The Violone Grosso and Violone of Bach's Brandenburg Concertos. In

Total Page:16

File Type:pdf, Size:1020Kb

The Violone Grosso and Violone of Bach's Brandenburg Concertos. In The violone grosso and violone of Bach’s Brandenburg Concertos. In 1721 Johann Sebastian Bach presented a score of six concertos to the Margrave of Brandenburg. Bach was working in Cöthen at this time, a Calvinist town where instrumental music was not performed in church, writing instrumental music and solo cantatas at the court of Prince Leopold of Anhält-Cöthen. Some discussions of these “Brandenburg” concertos have examined the “violone” part as if it were a double bass part and speculated on the tuning of the instrument for which this compass was specific. As recently as 1993, at the time of the New London Consort recording of the Brandenburg Concertos, I was still a refusenik as far as the so called 8ft violone was concerned. Notwithstanding the excellent work that Laurence Dreyfuss had done, published in “Bach’s Continuo Group” 1987, and which I was aware of, I insisted that a large contrabasso type instrument was the right string bass to use. Since that recording Mr. Dreyfuss’ book has looked down at me from the shelf above my desk giving rise to nagging doubts that question long held opinions. Covering old ground again, in preparation for a talk on the many meanings of the word violone to the Viola da Gamba Society of Great Britain in 2003, those opinions changed as I began to interpret the evidence anew. The compass of the bass part over all 6 concertos is Bb to f’ sharp at notated pitch. Only concertos 2, 4 and 5 have a stave dedicated to the violone, always the lowest string stave sitting just above the cembalo. Concerto 2 has a range of C to e’, concerto 4 D to f’ and concerto 5 D to f’ sharp. What instrument or instruments did Bach have in mind and was it his intention that the bass line transposed be down an octave? Two other books have transformed my view of the performing practise of concerted (and liturgical) music in the 17th and 18th century. The first was Andrew Parrot’s “Essential Bach Choir”, a book inspired by Joshua Rifkin’s ground breaking paper delivered in Boston, 1981 on the subject of the proven performing resources that Bach had at his disposal at Leipzig. This paper broke with the tradition of performing Bach’s choral works with multiple performers on each part, showing that vocal concertists sang each chorus part alone, with occasional support from a second set of single singers, called ripienists, in clearly designated sections (from seperate sets of parts only including the music the ripienists are called upon to sing). The careful analysis of the performers available to Bach in Leipzig and the distribution of those forces across the five churches he was responsible for (the Nikolaikirche, Thomaskirche, Petrikirche, Neue Kirche and Johanniskirche), and a close look at the surviving performance parts reinforce an argument that is impossible to refute, though many remain unhappy with the conclusions. The second of these two revelatory books, Richard Maunder’s “The Scoring of the Baroque Concerto” published in 2004, shows a very clear tradition of one to a part performance of “concertos” until 1740 that Maunder backs up by detailed analysis of published part sets and original performing material, and an insistence on a literal interpretation of the indicated instrumentation. Some early concertos do not follow the model of a soloist set against a group that Vivaldi developed. They may, on occasion, have been performed by larger forces: this possibility would be indicated by the composer. These two studies also show that ‘solo’ and ‘tutti’ markings in published and manuscript parts are an indicator to the performer that his part is more or less exposed and not an instruction to putative desk partners to be silent or rejoin. The information in the part was all that was available to the musician. In his introduction Maunder is very clear that a score’s “chief function was as a blueprint for the copyist of parts and, except in the opera-house, they were not normally used in performance; nor were they published except on the rarest of occasions.” [Maunder Op. cit. p7] Parrot/Rifkin and Maunder point out that sharing parts as we do today was not common practise in the 17th and early 18th centuries. Reading hand written parts by candlelight could not have been easy work, particularly in an age before modern spectacles. If the Brandenburg concertos were originally intended for one performer to a part, playing the violone part on a large bass viol began to seem much more credible, further undermining my previously entrenched