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Bach Cantatas Piano Transcriptions
Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR. -
1 FLUTE MUSIC THROUGHOUT the YEARS by Katerina Koloustroubis A
FLUTE MUSIC THROUGHOUT THE YEARS by Katerina Koloustroubis A Senior Honors Project Presented to the Honors College East Carolina University In Partial Fulfillment of the Requirements for Graduation with Honors by Katerina Koloustroubis Greenville, NC May, 2018 Approved by: Dr. Christine Gustafson College of Fine Arts & Communication, School of Music, Instrumental Studies 1 Introduction To fulfill the Senior Honors Project requirements, I have chosen to partake in a senior recital performance of flute works from a range of eras, genres, and styles. As I began my musical journey at the mere age of three, music has played a vital role in shaping my cognitive and emotional status. Not only did piano and ultimately flute studies enhance my overall academic performance through nurturing a hierarchical understanding of notated rhythmic sequences (“Music and Spatial Task Performance” 611), but was a personal means of emotional expression. Thus, for my Senior Honors Project, I have decided to share this passion with an audience through performing a compilation of flute repertoire from a wide range of styles. Not only will this signify a milestone in my 18 years of musical studies, but will provide an enjoyable, emotional experience for the audience members. After all, sharing the soul of a work is the foremost purpose of creating music. This Senior Capstone performance will require me to access my toolbox of skills accumulated through countless lessons, rehearsals, master classes, auditions, competitions, and performances. Not only will this apply to the actual production of flute music, but also performance practices such as etiquette, stage presence, and wearing proper attire. -
The Significance of Vladimir Tsybin and His
THE RUSSIAN TAFFANEL: THE SIGNIFICANCE OF VLADIMIR TSYBIN AND HIS CONCERT ALLEGRO NO. 3 Inna Staneva, B.M., M.M Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2014 APPROVED: Dennis Fisher, Major Professor Warren Henry, Committee Member Terri Sundberg, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music Richard Sparks, Chair of the Department of Conducting and Ensembles James Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Staneva, Inna. The Russian Taffanel: The Significance of Vladimir Tsybin and His Concert Allegro No. 3. Doctor of Musical Arts (Performance), December 2014, 54 pp., 10 musical examples, references, 130 titles. The purpose of this critical essay is to introduce Vladimir Nikolaevich Tsybin to English-speaking readers and flutists, specifically to demonstrate how his Russian identity informed his career, affected his posthumous legacy, and influenced his compositions. The essay is divided into three parts: an outline of his career, a discussion of the pedagogical lineage and techniques he founded, and an analysis of "Russian" elements in one exemplary composition for solo flute, his Concert Allegro No. 3. Copyright 2014 by Inna Staneva ii TABLE OF CONTENTS Page LIST OF MUSICAL EXAMPLES ........................................................................................... iv CHAPTER 1 INTRODUCTION ............................................................................................... 1 Purpose -
Franck Saint-Saëns Widor Duruflé
FRENCH WORKS F O R FLUTE FRANCK SAINT-SAËNS WIDOR DURUFLÉ ADAM WALKER FLUTE TIMOTHY RIDOUT VIOLA JAMES BAILLIEU PIANO Charles-Marie Widor, c. 1875 c. Charles-Marie Widor, Anonymous portrait, now in a private collection / Heritage Images / Fine Art Images / AKG Images, London Camille Saint-Saëns (1835 – 1921) 1 Romance, Op. 37 (1871) 6:50 in D flat major • in Des-Dur • en ré bémol majeur for Flute and Piano Moderato assai César Franck (1822 – 1890) Sonata, M 8 (1886) 28:57 in A major • in A-Dur • en la majeur for Piano and Violin Edited for Piano and Flute by Jean-Pierre Rampal 2 I Allegretto ben moderato 6:24 3 II Allegro – Quasi lento – Tempo I (Allegro) – Poco più lento 8:21 4 III Recitativo-Fantasia Recitativo. Ben moderato – Molto lento – Poco animato – Fantasia. A tempo moderato – Largamente – Recitativo. Molto lento e mesto 7:33 5 IV Allegretto poco mosso 6:38 3 Camille Saint-Saëns Airs de ballet d’Ascanio (1887 – 88) 4:09 in F major / A major • in F-Dur / A-Dur • en fa majeur / la majeur Adagio et Variation pour la flûte [avec piano] (Adagio and Variation for Flute [with piano]) from the Opera Ascanio 6 Poco adagio – Espressivo – Molto espressivo – 2:32 7 Andantino 1:36 Charles-Marie Widor (1844 – 1937) Suite, Op. 34 (1877) 18:22 in C minor • in c-Moll • en ut mineur for Flute and Piano À Paul Taffanel 8 I Moderato – Vivo – Tempo I – Vivo 4:16 9 II Scherzo. Allegro vivace 2:53 10 III Romance. -
