Munich, 22Nd February, 1786 I Did Not Know If I Should Laugh Or Be Angry
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1 Eighteenth-Century Music in a Twenty-First Century Conservatory of Music Or Using Haydn to Make the Familiar Exciting by Mary
1 Morrow, Mary Sue. “Eighteenth-Century Music in a Twenty-First Century Conservatory of Music, or Using Haydn to Make the Familiar Exciting.” HAYDN: Online Journal of the Haydn Society of North America 6.1 (Spring 2016), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2016. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Eighteenth-Century Music in a Twenty-First Century Conservatory of Music or Using Haydn to Make the Familiar Exciting by Mary Sue Morrow University of Cincinnati College-Conservatory of Music I. Introduction Teaching the history of eighteenth-century music in a conservatory can be challenging. Aside from the handful of music history and music theory students, your classes are populated mostly by performers, conductors, and composers who do not always find the study of music history interesting or even necessary. Moreover, when you step in front of a graduate-level class at the College-Conservatory of Music at the University of Cincinnati, everybody in the class is going to know all about the music of the eighteenth century: they’ve played Bach fugues and sung in Handel choruses; they’ve sung Mozart arias and played Haydn string quartets or early Beethoven sonatas. They have also been taught to revere these names as the century’s musical geniuses, but quite a number of them will admit that they are not very interested in eighteenth-century music, particularly the music from the late eighteenth-century: It is too ordinary and unexciting; it all sounds alike; it is mostly useful for teaching purposes (definitely the fate of Haydn’s keyboard sonatas and, to a degree, his string quartets). -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
Download Booklet
Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. -
Top 360 Countdown
WMHT-FM Classical 360 Rank Selection Composer 1 Symphony 9 D Min, Op.125 "Choral" Ludwig van Beethoven 2 Requiem Mass D Min, K.626 Wolfgang Amadeus Mozart 3 Messiah George Frederic Handel 4 Orchestral Suite #3 BWV 1068: Air on the G String Johann Sebastian Bach 5 Concerto Grosso Op.8/1 E Four Seasons "Spring" Antonio Vivaldi 6 Rhapsody in Blue George Gershwin 7 Ave verum corpus, K. 618 Wolfgang Amadeus Mozart 8 Adagio G Min (Ar R.Giazotto) Tomaso Albinoni 9 Symphony #5 Ludwig van Beethoven 10 Toccata & Fugue in D minor, BWV 565 Johann Sebastian Bach 11 Adagio for Strings Samuel Barber 12 Serenade G, K.525 "Eine Kleine Nachtmusik" Wolfgang Amadeus Mozart 13 Water Music Suite #2 in D George Frederic Handel 14 Peer Gynt 1, Op.46 Edvard Grieg 15 German Requiem, Op.45 Johannes Brahms 16 Xerxes - Largo George Frederic Handel 17 Exsultate Jubilate, K 165 Wolfgang Amadeus Mozart 18 Concierto De Aranjuez Joaquin Rodrigo 19 Canon in D Johann Pachelbel 20 Piano Sonata 14 C-Sharp Min, Op.27/2 "Moonlight" Ludwig van Beethoven 21 Symphony 5 C-Sharp Min Gustav Mahler 22 Finlandia, Op.26 Jean Sibelius 23 Symphony 8 B Min, D.759 "Unfinished" Franz Schubert 24 Blue Danube Waltz, Op.314 Johann Strauss 25 Appalachian Spring Aaron Copland 26 Piano Concerto #1 in e minor, Op. 11 Frederic Chopin 27 Thais - Meditation, Act 2 Jules Massenet 28 Brandenburg Concerto #5 D, Bwv 1050 Johann Sebastian Bach 29 Magic Flute, K.620 Wolfgang Amadeus Mozart 30 Violin Concerto in E minor, Op. -
VG19-0324 Veranstaltungsübersicht Sose2019.Indd
