Andrew Elliot Henderson -- Complete List of Organ Repertoire Last Updated: August 24, 2013
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
THE ORGAN WORKS of HEALEY WILLAN THESIS Presented to The
{ to,26?5 THE ORGAN WORKS OF HEALEY WILLAN THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of Master of Music By Robert L. Massingham, B. S., M. S. Denton, Texas August, 1957 PREFACE LHealey Willan occupies an unique position in Canadian Music and can be considered as that nation's "elder musical statesman." At the time of writing he is a septuagenarian and still very much active in his profession. Born and trained in England, he was well-established there when he was persuaded to come to Toronto, Canada, in 1913 at the age of thirty-three. Since that time he has contributed enor- iously to the growth of music in his adopted country, carry- ing on the traditions of his fine English background in music while encouraging the development of native individuality in Canadian music. Iillan has been first and foremost a musician of the church--an organist and choirmaster--a proud field which can boast many an eminent name in music including that of J. S. Bach. Willan's creativity in music has flowered in many other directions--as a distinguished teacher, as a lecturer and recitalist, and as a composer. He has written in all forms and for all instruments, but his greatest renown, at any rate in the TUnited States, is for his organ and choral works. The latter constitute his largest single body of compositions by numerical count of titles, and his organ works are in a close second place. iii Willants Introduction, Passaqaglia, and Fuue has been well-known for decades as one of the finest compositions in organ literature, enjoying a position alongside the organ works of Liszt, Yranck, and Reubke. -
JOHANN SEBASTIAN BACH Orgelbü Chlein
JOHANN SEBASTIAN BACH Orgelbüchlein JOAN LIPPINCOTT , ORGAN JOHANN SEBASTIAN BACH Orgelbüchlein J O A N L I P P I N C O T T , O R G A N 1. | Nun komm, der Heiden Heiland, BWV 599 01:31 23. | Da Jesus an dem Kreuze stund, BWV 621 01:20 2. | Gott, durch deine Güte, 24. | O Mensch, bewein dein Sünde gross, BWV 622 05:28 or Gottes Sohn ist kommen, BWV 600 01:13 25. | Wir danken dir, Herr Jesu Christ, BWV 623 01:01 3. | Herr Christ, der ein’ge Gottessohn, 26. | Hilf, Gott, dass mir’s gelinge, BWV 624 01:22 or Herr Gott, nun sei gepreist, BWV 601 01:42 27. | Christ lag in Todesbanden, BWV 625 01:32 4. | Lob sei dem allmächtigen Gott, BWV 602 00:55 28. | Jesus Christus, unser Heiland, BWV 626 00:54 5. | Puer natus in Bethlehem, BWV 603 00:59 29. | Christ ist erstanden, BWV 627 04:21 6. | Gelobet seist du, Jesu Christ, BWV 604 01:28 30. | Erstanden ist der heil'ge Christ, BWV 628 00:51 7. | Der Tag, der ist so freudenreich, BWV 605 02:01 31. | Erschienen ist der herrliche Tag, BWV 629 01:04 8. | Vom Himmel hoch, da komm ich her, BWV 606 00:46 32. | Heut triumphieret Gottes Sohn, BWV 630 01:27 9. | Vom Himmel kam der Engel Schar, BWV 607 01:23 33. | Komm, Gott Schöpfer, Heiliger Geist, BWV 631 00:59 10. | In dulci jubilo, BWV 608 01:31 34. | Herr Jesu Christ, dich zu uns wend, BWV 632 01:31 11. -
![Fasolis-D-V06c[Brilliant-2CD-Booklet].Pdf](https://docslib.b-cdn.net/cover/6826/fasolis-d-v06c-brilliant-2cd-booklet-pdf-86826.webp)
Fasolis-D-V06c[Brilliant-2CD-Booklet].Pdf
