Spring 2014 Newsletter
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Salon Musical Au Xviiie Siècle
Journées européennes du patrimoine Salon musical au XVIIIe siècle À l’écoute d’un mystérieux manuscrit de clavecin Samedi 14 septembre 2013 à 18h15 Archives des Yvelines Sommaire Programme p. 3 Le manuscrit p. 4 Les compositeurs p. 8 Un salon musical au XVIIIe siècle p. 10 Marie Vallin p. 11 Informations pratiques p.12 Concert donné à l’occasion des Journées européennes du patrimoine avec le concours du Conservatoire à rayonnement régional de Versailles et du Musée de la Toile de Jouy Conception et rédaction : Céline PAGNAC et Marie VALLIN - Conception graphique : Mathilde LAINEZ Ill. couverture, crédits : Archives des Yvelines Programme Jacques Duphly (1715-1789) La De Vatre La Félix La Lanza Domenico Scarlatti (1685-1757) Pièce sans titre [Allegro] Allegro Anonyme L’orageuse Jean-Baptiste Barrière (1707-1747) Grave-Prestissimo, Allegro, Aria Domenico Alberti (v. 1710-1740) Allegro moderato (1er mouvement de la Sonate II) Anonyme Le réveil matin Antoine Forqueray (1672-1745) La Mandoline : M. Vallin 3 Crédit photo Le manuscrit Un document atypique May (avec violon), Menuet. Mais aux Archives d’autres pièces françaises sont aussi présentes : La Mandoline ux Archives des Yvelines se d’Antoine Forqueray (1672-1745), trouve, classé sous la cote A Les Ciclopes [sic] et la Pantomime 1F207, un recueil manuscrit de de Pigmalion [sic] du célèbre pièces de clavecin. Il suscite de Jean-Philippe Rameau (1683-1764). nombreuses interrogations quant L’Italie est aussi représentée, avec à sa provenance, sa datation, au moins 5 sonates de Domenico son propriétaire. Il semble difficile Scarlatti (1685-1757), une sonate de remonter à ses origines : il n’est de Domenico Alberti (v. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
Alumnews2007
C o l l e g e o f L e t t e r s & S c i e n c e U n i v e r s i t y D EPARTMENT o f o f C a l i f o r n i a B e r k e l e y MUSIC IN THIS ISSUE Alumni Newsletter S e p t e m b e r 2 0 0 7 1–2 Special Occasions Special Occasions CELEBRATIONS 2–4 Events, Visitors, Alumni n November 8, 2006, the department honored emeritus professor Andrew Imbrie in the year of his 85th birthday 4 Faculty Awards Owith a noon concert in Hertz Hall. Alumna Rae Imamura and world-famous Japanese pianist Aki Takahashi performed pieces by Imbrie, including the world premiere of a solo piano piece that 5–6 Faculty Update he wrote for his son, as well as compositions by former Imbrie Aki Takahashi performss in Hertz Hall student, alumna Hi Kyung Kim (professor of music at UC Santa to honor Andrew Imbrie. 7 Striggio Mass of 1567 Cruz), and composers Toru Takemitsu and Michio Mamiya, with whom Imbrie connected in “his Japan years.” The concert was followed by a lunch in Imbrie’s honor in Hertz Hall’s Green Room. 7–8 Retirements Andrew Imbrie was a distinguished and award-winning member of the Berkeley faculty from 1949 until his retirement in 1991. His works include five string quartets, three symphonies, numerous concerti, many works for chamber ensembles, solo instruments, piano, and chorus. His opera Angle of 8–9 In Memoriam Repose, based on Wallace Stegner’s book, was premeiered by the San Francisco Opera in 1976. -
Du Clavecin À La Harpe
