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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 -
The Application of the Kinesthetic Sense: an Introduction of Body Awareness in Cello Pedagogy and Performance
The Application of the Kinesthetic Sense: An Introduction of Body Awareness in Cello Pedagogy and Performance A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirement for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music March 2014 by Gustavo Carpinteyro-Lara BM, University of Southern Mississippi, 2001 MM, Bowling Green State University, 2003 Committee Chair: Lee Fiser, BM Abstract This document on cello pedagogy and playing focuses on the importance of the kinesthetic sense as it relates to teaching and performance quality. William Conable, creator of body mapping, has described how the kinesthetic sense or movement sense provides information about the body’s position and size, and whether the body is moving and, if so, where and how. In addition Craig Williamson, pioneer of Somatic Integration, claims that the kinesthetic sense enables one to sense what the body is doing at any time, including muscular effort, tension, relaxation, balance, spatial orientation, distance, and proportion. Cellists can develop and awaken the kinesthetic sense in order to have conscious body awareness, and to understand that cello playing is a physical, aerobic, intellectual, and musical activity. This document describes the physical, motion, aerobic, anatomic, and kinesthetic approach to cello playing and is supported by somatic education methods, such as the Alexander Technique, Feldenkrais Method, and Yoga. By applying body awareness and kinesthesia in cello playing, cellists can have freedom, balance, ease in their movements, and an intelligent way of playing and performing. ii Copyright © 2014 by Gustavo Carpinteyro-Lara. -
Konzert Saison 2012 2013
KONZERT SAISON 2012 2013 142. SPIELZEIT DER DRESDNER PHILHARMONIE Die 12 Cellisten der Berliner Philharmoniker Andreas Scholl ensemble frauenkirche Frauenkirchenkantor Matthias Grünert Frauenkirchen-Bachtage Ludwig Güttler Kammerchor der Frauenkirche The King‘s Singers CHEFDIRIGENT MICHAEL Sächsische Staatskapelle Dresden SANDERLING Kirchenklänge für junge Ohren Dresdner Philharmonie Geistliche Sonntagsmusik Frauenkirchenorganist Samuel Kummer Dresdner Orgelzyklus Arabella Steinbacher EHRENDIRIGENT KURT Alice Sara Ott Alison Balsom MASUR Gesprächskonzerte für junge Leute Ian Bostridge Martin Stadtfeld St. Peterburger Philharmoniker Xavier de Maistre BACHzyklus Mischa Maisky Vesselina Kasarova ERSTER GASTDIRIGENT Literarische Orgelnacht bei Kerzenschein MARKUS POSCHNER David Fray Lucerne Festival Strings u. a. INTENDANT ANSELM ROSE Musik in der Frauenkirche 2012 Stiftung Frauenkirche Dresden Ticketservice Georg-Treu-Platz 3 | Dresden Besucherzentrum Frauenkirche im Kulturpalast | Galeriestraße 1 DAS ORCHESTER DER LANDESHAUPTSTADT Telefon 0351.65606-701 | www.frauenkirche-dresden.de INHALT Grußwort 6 Chefdirigent Michael Sanderling 10 Die Dresdner Philharmonie 12 AUFTAKT Was – wann- wo? 21 Themen der Saison 2012/2013 24 KONZERTE UND ANRECHTSREIHEN Konzerte kalendarisch 32 Philharmonie im Albertinum AL 78 Philharmonie im Schauspielhaus SH 88 Philharmonie in der Frauenkirche FK 94 á la carte – Konzerte der Philharmonie SK 100 Philharmonie im Museum HM 106 Philharmonie auf Schloss Albrechtsberg AB 114 Fest- und Gedenkkonzerte 122 Dresdens Klang. Auf Reisen 126 Tonträger 128 FREAKQUENCY– Philharmonie für junge Zuhörer Otto der Ohrwurm 133 Musik hautnah 134 ZUGABE Gemälde von Prof. Fritz Beckert . 1877 Leipzig – 1962 Dresden Die Verwaltung 140 Die Schloßstraße in Dresden Philharmonische Chöre 144 Förderverein 148 Orchesterakademie 152 SERVICE UND PREISE K U N S T H A N D L U N G K Ü H N E Kartenservice 156 PhilharmonieCard 159 Unsere Kunsthandlung empfiehlt sich für erlesene Anrechts- und Wahl-Abopreise 160 Freiverkauf 164 Malerei, Kunstgegenstände und Interieur. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Deutsche Nationalbibliografie 2010 T 02
Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2010 T 02 Stand: 17. Februar 2010 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main, Berlin) 2010 ISSN 1613-8945 urn:nbn:de:101-ReiheT02_2010-8 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie Katalogisierung, Regeln für Musikalien und Musikton-trä- auf der Sachgruppenübersicht angegeben, entsprechend ger (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD -
Franz Anton Hoffmeister’S Concerto for Violoncello and Orchestra in D Major a Scholarly Performance Edition
FRANZ ANTON HOFFMEISTER’S CONCERTO FOR VIOLONCELLO AND ORCHESTRA IN D MAJOR A SCHOLARLY PERFORMANCE EDITION by Sonja Kraus Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 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 ______________________________________ Emilio Colón, Research Director and Chair ______________________________________ Kristina Muxfeldt ______________________________________ Peter Stumpf ______________________________________ Mimi Zweig September 3, 2019 ii Copyright © 2019 Sonja Kraus iii Acknowledgements Completing this work would not have been possible without the continuous and dedicated support of many people. First and foremost, I would like to extend my deepest gratitude to my teacher and mentor Prof. Emilio Colón for his relentless support and his knowledgeable advice throughout my doctoral degree and the creation of this edition of the Hoffmeister Cello Concerto. The way he lives his life as a compassionate human being and dedicated musician inspired me to search for a topic that I am truly passionate about and led me to a life filled with purpose. I thank my other committee members Prof. Mimi Zweig and Prof. Peter Stumpf for their time and commitment throughout my studies. I could not have wished for a more positive and encouraging committee. I also thank Dr. Kristina Muxfeldt for being my music history advisor with an open ear for my questions and helpful comments throughout my time at Indiana University. I would also like to thank Dr. -
Kurt Masur | Dirigent Helen Huang | Klavier – Er- E N
Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 1 (Schw 2009|2010 139 . SPIELZEIT DAS ORCHESTER DER LANDESHAUPTSTADT137. SPIELZEIT Sonderkonzert SCHUMANN · SCHOSTAKOWITSCH · TSCHAIKOWSKI Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 2 (Schw BmW nlssg ds ds BmW 3 Cb f f freude hat immer SaiSon. Gönnen Sie sich dieses einzigartige Fahrerlebnis – zu jeder Jahreszeit. Das neue BMW 3er Cabrio* ist Open Air Feeling pur. Und das versenkbare Hardtop garantiert Fahrfreude pur – dasganzeJahr!Ohneaufetwaszuverzichten.DennderKoffer- raum bietet überraschend viel Raum für Ihr Urlaubsgepäck, Ihre Skiausrüstung oder Ihr Golfbag. Und durch die umlegbare Rücksitzlehne lässt sich die Ladefäche zusätzlich erweitern. Genießen Sie das Erlebnis BMW Cabrio im exklusiven Design. Jetzt in Ihrer BMW Niederlassung Dresden. freude iSt daS neue BmW 3 Cb . BmW e fc dy cs Wg e ss . m f . * Kraftstoffverbrauch kombiniert 5,1 – 8,8l/100km, CO2 135 – 205 g/km.. Dohnaer Str. 99 - 101 01219 Dresden Telefon 0351 2852-600 Telefax 0351 2852-592 BmW nlssg ds www.b w-s. Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 3 (Schw 3 f Samstag, 29. Mai 2010 19.30 Uhr Sonntag, 30. Mai 2010 19.30 Uhr Festsaal im Kulturpalast Sonderkonzert IM RAHMEN DER DRESDNER MUSIKFESTSPIELE n. Kurt Masur | Dirigent Helen Huang | Klavier – er- e n. KLAVIERPFLEGE: GERT GÄBLER, KLAVIER- UND CEMBALOBAUER Die Dresdner Philharmonie ist Mitglied im Deutschen Bühnenverein Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 4 (Schw 4 Ilustration von Gustave Doré zu Lord Byrons dramatischem Gedicht »Manfred« Progr_SKMasur_29.+30.5.2010 17.05.2010 16:56 Uhr Seite 5 (Schw 5 Programm Robert Schumann (1810 –1856) Manfred-Ouvertüre op.115 Dmitri Schostakowitsch (1906 –1975) Konzert für Klavier und Orchester Nr. -
The Chesterian (1915-1961)