94639 bach_BL2 v8_BRILLIANT 04/02/2013 10:10 Page 2 Johann Sebastian Bach 1685 –1750 Passion Chorales 39 –40 O Lamm Gottes, unschuldig BWV618 3’54 1’24 Orgelbüchlein BWV 599 –644 41 –42 Christe, du Lamm Gottes BWV619 1’01 1’23 with alternating chorales 43 –44 Christus, der uns selig macht BWV620 2’45 1’22 45 –46 Da Jesus an dem Kreuze stund BWV621 2’03 1’10 Compact Disc 1 67’20 Compact Disc 2 67’14 Part I Organ Chorale Advent Chorales Part II Organ Chorale 1–2 Nun komm, der Heiden Heiland BWV599 2’03 0’46 1–2 O Mensch, bewein dein’ Sünde groß BWV622 6’02 2’27 3–4 Gottes Sohn ist kommen BWV600 1’27 1’10 3–4 Wir danken dir, Herr Jesu Christ BWV623 1’03 0’49 5–6 Herr Christ, der ein’ge Gottes Sohn BWV601 1’38 1’09 5–6 Hilf Gott, daß mir’s gelinge BWV624 1’33 1’01 7–8 Lob sei dem allmächtigen Gott BWV602 0’54 0’47 Easter Chorales Christmas Chorales 7–8 Christ lag in Todesbanden BWV625 1’19 1’25 9–10 Puer natus in Bethlehem BWV603 1’18 0’46 9–10 Jesus Christus, unser Heiland BWV626 1’01 0’49 11 –12 Gelobet seist du, Jesu Christ BWV604 1’12 0’48 11 –12 Christ ist erstanden Verse 1 BWV627 1’18 0’50 13 –14 Der Tag, der ist so freudenreich BWV605 1’57 1’18 13 –14 Christ ist erstanden Verse 2 1’14 0’50 15 –16 Vom Himmel hoch, da komm’ ich her BWV606 0’54 0’47 15 –16 Christ ist erstanden Verse 3 1’41 0’49 17 –18 Vom Himmel kam der Engel Schar BWV607 1’10 0’30 17 –18 Erstanden ist der heil’ge Christ BWV628 0’44 0’26 19 –20 In dulci jubilo BWV608 1’24 0’51 19 –20 Erschienen ist der herrlich Tag BWV629 0’50 0’36 21 –22 Lobt Gott, ihr Christen, allzugleich -
Xvii. Tempo En Fermates Bij De Uitvoering Van Koralen in Bachs Cantates En Passies
XVII. TEMPO EN FERMATES BIJ DE UITVOERING VAN KORALEN IN BACHS CANTATES EN PASSIES In dit hoofdstuk staan het tempo van de koralen en de wijze waarop de fermates werden uitgevoerd centraal. Zoals bekend zijn koralen door de gemeente gezongen gezangen tijdens erediensten. In Bachs tijd stonden de tekst en soms ook de melodie hiervan in de gebruikte gezangboeken. De gezangen waren over het algemeen bij de gemeente bekend. Onder kora- len zullen tevens verstaan worden de – meestal vierstemmig homofoon gezette – gezangen, zoals die in Bachs cantates en passies veel voorkomen: zij hadden immers dezelfde tekst en melodie als de gemeentegezangen. Ook wanneer instrumenten een zelfstandige rol hadden, in de vorm van tussenspelen (bijvoorbeeld in het slotkoraal ‘Jesus bleibet meine Freude‘ BWV 147/10) of extra partijen (‘Weil du vom Tod erstanden bist' BWV 95/7), worden ze hier gerekend tot Bachs koralen. Deze studie richt zich niet primair op koraalmelodieën die – meestal éénstemmig – als cantus firmus gezongen of gespeeld worden tijdens een aria of reci- tatief, maar het ligt voor de hand dat de beschreven conclusies hierbij ook van toepassing zijn. In de eerste paragraaf wordt gekeken naar de ontwikkeling van de gemeentezang in Duits- land, en hoe die op orgel begeleid werd. Vervolgens wordt onderzocht hoe er in traktaten over het tempo van de gemeentezang werd gesproken. Daarna worden de resultaten geëx- trapoleerd naar de hoofdkerken in Leipzig onder Johann Sebastian Bach. Het moge zo zijn dat de koralen als gemeentezang langzaam werden uitgevoerd, maar gold dat ook voor de koralen in Bachs cantates? In deze paragraaf wordt getracht een antwoord te vinden op deze vraag. -
The Baroque Offertoire : Apotheosis of the French Organ Art
The Baroque Offertoire : Apotheosis of the French Organ Art By Copyright 2016 Song Yi Park Submitted to the graduate degree program in Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. Michael Bauer ________________________________ Dr. James Higdon ________________________________ Dr. Colin Roust ________________________________ Dr. Bradley Osborn ________________________________ Professor Jerel Hildig Date Defended: November 1, 2016 The Dissertation Committee for Song Yi Park certifies that this is the approved version of the following dissertation: The Baroque Offertoire : Apotheosis of the