position. [On several occasions the double bass player and iconic early music pioneer, Francis Baines reminisced to me that as a young player, every double bassist was given his own stand and part. Maybe it was a gentle hint that I was hogging the stand. Francis was born in 1917 and passed away in 1999. I’m guessing that he was playing professionally by the late 1930s.] In Bologna, where the first concertos were published in 1685, seperate parts for violoncello and violone are often included. Stephen Bonta’s papers “From violone to violoncello: a question of strings”, 1977 and “Terminology for the bass violin in the 17th century” 1979 have shown that in Italy, at least by the end of the 17th century, “violone” indicated a large bass violin that may have been tuned the same as the new smaller violoncello. The top a string could be tuned to g as the long string length might make an a one step too far. It could also be tuned as the French did, a whole tone lower, Bb f c g. There is an alternate example of 2 sizes of instrument, identically tuned: larger and smaller sizes of viola existed in the 17th century. A bigger bodied instrument took the lower of the inner parts, a smaller the higher. In Rome and Venice the 2nd bass part is figured and appears to be intended for a chordal instrument, most usually the cembalo. There is no evidence of a second string bass instrument as in the Bolognese manner. In all three places any suggestion to double the parts is always specified. Valentini (in Rome) is alone in using the term contrabasso. In the concertos of the Venetian Tomaso Albinoni an uncomfortable 2 octave gap occurs at certain points between violoncello and contrabass if the lower part is played at 16ft. In Maunder’s analysis, that 2nd bass line is taken only by the cembalo. There is only one octave seperating the 2 bass lines at those points and on the whole they are in unison, although the result is a sparser texture than we are used to nowadays. Guiseppe Tartini’s words to Francesco Algaratti at the Berlin court in a letter dated 24th February 1750 come to mind: “these little sonatas of mine are provided with a bass for the sake of tradition. I play them without the bassetto and that is my true intention” [“Le piccole sonate mie a violino solo hanno il basso per cerimonia; particolarita che non le scrissi. Io suono senza bassetto e questa e la mia vera intenzione”]. That is also a sparse texture. [Strangely, there is one collection of concertos that Maunder does not neccessarily exclude the contrabasso from, even though a reading of the evidence he presents in his book, as it appears to me, does not seem to justify an exemption. For reasons of over familiarity, it is the one piece that we all might care to be excused from: Vivaldi’s Four Seasons]. These are Italian examples but like other Italian practises, the concerto spread and became fashionable north of the Alps in short order. Maunder identifies the 12 concertos of Georg Muffat’s “Auserlesener mit Ernst- und Lust-gemeggter Instrumental-Music”, Passau 1701 as the first published in Germany. Muffat says they were written in the 1680s, some of them during a visit to Rome in 1682. In the preface, he is careful to describe, in some detail, how to double the instrumental parts if needed. It’s certain that Bach was aware of at least Vivaldi’s opus 3 and 4 concertos because he transcribed some of them. Bach may not have had much chance to work with a low doubling string bass until he moved to Leipzig as the musical establishments of the appointments he held before 1723 may not have included a large bass. Dreyfuss [Op. cit p153] has discovered one date when Bach it seems did have a contrabass at his disposal. For a performance at Weissenfels of Cantata 208 on February 23rd, 1713 (while he was working at Weimar), the lowest stave is labelled Cont. e violono grosso for the 11th and 15th movements. In other Mülhausen and Weimar cantatas the violone part is occasionally written an octave lower than the cello (in autograph parts), a clear indication that the violone was not transposing the part to a lower octave. This could be the model for the Brandenburg concertos 2-5: 2 string basses in unison one or the other dropping an octave to reinforce the texture for some measures. If Bach thought that a violone grosso was available to the Margrave, it must have seemed an exciting addition to the manuscript score for the largest of the concertos to give it a grandeur and majesty quite different from the others in the set. He was certainly interested in new musical innovations: late in life he suggested improvements to the forte piano to its maker Silberman and become an agent for their sale.