L'age D'or of the Chamber Wind Ensemble
L’Age d’or of the Chamber Wind Ensemble 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 Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree. -
FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen Mclaughlin Large Kansas State University
FLUTE/PICCOLO SOLO REPERTOIRE LIST Dr. Karen McLaughlin Large Kansas State University Baroque (Barenreiter or Amadeus editions preferred): Johann Sebastian Bach Partita in A minor (unaccompanied) Johann Sebastian Bach Sonatas in B minor, E-flat Major, A Major, C Major, E minor, E Major Johann Sebastian Bach Suite in B minor Carl Philipp Emanuel Bach Concerto in D minor Carl Philipp Emanuel Bach Hamburg Sonata in G Carl Philipp Emanuel Bach Solo Sonata in A minor (unaccompanied) Carl Philipp Emanuel Bach Sonatas in A minor, E major, D major Michel Blavet Sonatas Francois Couperin Concert Royal No. 4 Georg Friedrich Handel Sonatas Jean-Marie Leclair Sonata in G Op. 9, No. 7 Jean-Marie Leclair Concerto in C Op. 7, No. 3 Pietro Antonio Locatelli Sonata in F Marin Marais Les Folies d’Espagne for solo flute (unaccompanied) Giovanni Battista Pergolesi Concerto in G Johann Joachim Quantz Concerto in G Georg Philipp Telemann 12 Fantasies (unaccompanied) Georg Philipp Telemann Sonata in F Major for Piccolo Antonio Vivaldi Concerto in G minor, “La Notte” Antonio Vivaldi Piccolo Concertos in C Major, RV 443, 444, and A minor 445 Classical: Ludwig van Beethoven Serenade in D Major Franz Joseph Haydn Concerto in D Major Johann Nepomuk Hummel Concerto in D Major Friedrich Kuhlau Grand Solo no. 1 op. 57 Friedrich Kuhlau Variations on “Last Rose of Summer” Wolfgang Amadeus Mozart Andante in C and Rondo in D Wolfgang Amadeus Mozart Concerto in G Wolfgang Amadeus Mozart Concerto in D Wolfgang Amadeus Mozart Concerto in C with Harp Carl Stamitz Concerto -
Public Events March 2019
Public Events March 2019 Subscribe to this publication by emailing Shayla Butler at [email protected] Table of Contents Overview Highlighted Events ................................................................................................. 3 Youth Summer Camps ........................................................................................... 5 Neighborhood and Community Relations 1800 Sherman, Suite 7-100 Northwestern Events Evanston, IL 60208 Arts www.northwestern.edu/communityrelations Music Performances ..................................................................................... 15 Theater .......................................................................................................... 21 Exhibits and Art Discussions ...................................................................... 22 Dave Davis Film Screenings ............................................................................................23 Executive Director [email protected] Living 847-491-8434 Leisure and Social ......................................................................................... 25 Norris Mini Courses Around Campus ARTica (art studio) To receive this publication electronically Norris Outdoors every month, please email Shayla Butler at Northwestern Music Academy [email protected] Religious Services ........................................................................................ 28 Sports, Health, and Wellness Northwestern Wildcat Athletics ................................................................. -
FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul
SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VII. ODSJEK LUCIJA STILINOVIĆ FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul Taffanel: „Der Freischütz“ i fantazija „Mignon“ DIPLOMSKI RAD ZAGREB, 2018. SVEUČILIŠTE U ZAGREBU MUZIČKA AKADEMIJA VII. ODSJEK FRANCUSKI FLAUTISTI NADAHNUTI OPEROM Claude-Paul Taffanel: „Der Freischütz“ i fantazija „Mignon“ DIPLOMSKI RAD Mentorica: prof. art. Marina Novak Studentica: Lucija Stilinović Ak.god. 2017./2018. ZAGREB, 2018. DIPLOMSKI RAD ODOBRIO MENTOR prof. art. Marina Novak _________________________ Potpis U Zagrebu, ___________ Diplomski rad obranjen ________ ocjenom __________ POVJERENSTVO: 1. ____________________ 2. ____________________ 3. ____________________ Napomena: Papirnata kopija rada dostavljena je za pohranu knjižnici Muzičke akademije. Sadržaj Sažetak 1. Uvod ................................................................................................................................................ 1 2. Francuska škola flaute ..................................................................................................................... 2 2.1. Claude-Paul Taffanel i njegovi učenici .................................................................................... 2 3. Skladbe inspirirane operama ............................................................................................................. 7 3.1. Opera Mignon Ambroisea Thomasa ....................................................................................... 7 3.2. Claude-Paul Taffanel: Fantazija Mignon ................................................................................ -
