity, problematized in the librettos, as well as in the issue of the time/space dichotomy within the narrative. Key words: Dragana Jovanoviü, Tatjana Miloeviü, Branka Popoviü, chamber opera, Dragan ivadinov, postgravity art, Morian Lagartia, Andrei Bely Chamber operas Ko je ubio princezu Mond? [Who Killed Princess Mond?] by Tatjana Miloeviü and Petersburg by Branka Popoviü, as well as the suite Jurijev krug [Yuris Circle] for the opera Zvezdani grad [Star City] by Dragana Jovanoviü, are works with divergent poetical foundations. The creative im- pulses and the basic conceptual ideas are different, and hence, naturally, the re- alizations of these compositions are disparate. However, one can register certain points within the works in which the poetical procedures of the three composers become closer. In that respect, what is evident is the similarity between certain components of the librettos, as well as their musical treatment. -
The English Horn: Its History and Development
37 THE ENGLISH HORN: ITS HISTORY AND DEVELOPMENT INTO ORCHESTRAL MUSIC THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Robert E. Stanton, B. M. Denton, Texas January, 1968 TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS..................... ....... iv Chapter I. HISTORY OF THE ENGLISH HORN. ......... 1 II. GENERAL CHARACTERISTICS OF THE ENGLISH HORN .............. 26 III. ORCHESTRAL DEVELOPMENT . ........... 44 BIBLIOGRAPHY ............. ........ 64 iii LIST OF ILLUSTRATIONS Figuree Page 1. Alto pommer.. .................... 0...... 4 2. Oboe da caccia -0 . 0 0. I.. 0. 0.0 . 5 3. Tenor Oboe of Bach-Handel Period . 7 4. Hornpipe . 0. 0. *.. 0. 0. 0. 0 . 9 5. (5) Tenor Hautboy; (6) Cor Anglais (Eighteenth century).................. ......... 12 6. Cor Anglais, Curved and Angular Types, (2)and (4) - 0 . .0 .0 . .0 .0 . 13 7. Hautbois Baryton, (4) and (5) . 14 8. Vox Humana ... .. .. 16 9. Fontanelle 17 10. Bulb-bell..... ... ..... 18 11. Hunting Oboe . 20 12. Notation for Cor Anglais . 29 13. Construction of Bent Cor Anglais; (A), (B), (C) . .. 33 14. Bow-drill in use . 36 15. Cor Anglais reeds. ........ 41 16. Range of English Horn.. .... 43 17. Tenoroon 45 18. List of Bach's Use of Oboe da caccia . 47 19. Oboe da caccia Accompaniment, St. Matthew Passion 48 iv Figure Page 20. Oboe da caccia part, St. Matthew Passion...-.-......... ... 50 21. Gluck: Orfeus for Corno Inglese 53 22. Berlioz: Roman Carnival...... ...... 56 23. Berlioz: Symphonie Fantastique 57 24. Wagner: Tristan and Isolde 59 25. Dvorak: New World SyMphony 60 V CHAPTER I HISTORY OF THE ENGLISH HORN The English horn has a background of historical con fusion because the instrument was built in many different shapes and was given a new name for each change of form. -
Orchestration
ORCHESTRATION BY CECIL FORSYTH M.ATEdin. MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON & STAINER AND BELL, LIMITED S8 BERNERS STREET, LONDON 1914 PREFACE. In this book an attempt is made first, to describe our modern orches- tral instruments, where they sprang from, how they developed, and what they are to-day; next, to trace the types of music which have been reflected in these constructional changes and, in especial, the types most familiar since Beethoven's time. Without some knowledge on these points the student is working in the dark. He is like a Lascar turned loose in a dynamo-house. It is true that one may show him the button, and, if he presses it, he will get a terrific blaze of light. But what is behind the button ? How were the wires laid ? Why is one type of engine better than another for its own purpose? How is the shop to be run in the most economical way 1 All these questions call for answers, and, on the musical side of the analogy, the answers are not difficult to find. For the facts that underlie instrumentation are few and simple: a skin or a metal plate to be beaten; a column of air in a brass or wooden tube with some sort of mouthpiece or embouchure; a string or two—four is a good number—to be bowed, plucked, or struck. These are the essentials and, if the student grasps them, he will soon be brought to see that change comes but slowly and rarely, and that, when it comes, it is more apparent than real.