UNIVERSITÉ PARIS–SORBONNE ÉCOLE DOCTORALE V « CONCEPTS ET LANGAGES » Patrimoines et langages musicaux CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS THÈSE Pour l’obtention du grade de DOCTEUR DE L’UNIVERSITÉ PARIS-SORBONNE Discipline / Spécialité : Musique Recherche et Pratique Présentée et soutenue par : Constance Luzzati Le 20 novembre 2014 Du clavecin à la harpe Transcription du répertoire français du XVIIIe siècle Sous la direction de : Madame Raphaëlle Legrand, professeur à l’université de Paris IV – Sorbonne Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP JURY : Madame Violaine Anger, maître de conférence habilité à diriger des recherches à l’Université d’Evry-Val-d’Essonne Monsieur Jean-Pierre Bartoli, professeur à l’Université Paris IV – Sorbonne Monsieur Philippe Brandeis, directeur des études musicales et de la recherche au CNSMDP Madame Raphaëlle Legrand, professeur à l’Université Paris IV – Sorbonne Madame Isabelle Moretti, harpiste, professeur au CNSMDP Monsieur Bertrand Porot, professeur à l’Université de Reims Monsieur Kenneth Weiss, claveciniste, chef d’orchestre, professeur au CNSMDP 1 2 Le répertoire original pour harpe est relativement restreint. Deux voies permettent de concourir à son accroissement : la création contemporaine d’une part, et la transcription d’autre part. La présente étude interroge le rapport entre les habitus anciens et une pratique actuelle de transcription, depuis le répertoire de clavecin français du XVIIIe siècle vers la harpe. La transcription est ici considérée comme une pratique non notée qui relève de l’interprétation, et qui partage avec celle-ci, comme avec la traduction, des problématiques fondamentales en apparence antinomiques : esprit et lettre, idiomatisme et fidélité. -
The Harpsichord: a Research and Information Guide
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository THE HARPSICHORD: A RESEARCH AND INFORMATION GUIDE BY SONIA M. LEE DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2012 Urbana, Illinois Doctoral Committee: Professor Charlotte Mattax Moersch, Chair and Co-Director of Research Professor Emeritus Donald W. Krummel, Co-Director of Research Professor Emeritus John W. Hill Associate Professor Emerita Heidi Von Gunden ABSTRACT This study is an annotated bibliography of selected literature on harpsichord studies published before 2011. It is intended to serve as a guide and as a reference manual for anyone researching the harpsichord or harpsichord related topics, including harpsichord making and maintenance, historical and contemporary harpsichord repertoire, as well as performance practice. This guide is not meant to be comprehensive, but rather to provide a user-friendly resource on the subject. ii ACKNOWLEDGEMENTS I would like to express my deepest gratitude to my dissertation advisers Professor Charlotte Mattax Moersch and Professor Donald W. Krummel for their tremendous help on this project. My gratitude also goes to the other members of my committee, Professor John W. Hill and Professor Heidi Von Gunden, who shared with me their knowledge and wisdom. I am extremely thankful to the librarians and staff of the University of Illinois Library System for assisting me in obtaining obscure and rare publications from numerous libraries and archives throughout the United States and abroad. -
The Organizer the Atlanta Chapter of the American Guild of Organists
The Organizer The Atlanta Chapter of the American Guild of Organists www.agoatlanta.org Atlanta AGO October 2013 October Dinner Meeting & Recital In this issue… JEAN-BAPTISTE ROBIN at October Meeting ............................................ 1 All Saints’ Episcopal Church About the Recitalist ...................................... 2 634 West Peachtree St NW Atlanta, GA 30308 From the Dean ............................................... 3 (404) 881-0835 October Calendar of Events ...................... 4 Hosts Ray & Beth Chenault Pamela Ingram, and Michael Crowe New Members ................................................. 5 Tuesday, October 15, 2013 Treasurer’s Report ....................................... 6 6:00 p.m. Punchbowl Centennial Celebration ..................... 6/8/9 6:30 p.m. Dinner & Meeting 7:30 p.m. Recital Chaplain’s Corner ......................................... 