Recommended publications
  • A Note About the 'Baroque Double Bass' for Composers Working With
    A note about the 3baroque double bass4 for composers working with period instruments. For a variety of reasons, performers may present composers writing new music for period instruments with tunings some way removed from the likely historical options. Having sought advice from, or written for, a specific player, a composer may find that the part she/he has written does not transfer well to another performance with different personnel. Not all performers in period instrument ensembles are necessarily historical specialists; gut strings replacing metal on otherwise modern style instruments is not unknown. String bass instruments larger than modern violoncello size divide into 4 main categories: A. instruments of very great size [around 8)/244cm tall+ with limited technical possibilities used in a small geographical area in the early 17th century. B. /or 01 string viols larger than modern cello size that survived well into the 18th century, capable of playing unsimpli#ed bass lines at sounding pitch. C. 4 string instruments similar in size to B, more likely to be favoured where strong preference for violin family instruments prevailed. D. double basses around .)/182cm tall coming late to the party in the last quarter of the 17th century, with limited downward range and a variety of tuning possibilities; capable of more technical playing than group A but still well documented as simplifying the basso line in performance. A 2 D are octave transposing instruments like the modern double bass /31.) pitch4). B 2 C play at pitch /38) pitch41 and are smaller in size that instruments in category D. B instruments have sometimes been supposed to be octave transposing because of a bottom string /not always present1 lower than C2.
    [Show full text]
  • 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.
    [Show full text]
  • THEATRE VOICES PEDAL • 32 Contra Violone • 16 Ophicleide • 16
    THEATRE VOICES CLASSICAL VOICES GREAT PEDAL • 16 English Post Horn French Trompette • 32 Contra Violone Contra Violone • 16 Brass Trumpet (ten c) Trompete • 16 Ophicleide Posaune • 16 Bombarde Tromba • 16 Diaphone Diapason • 16 Diaphone Diapason • 16 Violone Violone • 16 Solo Tibia Clausa (ten c) Bourdon • 16 Bourdon Bourdon • 16 Tibia Clausa (ten c) Gedackt • 8 English Post Horn French Trompette • 16 Clarinet Cromorne • 8 Trumpet Tromba • 16 Krumet (ten c) Krumet • 8 Open Diapason Octave • 16 Orchestral Oboe (ten c) Basson • 8 Solo Tibia Clausa Gedackt • 16 Saxophone (ten c) English Horn • 8 Tibia Clausa (Pizz.) • 16 Violins 3 Rks (ten c) Violas III • 8 Clarinet Cromorne • 16 Vox Humana (ten c) Vox Humana • 8 Flute Harmonic Flute • 8 English Post Horn French Trompette • 16 Piano Choralbass 4 • 8 Brass Trumpet Trompete • 8 Piano Mixture III • 8 Tuba Mirabilis Tromba • Accomp to Pedal • 8 Trumpet Trumpet • Bass Drum Great to Pedal • 8 Open Diapason Principal • Tap Cymbal (Brush) • 8 Solo Tibia Clausa Bourdon • 8 Tibia Clausa Gedackt ACCOMP • 8 Clarinet Cromorne • 8 English Post Horn French Trompette • 8 Krumet Krumet • 8 Brass Trumpet Trompete • 8 Orchestral Oboe Hautbois • 8 Tuba Mirabilis Tromba • 8 Saxophone English Horn • 8 Trumpet Trumpet • 8 Violins 3 Rks Violas III • 8 Open Diapason Principal • 8 Quintadena Quintadena • 8 Tibia Clausa (m) Gedackt • 8 Concert Flute Harmonic Flute • 8 Clarinet Cromorne • 8 Vox Humana Vox Humana • 8 Violins 3 rks Violas III • 5-1/3 Fifth (Tibia) Quintflöte • 8 Oboe Horn Oboe Horn • 4 Octave Octave •