Veranstaltungsübersicht Sommersemester 2019 Foto: Jan Becke VERANSTALTUNGSÜBERSICHT Die Heidelberger Akademie der Wissenschaften Gegründet 1909, ist sie die wissenschaftliche Akademie des Landes Baden-Württemberg und eine der acht deutschen Akademien der Wissenschaften. Sie versteht sich als traditionelle Gelehrtengesellschaft und als Trägerinstitution moderner außer universitärer Forschung. Die Mitglieder der Heidelberger Akademie treffen sich als herausragende Vertreter ihrer jeweiligen Disziplin regelmäßig zur Diskussion von wissenschaftlichen Fragestellungen. Durch die Vielfalt der vertretenen Forschungsgebiete ermög licht die Akademie wie kaum eine andere Institution fächer übergreifenden Gedankenaustausch und Zusammenarbeit über Disziplinen, Fakultäten und Universitäten hinweg. Die Akademie verantwortet derzeit 19 Forschungsvorhaben. Ihr Schwerpunkt liegt auf dem Gebiet langfristiger Grundlagenfor schung. Mit einer Reihe von Veranstaltungen, wie Tagungen oder Vortragsreihen, richtet sie sich einerseits an Fachgelehrte, andererseits aber auch verstärkt an die Öffentlichkeit. Ein weiteres Anliegen ist der Akademie die Förderung junger Wissenschaftlerinnen und Wissenschaftler in BadenWürttem berg. Mit der Einrichtung eines Nachwuchsprogramms (WIN-Kolleg), das dieses Jahr mit einem neuen Teilprogramm auch fünf weitere Forschungsvorhaben interdiszi plinärer Ausrich tung umsetzt, sowie durch die Vergabe von Forschungspreisen leistet die Akademie einen wichtigen Beitrag zur Förderung junger Karrieren in der Wissenschaft. Wir laden -
What Motivates Composers to Compose?
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2014 What Motivates Composers to Compose? Brian Fanning University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Commons Recommended Citation Fanning, Brian, "What Motivates Composers to Compose?" (2014). Honors Theses and Capstones. 160. https://scholars.unh.edu/honors/160 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Brian Fanning 1 What Motivates Composers to Compose? Composers must be motivated in order to produce music. Although the expression of oneself is at the crux of the content of compositions, the idea of the composition in the first place does not necessarily start with motivation. Composers may be commissioned by others, moved to respond to an event or disaster, or motivated strictly monetarily by their employer (either a corporation or royal court, depending on the era). This paper poses the question: What motivates composers to compose? The thesis will be drawn out in two examples: Paul Hindemith’s late sonatas and Wolfgang Amadeus Mozart’s Oboe Quartet in F. The theory of basic desires to motivation proposed by Steven Reiss will be used to explain each of the composers’ desires to compose. Paul Hindemith (1895–1963) was born in Hanau, Germany which is near Frankfurt. -
Dem Zentrum Einen Centerpark KOMMENTAR Den «Kick» Städtebauliche Weichenstellungen Für Visp Durch Private Initiative Gesucht V I S P
AZ 3900 Brig • Samstag, 4. Juli 2009 • Nr. 152 • 169. Jahrgang • Fr. 2.20 Allround-Werkzeugkoffer 1 1 /4“ + /2“ CHF 375.– statt CHF 580.– exkl. MwSt und VRG Debrunner Acifer AG Wallis Handwerkerzentrum in Visp und Sierre www.d-a.ch www.walliserbote.ch • Redaktion Telefon 027 922 99 88 • Abonnentendienst Telefon 027 948 30 50 • Mengis Annoncen Telefon 027 948 30 40 • Auflage 25 885 Expl. Dem Zentrum einen Centerpark KOMMENTAR Den «Kick» Städtebauliche Weichenstellungen für Visp durch private Initiative gesucht V i s p. – (wb) Das Zentrum von Visp erhält ein neues Gesicht Am Dienstagabend haben und verschiebt sich dabei mehr Schweizer Schüler einer zehn- und mehr Richtung Bahnhof. In ten Klasse der Weiterbildungs- diesem Quartier entwickelt sich und Berufswahlschule Küs- das Städtchen in mutigen nacht (WBK) auf Klassenfahrt Schritten. Dies auch dank der in München einen 46-jährigen Initiative von privaten Investo- Geschäftsmann beinahe zu To- ren wie etwa Otto