French Organ Art ________________________________ Chairperson Dr. Michael Bauer Date approved: November 1, 2016 ii Abstract During the French Baroque period, the function of the organ was primarily to serve the liturgy. It was an integral part of both Mass and the office of Vespers. Throughout these liturgies the organ functioned in alteration with vocal music, including Gregorian chant, choral repertoire, and fauxbourdon. The longest, most glorious organ music occurred at the time of the offertory of the Mass. The Offertoire was the place where French composers could develop musical ideas over a longer stretch of time and use the full resources of the French Classic Grand jeu , the most colorful registration on the French Baroque organ. This document will survey Offertoire movements by French Baroque composers. I will begin with an introductory discussion of the role of the offertory in the Mass and the alternatim plan in use during the French Baroque era. Following this I will look at the tonal resources of the French organ as they are incorporated into French Offertoire movements. -
The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson
The Atlanta Music Scene • WABE FM 90.1 Broadcast Schedule - July 2021 Host: Robert Hubert Producer: Tommy Joe Anderson Sundays at 10 P.M. at FM 90.1 Over-the-air & LIVE STREAM at wabe.org Tuesdays at 3 p.m. & Saturdays at 10 a.m. at 90.1-2 on WABE’s Classics Stream on your HD Radio, Internet Radio or online at WABE.org and with the WABE Mobile App available for free download at WABE.org Underwriting of the Atlanta Music Scene is provided by ACA Digital Recording with additional support from Robert Hubert. July 4, 2021 – 8:00pm - 10:00pm On Air Broadcast Preempted by “A Capitol Fourth” A Capitol Fourth is an annual July 4th tradition with a live concert direct from the steps of the U.S. Capitol. NPR is pleased to offer this special for broadcast again this year. Emanuel Ax, piano [HD-2 and Online Broadcasts as scheduled Tuesday, July 6 @ 3:00pm & Saturday July 10 @ 10:00am Johannes Brahms: Two Rhapsodies, Op. 79 George Benjamin: Piano Figures Frédéric Chopin: Three Mazurkas, Op. 50 Chopin: Nocturnes, Op. 62 No. 1 in B Major and Op. 15, No. 2 in F-Sharp Major Chopin: Andante spianato et Grande Polonaise brillante in E-Flat Major, Op. 22 [Recorded at Clayton State University’s Spivey Hall 03/24/2019] Program Time 01:06:42 July 11, 2021 – 10:00pm Paul Halley, organ J.S. Bach: Chorale Prelude on “In Dulci Jubilo” Maurice Dupre: Choral “In Dulci Jubilo” Paul Halley: Improvisation on “Good Christian Folk Rejoice” J. -
C7054 Clare College Term Card:Layout 1
Clare College Chapel TUESDAYS AND THURSDAYS 6.15 p.m. SUNDAYS 6.00 p.m. (preceded by a recital at 5.30 p.m.) Lent Term 2009. Thursday 15 January VOLUNTARY Puer natus in Bethlehem, BuxWV 217 Buxtehude Thursday 5 February VOLUNTARY Canzona Quinta Frescobaldi Tuesday 24 February VOLUNTARY Sursum Corda Ireland RESPONSES Ayleward PSALM 61 INTROIT Ich bin’s, ich sollte büssen Bach INTROIT Bin ich gleich von dir gewichen Bach CANTICLES Walmisley in d RESPONSES Clucas PSALM 27 RESPONSES Radcliffe PSALM 119: 1–8 ANTHEM Quem vidistis, pastores Dering CANTICLES Causton Fauxbourdon CANTICLES Wood in F (Collegium Regale) HYMN 47 ANTHEM If ye love me Tallis ANTHEM O God, thou hast cast us out Purcell VOLUNTARY Vom Himmel Hoch, da Komm ich her, BWV 606 HYMN 383 (vv. 1, 2, 4) HYMN 404 Bach VOLUNTARY Veni Redemptor Tallis VOLUNTARY Fugue in C, BVW 545/ii Bach Wednesday 25 February Vigil for Ash Wednesday & Imposition of Ashes 10.00 p.m. Sunday 18 January Organ Recital by Simon Thomas Jacobs (Clare) 5.30 p.m. Sunday 8 February Piano Recital by Alexander Bryson (London) 5.30 p.m. Septuagesima Joint Evensong with Universitätschor Innsbruck, Director Georg Ash Wednesday PSALM 51 (Miserere) Allegri Epiphany 2 INTROIT In the bleak midwinter Darke Weiss ANTHEMS O saviour of the world Howells (Week of Prayer for RESPONSES Ayleward PSALM 96 INTROIT Here is the little door Howells O vos omnes Vaughan Williams Christian Unity) CANTICLES Plainsong (Tonus Peregrinus/IIi) RESPONSES Smith PSALM 5 Save me, O God Lavino ANTHEM Magnificat II Swayne CANTICLES Stanford in -