    [Show full text]
  • Catgut Acoustical Society Journal
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • T. Koopman & Amsterdam Baroque Orchestra & Choir
    _crar ~cr- :xxh :2- -5: =-:.-:: 7' .ocr _o(ob -e __- ::Si2"a::-:cc--~ ,,::" JC' fC :::e;:: .--,: 2 Johann Sebastian BACH(1685-1750) COMPLETE CANTATAS/L'INTEGRALE DES CANTATES DAS KANTATENWERK . VOLUME 3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHYON MAGNUS, soprano If, alto ANDREASSCHOU,alto(BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN 3 2 JohannSebastianBACH(1685-1750) COMPLETECANTATAS/L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHVON MAGNUS,sopranoII, alto ANDREASSCHOU,alto (BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THEAMSTERDAMBAROQUEORCHESTRA& CHOIR TON KOOPMAN 3 COMPACTDISC1 70'13 P~/ 5eite "Christen, iitzet diesen Tag" BWV 63 28'20 Feria 1 Nativitatis Christi For the 1st day. of Christmas/Pour Ie I~ jour de Noel/Erster Weihnachtstag Text: Anon., Johann Michael Heineccios (?). 171.8 Ruth Holton, soprano [I] Chorale (Chorus): "Christen, otzel diesen Ta~" £148 [43] Violins, Violas, Cel/o, Double bass, Oboes, Trumpets, Timpani, Bassoon, Organ W Recitative(Altol:"a seiger Tag! 0 ungemeines Heute" -< " [43J Violins, Violas, Cel/o, Double -bass, Organ OJ Duel (Soprano, Bassi: "Gott. du hast es wohl gefuget" v [45] Oboe, Cel/o, Organ ""':::,' m Recitative (Tenor): "So kehret sich nun heut das bange leid" [45] Cel/a, Organ []] Duet (Alto, Tenorl: "Run und flehl den Himmel an" [45] Violins, Violas, Cel/i, Double bass, Organ W Recitative(Bass): "Verdoppelt euch demnach" [45] Violins, Violas, Cel/i, Double bass, Oboes, Bassoon, Organ [[] Chorale (Chorus): "HOchsler,schau in Gnaden an" [47] Violins, Violas, Cel/i, Double bass, Oboes, Trumpets,Timpani Bossoor C>-F "Ach, ich sehe, ilzt, do ich zur Hachzeit gehe" BWV 162 16"22 Dominica 20 post Trinitatis For the 20th Sunday aner Trinity/Pour Ie 20' Dimanche ap<es Ie ~""" e.
    [Show full text]
  • THEATRE VOICES CLASSICAL VOICES PEDAL • 32 Contra
    THEATRE VOICES CLASSICAL VOICES • Alternate Traps PEDAL • Traps to 2nd T • 32 Contra Violone Contra Violone • GeniSys Voice 3 • 16 Ophicleide Posaune • GeniSys Voice 4 • 16 Diaphone Diapason • 16 Violone Violone GREAT • 16 Bourdon Bourdon • 16 English Post Horn French Trompette • 8 English Post Horn French Trompette • 16 Brass Trumpet (ten c) Trompete • 8 Trumpet Tromba • 16 Bombarde Tromba • 8 Open Diapason Octave • 16 Diaphone Diapason • 8 Solo Tibia Clausa • 16 Solo Tibia Clausa (ten c) Bourdon • 8 Tibia Clausa (Pizz.) Gedackt • 16 Tibia Clausa (ten c) Gedackt • 8 Clarinet Cromorne • 16 Clarinet Cromorne • 8 Flute Harmonic Flute • 16 Krumet (ten c) Krumet • 16 Piano Choralbass 4 • 16 Orchestral Oboe (ten c) Basson • 8 Piano Mixture III • 16 Saxophone (ten c) English Horn • Accomp to Pedal • 16 Violins 3 Rks (ten c) Violas III • Bass Drum Great to Pedal • 16 Vox Humana (ten c) Vox Humana • Tap Cymbal (Brush) • 8 