7 All chapter members who have not already done so AGO Google Groups Replaces ListServ .. 7 are encouraged to pick up their Yearbooks during the Punchbowl portion of the evening. Like us on Facebook! ................................... 7 Around the Chapter ............................. 9/10 Menu Salade niçoise, Coq au vin or Boeuf à la Bourguignonne, Nouilles persillade, Positions Available .................................... 11 Ratatouille, Assortiment de desserts Chapter Officers .......................................... 12 The Organizer, the official bulletin of Program the Atlanta Chapter of the American Louis Marchand, Grand Dialogue in C major Guild of Organists, is published George Bizet, Entr’Acte from Carmen monthly, September through June. All Charles-Marie Widor, Allegro from Symphonie No.6 in G minor, Op. 42 material for publication must reach Claude Debussy, Prélude à l’après-midi d’un faune the Editor by the 15th day of the month Marcel Dupré, Second Sketch in B flat minor preceding the date of issue (e.g., No- Jehan Alain, Second Fantasy vember 15 for the December issue). -
Playing Rameau on the Piano
PLAYING RAMEAU ON THE PIANO: THE SUITE IN A MINOR FROM NOUVELLES SUITES DE PIÈCES DE CLAVECIN A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS BY HIROMI SASAKI DISSERTATION ADVISORS: DR. ROBERT PALMER AND DR. LINDA POHLY BALL STATE UNIVERSITY MUNCIE, INDIANA DECEMBER 2017 CONTENTS LIST OF FIGURES ii LIST OF AUDIO EXCERPTS iv CHAPTER ONE INTRODUCTION 1 Purpose and Need for this Study 1 Review of Literature 4 Preliminary Information 12 CHAPTER TWO DIFFERENCES IN HARPSICHORD AND PIANO; PERFORMANCE PRACTICES 25 A Comparison of Basic Constructions of Harpsichord and Piano 25 Sound and Timbre 29 Means of Expression 30 Temperament 33 Performance Practice 37 CHAPTER THREE PERFORMANCE SUGGESTIONS FOR PIANISTS FOR RAMEAU’S A-MINOR SUITE 49 Allemande 50 Courante 61 Sarabande 68 Les trois Mains 74 Fanfarinette 81 La Triomphante 88 Gavotte 95 CHAPTER FOUR CONCLUSION AND SUMMARY; SUGGESTIONS FOR FURTHER STUDY 111 Conclusion 111 Summary of Chapters 111 Reflection on the Study 116 Suggestions for Further Study 117 BIBLIOGRAPHY 120 APPENDIX AUDIO RECORDING OF EXCERPTS n. p. i FIGURES 1. Rameau's Ornament Table 39 2. Allemande, mm. 1-4 52 3. Allemande, mm. 3-7 54 4. Allemande, m. 4 56 5. Allemande, m. 21 56 6. Allemande, m. 10 58 7. Allemande, mm. 15-19 59 8. Courante, mm. 1-7 62 9. Courante, mm. 1-7 64 10. Courante, m. 27 67 11. Courante, m. 27 67 12. Sarabande, mm. 1-2 69 13. Sarabande, mm. 9-10 70 14. Sarabande, mm. 9-10 71 15. -
Vera Alperovich Clavicembalo
GIOVEDÌ ORE 14.06.18 16:00 Aula Magna Entrata libera Vera Alperovich clavicembalo Recital per il conseguimento del Master of Arts in Music Performance Conservatorio della Svizzera italiana Scuola universitaria di Musica Via Soldino 9 CH-6900 Lugano T +41 (0)91 960 23 62 [email protected] www.conservatorio.ch Vera Alperovich È nata a Mosca. Nel 2003 ha terminato la Scuola di Musica di IAM del Conservatorio di Mosca (classe di pianoforte speciale, con lode). Nel 2007 ha frequentato e terminato il corso di studi dell’Istituto Accademico Musicale del Conservatorio di Mosca, dove ha ricevuto la lode. Ha vinto il 4° concorso internazionale “T.Nikolayevoj” a Bryansk e il concorso internazionale “Passo per abilità”. Ha partecipato al concorso “Bach” a San-Pietroburgo, a vari festival di Mosca e internazionali. Come solista, si è esibita presso il Conservatorio di Mosca: Sala Piccola, Sala Rachmaninov, Sala concertistica Pavel Slobodkin a Mosca, nella Capella Glinka a San-Pietroburgo, nella sala da concerto di Bryansk, Kaliningrad, Rimini, Imola, Montefiori. Inoltre, è la vincitrice di un concorso internazionale “Compositore