74Th Baldwin-Wallace College Bach Festival
The 74th Annual BALDWIN-WALLACE Bach Festival Annotated Program April 21-22, 2006 Save the date! 2007 75th B-W BACH FESTIVAL Friday, Saturday, and Sunday April 20–22, 2007 Including a combined concert with the Bethlehem Bach Choir, celebrating its 100th Festival, in Severance Hall. The Mass in B Minor will be featured. Check our Web site for details www.bw.edu/bachfest Featured Soloists presented with support from the E. Nakamichi Foundation and The Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil BALDWIN-WALLACE COLLEGE SEVENTY-FOURTH ANNUAL BACH FESTIVAL THE OLDEST COLLEGIATE BACH FESTIVAL IN THE NATION ANNOTATED PROGRAM APRIL 21–22, 2006 DEDICATION THE SEVENTY-FOURTH ANNUAL BACH FESTIVAL IS RESPECTFULLY DEDICATED TO RUTH PICKERING (1918–2005), WHO SO LOVED MUSIC, THE BALDWIN-WALLACE COLLEGE BACH FESTIVAL AND CONSERVATORY CONCERTS, THAT SHE AND HER LATE HUSBAND, DON, HAD THEIR NAMES ENGRAVED ON BRASS PLAQUES AND AFFIXED TO THEIR FAVORITE SEATS, DD 24 AND DD 25, IN THE BALCONY OF GAMBLE HALL, KULAS MUSICAL ARTS BUILDING. SHE WILL BE REMEMBERED WITH MUCH LOVE BY MANY FROM THIS COMMUNITY, IN WHICH SHE WAS SO ACTIVE. Third Sunday Chapel Series at Baldwin-Wallace College Lindsay-Crossman A concert series under the direction of Warren Scharf, Margaret Scharf, and Nicole Keller 2006-2007 Concert Schedule Third Sundays at 7:45 p.m. Our Sixth Season October 15, 2006 March 18, 2007 November 19, 2006 April 15, 2007 December 17, 2006 The public is warmly invited to attend these free concerts. The Chapel is handicapped accessible. -
Conceiving Musical Transdialection
Conceiving Musical Transdialection By Richard Beaudoin, Harvard University and Joseph Moore, Amherst College Abstract: We illuminate the wandering notion of a musical transcription by reflecting on the various ways “transcription” and its cognates have been used in musical discourse, and by examining some notable 20th century transcriptions of J. S. Bach, which became increasingly loose through the decades. At root, musical transcription aims at preservation, but, as we bring out, exactly which musical ingredients are preserved across which transformations varies from transcriptional project to transcriptional project. We defend as intelligible one very interesting such project—we call it “transdialection”—by exploring an analogy with poetic translation, and by directly taking on some natural objections to it. We conclude that certain controversial transcriptions are justifiably and usefully so-called. 1 0. Transcription Traduced While it may not surprise you to learn that the first bit of music above is the opening of a chorale prelude by Baroque master, J. S. Bach, who would guess that the second bit is a so-called transcription of it? But it is—it’s a transcription by the contemporary British composer, Michael Finnissy. The two passages look very different from one another, even to those of us who don’t read music. And hearing the pieces will do little to dispel the shock, for here we have bits of music that seem worlds apart in their melodic makeup, harmonic content and rhythmic complexity. It’s a far cry from Bach’s steady tonality to Finnissy’s floating, tangled lines—a sonic texture in which, as one critic put it, real music is “mostly thrown into a seething undigested, unimagined heap of dyslexic clusters of multiple key- and time-proportions, as intricately enmeshed in the fetishism of the written notation as those 2 with notes derived from number-magic.”1 We’re more sympathetic to Finnissy’s music. -