Imboden, der de geprügelt. Einfach so. Ohne auf dem Areal des ehemaligen Postautoterminals auf 4500 m2 Grund. Weil ihnen langweilig eine Überbauung für 25 Millio- war. Weil sie einen «Kick» nen Franken realisiert – den brauchten. Was noch schlim- «Centerpark». mer ist: Die 16-jährigen Täter In einem Jahr wird als weiterer zeigen keine Reue. Stehen ih- wichtiger Entwicklungsschritt rer Tat gleichgültig gegenüber. des Quartiers die Überbauung Der Vorfall löst Bestürzung «Brückenareal» folgen – zwei aus. Reflexartig hat man die Miethäuser mit insgesamt 80 üblichen Fragen zur Hand: Wohnungen und Einkaufsmög- Hat die Schule ihre Aufsichts- lichkeiten im Parterre. Für den Centerpark werden pflicht wahrgenommen? Ha- nächste Woche die Baumaschi- ben die Eltern bei der Erzie- nen auffahren. -
The Viennese Classical Concerto
THE VIENNESE CLASSICAL CONCERTO The Enlightenment in Tone When the talent-mind of the artist exists and has the conditions to express itself, it seems to develop with great speed and daunting ease. — Clive James CULTIVATING A GARDEN The arts flourish when the environment encourages them to grow. If a life in the arts promises advancement and fulfillment — even if it poses challenges and difficulties — the artists will arise. Bill Atkinson, 1970s Andy Herzfeld Maria Theresa Joseph II Voltaire (1694–1778) Rousseau (1712–1778) Holywell Music Room Oxford Built 1748 Leopold Hofmann Christian Cannabich Samuel Wesley William Boyce Adalbert Gyrowetz Jiri Benda Josef Myslivecek Franz Ignaz Beck Johann Baptist Vanhal Carlos Baguer Antonio Rosetti Carl Friedrich Abel Ignace Joseph Pleyel Joseph Martin Kraus Vacslav Pichl Leopold Kozeluch Karl von Ordoñez Karel Kohout Franz Xavier Richter William Herschel Pieter van Maldere François-Joseph Gossec Franz Krommer Karl Ditters von Dittersdorf Muzio Clementi THE EARLY STYLE The Viennese Classical style required time to grow and develop: it did not spring directly into full maturity. The earlier composers are not well remembered today, but they laid the foundations for Haydn, Mozart, and Beethoven to come: Georg Matthias Monn Christoph Wagenseil Ignaz Holzbauer Johann Fux Fux: 1660 - 1741 Holzbauer: 1711 - 1783 Wagenseil: 1715 - 1777 Monn: 1717 - 1750 Haydn: 1732 - 1809 Mozart: 1756 - 1791 GEORG CHRISTOPH WAGENSEIL Harp Concerto in G Minor: I WAGENSEIL 1715–1777 From 1749 to his death he was the court composer to the Hapsburgs in Vienna. Among his students were Marie Antoinette, Franz Xavier Dussek, and Leopold Hoffman. Mozart & Haydn knew his music well. -
Sebastian Knauer, Piano
Sebastian Knauer, player. He had his own opera, spoken Piano Sonata No. 14 in C minor, K. 457 theatre, marionette theatre, church music, (1784) piano and chamber music. Haydn had his hands Approx. performance time: 18 mins. full: he composed, he had to conduct all SMF performance history: 4/02/18, 4/02/12 the music, help with the rehearsals, give Wolfgang Amadeus Mozart was born in MONDAY, APRIL 6, 11 AM lessons and even tune his own keyboard TRINITY UNITED METHODIST CHURCH Salzburg, Austria, on January 27, 1756, and died instrument in the orchestra. He often in Vienna, Austria, on December 5, 1791. wondered how it had been possible for him NOTES BY KEN MELTZER to compose as much music as he did when Although Mozart’s life was brief, he had an he was forced to lose so many hours in extended and celebrated career, both as purely mechanical tasks. composer and pianist. By the age of 5, Mozart FRANZ JOSEPH HAYDN (1732–1809) was writing music, and by the age of 6, he was Haydn composed his Piano Sonata in C minor Piano Sonata No. 33 in C minor, Hob. concertizing throughout Europe. XVI:20 (1771) (his only such work in that key) in 1771. The I. Moderato Sonata was not published until 1880, part Mozart’s contemporaries were virtually unanimous II. Andante con moto of a set of six that Haydn dedicated to the in their praise of his brilliance as a keyboard III. Finale. Allegro Auenbrugger sisters, fine amateur pianists. artist. Muzio Clementi (1752-1832), one of the These Sonatas were the first of Haydn’s works greatest pianists of his time, saw Mozart perform: WOLFGANG AMADEUS MOZART (1756–1791) to be published by the Vienna firm of Artaria “Until then, I had never heard anyone play with Piano Sonata No. -