del XXI secolo” come pianista-collaboratrice; oltre che vincitrice del concorso “Il maestro e l’allievo”(2013). È stata la vincitrice del Concorso Internazionale “Romanticismo - le origini e gli orizzonti (musica da camera, 2013)”. Ha preso parte a concerti, come solista, con diverse orchestre sinfoniche: al conservatorio di Mosca sotto la direzione di Vladimir Ryzhaev, al Istituto Accademico Musicale, alla Società filarmonica di Bryansk. È studentessa sovvenzionata dal Fondo di Elina Bystritsky, dall’Agenzia federale per la cultura e il cinema della Federazione Russa. -
The Pioneering Contribution of Macario Santiago Kastner
nova série | new series 4/1 (2017), pp. 141-166 ISSN 2183-8410 http://rpm-ns.pt Programming Early Portuguese Repertoires Beyond the Pyrenees: The Pioneering Contribution of Macario Santiago Kastner Sonia Gonzalo Delgado [email protected] Resumo Macario Santiago Kastner (1908-92) é reconhecido como ‘o primeiro que entre nós soube escrever o nome de Portugal no mapa da musicologia internacional’ (Manuel Carlos de Brito 1989). Kastner estabeleceu-se em Lisboa, em 1934, e dedicou parte do seu percurso a descobrir a música portuguesa e espanhola dos séculos XVI a XVIII. Fascinado pela música ibérica desde o início da década de 30, dedicou-se à programação de repertório português para tecla por toda a Europa, desenvolvendo uma longa carreira como intérprete. Kastner foi, ao longo dessa década, o primeiro a interpretar Carlos Seixas em Sofia, Amesterdão e Helsínquia, também o primeiro a publicar uma colecção de peças portuguesas para tecla – Cravistas Portuguezes (1935) – e pioneiro na introdução do clavicórdio na interpretação desse repertório de acordo com a sua visão da prática instrumental historicamente informada. Existe um grande número de fontes por explorar (programas de concertos, recensões de concertos, correspondência com o seu mentor Joan Gibert Camins, o seu currículo pessoal e brochuras promocionais), preservadas na Biblioteca Nacional de Portugal e na Biblioteca de Catalunya, entre as quais se podem encontrar documentos relativos ao início da sua carreira. Pretende-se neste artigo analisar a actividade de Kastner na década de 30 na promoção da música portuguesa por toda a Europa, com particular ênfase nas estratégias de configuração dos programas – tanto do repertório, como da abordagem organológica – de forma a criar um nicho para a expansão no mercado da música antiga. -
Historical Performance Practice of the Prélude
HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE Ariana Jane Odermatt Australian National University A thesis submitted for the partial fulfilment of the requirements of the degree of Master of Philosophy, School of Music, The Australian National University. © Copyright by Ariana Jane Odermatt 2018 All Rights Reserved 1 Unless otherwise acknowledged in the text, this thesis represents the original research of the author SIGNED: ........................................... DATE: ............................................... 2 HISTORICAL PERFORMANCE PRACTICE OF THE PRÉLUDE NON MESURÉ AND ITS RELATIONSHIP TO RECORDING AND PERFORMANCE ABSTRACT ‘A Prelude is a free composition, in which the imagination gives rein to any fancy that may present itself’ (François Couperin: L'art de toucher Le Clavecin, 1716)1 The enigmatic prélude non mesuré was a short-lived genre characterised by rhythmically free croches blanches (‘flagged white notes’, rather than white quavers)2 and sweeping lines and slurs that were generally notated without specific reference to rhythm or metre. Some of the lines appear to bind the tones into harmonic groups and to articulate cadential and rhythmic units, but the inherent freedom encoded in the notation presents a broad, complex interpretive scope