The Lost Chord Part
THE LOST CHORD HARMONISATION ON KEYBOARD INSTRUMENTS III STEPHEN TAYLOR The Lost Chord Seated one day at the organ, I was weary and ill at ease, And my fingers wander’d idly Over the noisy keys. I know not what I was playing, Or what I was dreaming then, But I struck one chord of music, Like the sound of a great Amen. It flooded the crimson twilight, Like the close of an angel’s psalm, And it lay on my fever’d spirit With a touch of infinite calm. It quieted pain and sorrow, Like love overcoming strife, It seem’d the harmonious echo From our discordant life. It link’d all perplexed meanings Into one perfect peace, And trembled away into silence, As if it were loth to cease. I have sought, but I seek it vainly, That one lost chord divine, Which came from the soul of the organ, And enter’d into mine. It may be that death’s bright angel Will speak in that chord again; It may be that only in heav’n I shall hear that grand Amen. (Poem by Adelaide Proctor, set to music by Arthur Sullivan in 1877) PART III CONTENTS page 1 Perspectives 7 2 The chord of the seventh (i) 10 3 The chord of the seventh (ii) 16 4 The six-five-chord 29 5 Figuration (i) 42 6 Figuration (ii) 59 7 The six-four-chord (i) 70 8 The six-four-two-chord 84 9 Modulation 98 10 The six-four-three-chord 111 11 The six-four-chord (ii) 120 12 Figuration (iii) 137 13 Theory and practice 150 Index of hymns and chorales Instructions for use Readers are advised to consult the Preface to The Lost Chord elsewhere on this site. -
NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE by Dr
NACH BACH (1750-1850) GERMAN GRADED ORGAN REPERTOIRE By Dr. Shelly Moorman-Stahlman [email protected]; copyright Feb. 2007 LEVEL ONE Bach, Carl Phillip Emmanuel Leichte Spielstücke für Klavier This collection is one of most accessible collections for young keyboardists at late elementary or early intermediate level Bach, Wilhelm Friedermann Leichte Spielstücke für Klavier Mozart, Leopold Notenbuch für Nannerl Includes instructional pieces by anonymous composers of the period as well as early pieces by Wolfgang Amadeus Merkel, Gustav Examples and Verses for finger substitution and repeated notes WL Schneider, Johann Christian Friderich Examples including finger substitution included in: WL Türk, Daniel Gottlob (1750-1813) Sixty Pieces for Aspiring Players, Book II Based on Türk’s instructional manual, 120 Handstücke für angehende Klavierspieler, Books I and II, published in 1792 and 1795 Three voice manual pieces (listed in order of difficulty) Bach, C.P.E. Prelude in E Minor TCO, I Kittel, Johann Christian TCO, I Prelude in A Major Vierling, Johann Gottfried OMM V Short Prelude in C Minor Litzau, Johannes Barend Short Prelude in E Minor OMM V Four Short Preludes OMM III 1 Töpfer, Johann Gottlob OB I Komm Gott, Schöpfer, Heiliger Geist (stepwise motion) Kittel, Johann Christian Prelude in A Major OMM IV Fischer, Michael Gotthardt LO III Piu Allegro (dotted rhythms and held voices) Four voice manual pieces Albrechtsberger, Johann Georg Prelude in G Minor OMM, I Gebhardi, Ludwig Ernst Prelude in D Minor OMM, I Korner, Gotthilf Wilhelm LO I -
Baroque and Classical Style in Selected Organ Works of The
BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.