Introduction to: Liesbeth Hoedemaeker, The Chesterian (1915-1940, 1947-1961) Répertoire international de la presse musicale (www.ripm.org) Copyright © 2013 RIPM Consortium Ltd The Chesterian 1915-1961 The Chesterian [CHE], one of England’s most important journals dealing with the development of musical composition and style during the first half of the twentieth century, was published by J. & W. Chester, the well-known music publisher. The journal1 was issued in two series, the first from 1915-1919; the second, titled New Series, from 1919-1961. Publication was interrupted from 1940 to 1947, years of the Second World War. The journal’s format is small: ca. 11 x 19 cm. The volumes were published annually from September to July. The first series consists of twenty, sixteen-page issues containing 320 numbered pages. The New Series consists of two- hundred-and-eight issues and 8,632 pages, including unnumbered pages. The number of annual issues begins at eight per volume in September 1919; declines to six in September 1932 until 1939; and, after the interruption, to four issues in 1947. The cover pages often contain information, such as lists of contributors, opinions of subscribers, contents of earlier issues and advertisements. The appearance of the New Series sparked sufficient interest to be recognized in the New York Tribune which offered an extensive preliminary list of contributors, citing letters as being of special interest: A feature of this magazine will be letters from various music centres containing information of current musical events. Ernest Newman, René Chalupt, Guido M. Gatti and Adolfo Salazar will be the respective contributors of letters from London, Paris, Italy and Spain.2 The journal’s appearance was also noted in The Musical Times: The Chesterian will be a … very readable little circular … In its new form it will appear eight times in the year. -
OPUS Recent Past Chamber Music Concert Programs LISTEN to OUR YOUNG ARTISTS a Musical Program Featuring
OPUS Recent Past Chamber Music Concert Programs LISTEN TO OUR YOUNG ARTISTS A Musical Program Featuring OPUS Junior Division Chamber Musicians 2014 RECITAL ⋅ WENTZ CONCERT HALL, NAPERVILLE ⋅ August 9, 2014 11:00 A.M. ⋅ PRESENTED BY THE 2014 OPUS CHAMBER MUSIC CAMP The Ash Grove Welsh Folk Song Minuet from Quartet K. 156 Wolfgang Amadeus Mozart Presto from Quartet K. 157 Wolfgang Amadeus Mozart Allegro assai from Trio VI in B-flat, K. 254 Wolfgang Amadeus Mozart Seal Song Edward Huws Jones Franḉaise Robert Schumann Three's Company Sheila M. Nelson Gift to be Simple Folk Tune Stand By Me arr. Anna Laura Page The Boar’s Head Carol arr. Jason Krug OPUS CAMP JUNIOR HANDBELL CHOIR Danse D’Ecublens Joanne Martin Trumpet Voluntary Jeremiah Clarke Trio, op. 3 no. 1 Johann Schobert Presto Minuetto from Quartet in B-flat Franz Anton Hoffmeister Cassation in C Major Franz Joseph Haydn I. Presto Andante und Rondo Ignaz Joseph Pleyel Madrigale Giovanni Pierluigi da Palestrina Andante Wolfgang Amadeus Mozart 2014 OPUS “Listen to Our Young Artists” Junior Division Concert 11:00 a.m. August 9, 2014 Concerto a 4 in B-flat Georg Philipp Telemann I. Allegro arr. Raymond Vun Kannon IV. Allegro Village Dance Jean-Philippe Rameau Jubilant Overture Joshua Reznicow OPUS CAMP JUNIOR CHAMBER ORCHESTRA LISTEN TO OUR YOUNG ARTISTS A Musical Program Featuring OPUS 2014 Senior Division Chamber Musicians RECITAL ⋅ WENTZ CONCERT HALL, NAPERVILLE ⋅ August 9, 2014 2:00 p.m. ⋅ PRESENTED BY THE 2014 OPUS CHAMBER MUSIC CAMP Quartet in D Major, op. 64, no. 5 “The Lark” Franz Joseph Haydn IV. -
Bizet Carmen Suite - L'arlesienne Suites Mp3, Flac, Wma
Bizet Carmen Suite - L'Arlesienne Suites mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Carmen Suite - L'Arlesienne Suites Country: US Released: 1950 Style: Romantic MP3 version RAR size: 1543 mb FLAC version RAR size: 1580 mb WMA version RAR size: 1783 mb Rating: 4.6 Votes: 131 Other Formats: RA MIDI MP3 AAC AA AHX MP4 Tracklist Carmen-Suite A1 Prélude, Act 1 A2 Entr'acte, Act 4 A3 Entr'acte, Act 2 A4 Entr'acte, Act 3 A5 Scène Des Contrebandiers, Act 3 A6 La Garde Montante, Act1 A7 Danse Bohème, Act2 L'Arlesienne Suites B1 Prélude B2 Minuetto B3 Adagietto B4 Menuet B5 Farandole Credits Composed By – Georges Bizet Conductor – Anthony Collins (tracks: A1 to A7), Eduard van Beinum (tracks: B1 to B5) Orchestra – The London Philharmonic Orchestra Photography – Roger Wood Barcode and Other Identifiers Matrix / Runout: ARL-280-AW Matrix / Runout: ARL-281-AW Other versions Category Artist Title (Format) Label Category Country Year Bizet* - Anthony Bizet* - Anthony Collins & Eduard Collins & Eduard van Beinum van Beinum Conducting The Ace Of ACL 9, ACL.9 Conducting The London Clubs, Ace ACL 9, ACL.9 UK Unknown London Philharmonic Of Clubs Philharmonic Orchestra - Carmen Orchestra And L'Arlesienne Suites (LP) Bizet* - Anthony Bizet* - Anthony Collins & Eduard Collins & Eduard van Beinum van Beinum Conducting The B 19013 Conducting The London Richmond B 19013 US Unknown London Philharmonic Philharmonic Orchestra - Carmen Orchestra Suite - L'Arlésienne Suite (LP) Georges Bizet, The Georges Bizet, London The London Philharmonic -
Basic Principles of the Alexander Technique Applied to Cello Pedagogy in Three Case Studies
Basic Principles of the Alexander Technique Applied to Cello Pedagogy in Three Case Studies A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music May, 2012 by Sae Rom Kwon BM, Eastman School of Music, 2003 MM, Eastman School of Music, 2005 Committee Chair: Yehuda Hanani Abstract The Alexander Technique helps its adherents improve posture and to use muscles and joints of the body efficiently. F. Mathias Alexander, an Australian actor, developed the technique in the 1890s to deal with difficulties he experienced on stage, such as chronic hoarseness. The technique attracted many followers in subsequent generations, including musicians, who are prone to physical problems due to long rehearsal hours. Elizabeth Valentine and others have sufficiently shown the effectiveness of the Alexander Technique for musicians through clinical studies. The focus of this document is more practical in nature. It consists of three case studies of individual cello students who struggle with specific problems to examine the results of practical solutions drawn from the principles of the Alexander Technique. Within five concurrent lessons, each student demonstrated consistent improvement in their problem areas. These case studies provide a basic introduction to this method and can help applied music teachers see the benefits of applying the Alexander Technique in the studio. ii Copyright © 2012 by Sae Rom Kwon. All rights reserved. iii Acknowledgments I would like to thank all those in my life who contributed to this document. -
Foundation for Chinese Performing Arts 中華表演藝術基金會
中華表演藝術基金會 FOUNDATION FOR CHINESE PERFORMING ARTS [email protected] www.ChinesePerformingArts.net The Foundation for Chinese Performing Arts, is a non-profit organization registered in the Commonwealth of Massachusetts in January, 1989. The main objectives of the Foundation are: * To enhance the understanding and the appreciation of Eastern heritage through music and performing arts. * To promote Chinese music and performing arts through performances. * To provide opportunities and assistance to young Asian artists. The Founder and the President is Dr. Catherine Tan Chan 譚嘉陵. AWARDS AND SCHOLARSHIPS The Foundation held its official opening ceremony on September 23, 1989, at the Rivers School in Weston. Professor Chou Wen-Chung of Columbia University lectured on the late Alexander Tcherepnin and his contribution in promoting Chinese music. The Tcherepnin Society, represented by the late Madame Ming Tcherepnin, an Honorable Board Member of the Foundation, donated to the Harvard Yenching Library a set of original musical manuscripts composed by Alexander Tcherepnin and his student, Chiang Wen-Yeh. Dr. Eugene Wu, Director of the Harvard Yenching Library, was there to receive the gift that includes the original orchestra score of the National Anthem of the Republic of China commissioned in 1937 to Alexander Tcherepnin by the Chinese government. The Foundation awarded Ms. Wha Kyung Byun as the outstanding music educator. In early December 1989, the Foundation, recognized Professor Sylvia Shue-Tee Lee for her contribution in educating young violinists. The recipients of the Foundation's artist scholarship award were: 1989 Jindong Cai 蔡金冬, MM conductor ,New England Conservatory, NEC (currently conductor and Associate Professor of Music, Stanford University,) 1990: (late) Pei-Kun Xi, MM, conductor, NEC; 1991: pianists John Park and J.G.