to present-day performers. Given composers' scant written and notational indications as to how they intended the works to be performed, this research seeks to address ways of interpreting the genre in an informed historical sense, whilst surveying current performing practices within Louis Couperin’s Prélude non mesuré in D minor to inform the author’s own performance. Extant préludes non mesurés are contained within two manuscript sources (Parville and Bauyn), while commentary addressing performance interpretation of the notation is limited to three source documents specifically referencing the prélude non mesuré: Nicolas Lebègue’s preface to his Pièces de clavessin (1677), correspondence between Lebègue and an Englishman called Mr. -
The Age of Indulgence
Miller Theatre at Columbia University 2012-13 | 24th Season Early Music The Age of Indulgence Les Délices Saturday, April 6, 8:00 p.m. Miller Theatre at Columbia University 2012-13 | 24th Season Early Music The Age of Indulgence Les Délices Debra Nagy, baroque oboe and direction Julie Andrijeski, violin and viola Scott Metcalfe, violin Emily Walhout, viola da gamba Michael Sponseller, harpsichord Saturday, April 6, 8:00 p.m. Sinfonia 6 François-André Philidor (1726-1795) from l’Art de la modulation (1755) Adagio Allegro ma non troppo Aria tempo di minuetto Concert no. 3 Jean-Philippe Rameau (1683-1764) from Pièces de clavecin en concert La Lapoplinière La Timide Tambourins Sonata Prima Jean-Joseph Cassanea de Mondonville (1711-1772) from Sonates en symphonie Overtura Aria Gigha INTERMISSION Miller Theatre at Columbia University 2012-13 | 24th Season Sinfonia 1 Philidor from l’Art de la modulation Con spirito L’arte della fuga Pastorella Gavotta Les Graces Jacques Duphly (1715-1789) Michael Sponseller, harpsichord 2eme Concert de Simphonies (Op. 3, no. 2) Antoine Dauvergne (1713-1797) Ouverture Minuetto Rondo Chaconne This performance runs approximately one and a half hours, including intermission. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers before the performance begins. Large print programs are available upon request. For more information or to arrange accommodations, please call 212-854-7799. About the Program Among the most famous images from the French Rococo, Jean-Honoré Fragonard’s The Swing perfectly captures the spirit of this in-between era. -
Davitt Moroney, Harpsichord 14
CAL PERFORMANCES PRESENTS PROGRAM A Saturday, October 24, 2009, 8pm Hertz Hall 13. Prelude and Fugue in F-sharp major, bwv 858 Davitt Moroney, harpsichord 14. Prelude and Fugue in F-sharp minor, bwv 859 harpsichord by John Phillips (Berkeley, 1995), 15. Prelude and Fugue in G major, bwv 860 after the historical instrument in the Musée instrumental, Citée de la Musique, Paris, 16. Prelude and Fugue in G minor, bwv 861 built by Andreas Ruckers (Antwerp, 1646), rebuilt by François-Étienne Blanchet (Paris, 1756) and Pascal Taskin (Paris, 1780) 17. Prelude and Fugue in A-flat major, bwv 862 18. Prelude and Fugue in G-sharp minor, bwv 863 19. Prelude and Fugue in A major, bwv 864 20. Prelude and Fugue in A minor, bwv 865 PROGRAM 21. Prelude and Fugue in B-flat major,bwv 866 22. Prelude and Fugue in B-flat minor,bwv 867 Johann Sebastian Bach (1685–1750) 23. Prelude and Fugue in B major, bwv 868 24. Prelude and Fugue in B minor, bwv 869 Das Wolhtemperirte Clavier (“The Well-Tempered Clavier”), bwv 846–893 Book 1 (1722) Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. 1. Prelude and Fugue in C major, bwv 846 2. Prelude and Fugue in C minor, bwv 847 3. Prelude and Fugue in C-sharp major, bwv 848 4. Prelude and Fugue in C-sharp minor, bwv 849 5. Prelude and Fugue in D major, bwv 850 6. Prelude and Fugue in D minor, bwv 851 Sightlines 7. Prelude and Fugue in E-flat major,bwv 852 8.