The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach
Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-15-2010 The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach Marva J. Watson Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Watson, Marva J., "The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach" (2010). Theses. Paper 157. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH by Marva Jean Watson B.M., Southern Illinois University, 1980 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2010 THESIS APPROVAL THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH By Marva Jean Watson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History and Literature Approved by: Dr. Melissa Mackey, Chair Dr. Pamela Stover Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2010 AN ABSTRACT OF THE THESIS OF MARVA JEAN WATSON, for the Master of Music degree in Music History and Literature, presented on 2 April 2010, at Southern Illinois University Carbondale. TITLE: THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH MAJOR PROFESSOR: Dr. -
Sarah Jackson
January 2017 Sarah Jackson: Using the Breath Interview by Mindy Kaufman Sarah Jackson grew up in Canada and has been a professional orchestral musi- cian since the early 1990s, when she joined the flute section of the Vancouver Symphony. She has been piccoloist with the Los Angeles Philharmonic for the past 13 years. We had met once during the intermission of a New York Phil- harmonic concert in LA in which the Tchaikovsky Fourth Symphony (with me on piccolo) was on the second half. This interview was done by email during October and November. MINDY KAUFMAN: Let’s start out with your first job, as second flute and later as assistant principal flute and piccolo with the Vancouver Symphony. When and why did you switch over to the piccolo, and how was the transition? SARAH JACKSON: My first professional job was as second flute with the Van- couver Symphony. I was doing postgraduate work at McGill University when I took the audition. I thought, “On one hand a job, and, on the other hand, a degree to get a job.” I took the job. I love playing second flute! I think you have to be even more flexible and intuitive than for principal flute. On second, you can be playing many different roles, or wearing dif- ferent hats as I like to call it, all within one phrase. You have to play one way when you are in unison with the first, soloistic when your line becomes more prominent, and quick on the draw if the principal decides to move the line one way or another. -
Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019. -
A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K. Phillips Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PERFORMANCE GUIDE TO THE MUSIC FOR FLUTE AND PIANO BY PHILIPPE GAUBERT By TAMMARA K. PHILLIPS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 The members of the Committee approve the treatise of Tammara K. Phillips defended on October 16, 2006. __________________________________________ Eric Ohlsson Professor Directing Treatise __________________________________________ Patrick Dunnigan Outside Committee Member __________________________________________ Eva Amsler Committee Member __________________________________________ Deborah Bish Committee Member __________________________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This treatise is dedicated to my father. iii ACKNOWLEDGEMENTS I gratefully acknowledge my treatise advisor, Dr. Eric Ohlsson, for his generous help in editing and completing this project. I would also like to thank the members of my committee: Professor Eva Amsler, Professor Deborah Bish, Dr. Patrick Dunnigan, and Dr. Frank Kowalsky. My thanks and appreciation to all my committee members for being so flexible and accommodating with their time, and allowing me to complete this project in such a short amount of time. For the indispensable advice and support of my flute professor, Eva Amsler, I am deeply appreciative. I am especially indebted to my family.