Christian Cannabich. Electra Johann Stamitz
Sarah-Denise Fabian Christian Cannabich. Electra Johann Stamitz. Klarinettenkonzert B-Dur Programmhefttext für das Konzert am 24. Februar 2019 in der Hochschule für Musik und Darstellende Kunst Stuttgart der Hofkapelle Stuttgart unter Leitung von Frieder Bernius Schwetzingen Forschungsstelle ›Südwestdeutsche Hofmusik‹ der Heidelberger Akademie der Wissenschaften 2019 1 Christian Cannabichs Melodram Electra (1781) »in der that – mich hat noch niemal etwas so surprenirt! – denn, ich bildete mir immer ein so was würde keinen Effect machen! – sie wissen wohl, daß da nicht gesungen, sondern Declamirt wird – und die Musique wie ein obligirtes Recitativ ist – bisweilen wird auch unter der Musique gesprochen, welches alsdann die herrlichste wirckung thut«1 – So schreibt Wolfgang Amadeus Mozart aus Mannheim am 12. November 1778 an seinen Vater Leopold Mozart begeistert über das damals neue Bühnengenre ›Melodram‹. Nachdem in Mannheim das alte Zeughaus von 1775 bis 1777 zur deutschen National-Schaubühne, dem Nationaltheater, umgebaut und 1778 der Reichsherr Wolfgang Heribert von Dalberg als Intendant der neuen Bühne von Kurfürst Carl Theodor eingesetzt worden war, standen dort nämlich prominent auch die neuen Melodramen auf dem Spielplan. 1778 wurde unter anderem Georg Anton Bendas Medea in Mannheim gespielt, deren Aufführung Mozart von dem neuen Genre überzeugte. Mit seinen Anfängen in Frankreich etablierte sich das Melodram vor allem im deutschsprachigen Raum in den 1770er Jahren als eigenständige musikdramatische Gattung. Die damals neuartige Verbindung von gesprochener Sprache mit Instrumentalmusik traf hier den Nerv der Zeit: Die Bemühungen um das Etablieren einer deutschsprachigen Oper hatten immer wieder mit der Meinung zu kämpfen, dass die deutsche Sprache schwerfällig und damit nur schlecht zum Singen geeignet wäre. -
Florida State University Libraries
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 The Influences of Mannheim Style in W.A. Mozart's Concerto for Oboe, K. 314 (285D) and Jacques-Christian-Michel Widerkehr's Duo Sonata for Oboe and Piano Scott D. Erickson Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE INFLUENCES OF MANNHEIM STYLE IN W.A. MOZART’S CONCERTO FOR OBOE, K. 314 (285D) AND JACQUES-CHRISTIAN-MICHEL WIDERKEHR’S DUO SONATA FOR OBOE AND PIANO By SCOTT D. ERICKSON A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2018 Scott Erickson defended this treatise on March 5, 2018. The members of the supervisory committee were: Eric Ohlsson Professor Directing Treatise Richard Clary University Representative Jeffery Keesecker Committee Member Deborah Bish Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I am forever grateful to everyone who has helped me along this journey. I am particularly indebted to Dr. Eric Ohlsson, whose passion for teaching and performing has changed the course of my life and career. I am thankful for the immeasurable academic guidance and musical instruction I have received from my supervisory committee: Dr. Deborah Bish, Professor Jeffrey Keesecker, and Professor Richard Clary. Finally, I would never have fulfilled this dream without the constant support and encouragement from my wonderful family.