English Post Horn French Trompette • GeniSys Voice 1 • 8 Brass Trumpet Trompete • GeniSys Voice 2 • 8 Tuba Mirabilis Tromba • 8 Trumpet Trumpet ACCOMP • 8 Open Diapason Principal • 8 English Post Horn French Trompette • 8 Solo Tibia Clausa Bourdon • 8 Brass Trumpet Trompete • 8 Tibia Clausa Gedackt • 8 Tuba Mirabilis Tromba • 8 Clarinet Cromorne • 8 Trumpet Trumpet • 8 Krumet Krumet • 8 Open Diapason Principal • 8 Orchestral Oboe Hautbois • 8 Tibia Clausa (m) Gedackt • 8 Saxophone English Horn • 8 Clarinet Cromorne • 8 Violins 3 Rks Violas III • 8 Violins 3 rks Violas III • 8 Quintadena Quintadena • 8 Oboe Horn Oboe Horn • 8
    [Show full text]
  • Great Organ-Great Artists
    THE GREAT ORGAN GREAT SOLO 16 Montre 61 pipes (unenclosed) 16 Quintaten 61 pipes 8 Tuba Major 61 pipes 8 Principal 61 pipes 4 Tuba Clarion 73 pipes-double trebles 8 Diapason 79 pipes- double trebles 8 Viola 61 pipes CHOIR 8 Hohl Flöte 61 pipes 16 Sanftbass 73 pipes 8 Holz Gedeckt 61 pipes 8 Viola Pomposa 73 pipes 8 Erzähler 61 pipes 8 Viola Celeste 73 pipes 8 Quintaten 12 pipes 8 Dulcet II 146 pipes 5 1/3 Quinte 61 pipes 8 Dolcan 73 pipes 4 Principal 85 pipes-double trebles 8 Dolcan Celeste 61 pipes 4 Octave 85 pipes-double trebles 8 Concert Flute 73 pipes 4 Spitzflöte 61 pipes 8 Nason Flute 73 pipes 4 Flute Couverte 61 pipes 4 Principal 73 pipes 3 1/5 Grosse Tierce 61 pipes 4 Koppelflöte 61 pipes 2 2/3 Twelfth 61 pipes 2 2/3 Rohr Nasat 61 pipes 2 Doublette 85 pipes-double trebles 2 Blockflöte 61 pipes 2 Fifteenth 61 pipes 1 3/5 Terz 61 pipes Sesquialtera II 122 pipes 11/3 Larigot 61 pipes Kleine Mixtur IV 244 pipes 1 Sifflöte 61 pipes Grande Fourniture V–VIII 368 pipes Grave Mixtur III 183 pipes Plein Jeu III–V 294 pipes Zimbel III 183 pipes Cymbel III 183 pipes 16 English Horn 73 pipes 16 Fagot 61 pipes 8 Cromorne 73 pipes 8 Clarinet 73 pipes SWELL 4 Trompete 73 pipes 16 Contra Gamba 73 pipes Tremulant 16 Bourdon 73 pipes 8 Tuba Major (Solo) 8 Geigen Prinzipal 73 pipes 4 Tuba Clarion (Solo) 8 Viole de Gambe 73 pipes 8 Viole Celeste 73 pipes PEDAL 8 Salicional 73 pipes 32 Open Bass 12 pipes 8 Voix Celeste 73 pipes 32 Contre Violone 12 pipes 8 Unda Maris II 136 pipes 16 Contre Basse 32 pipes 8 Flauto Dolce 73 pipes 16 Open Bass 32 pipes
    [Show full text]
  • FINAL TONAL SPECIFICATION GREAT ORGAN 13 Ranks Enclosed
    FINAL TONAL SPECIFICATION THE EPISCOPAL CHURCH OF SAINTS ANDREW AND MATTHEW WILMINGTON, DELAWARE 28 May 2015 GREAT ORGAN 13 ranks Enclosed Violone 16' 73 pipes Vintage Diapason 8' 49 pipes New, 1-12 from Pedal 16' Diapason Hohl Flute 8' 61 pipes Vintage Gedeckt 8' 61 notes from Swell Violoncello 8' 61 notes Extension Octave 4' 61 pipes New Stopped Flute 4' 61 pipes Vintage Super Octave 2' 61 pipes New Mixture III-IV 1 1/3' 232 pipes New Contra Oboe 16' 61 notes From Swell Trumpet 8' 73 pipes 1-12 existing; remainder new Clarinet 8' 61 pipes New Clarion 4' 61 notes Extension Harmonic Trumpet AA 8' 47 pipes Located in Gallery (Does not couple) AA-high G Tremolo Antiphonal on Great 8' Great to Great 16' Great Unison Off Great to Great 4' MIDI on Great SWELL ORGAN 12 ranks Gedeckt 16' 73 pipes Vintage Geigen Diapason 8' 61 pipes 1-12 Vintage, 13-61 existing Great Diapason revoiced Gedeckt 8' 61 notes Extension Viola 8' 61 pipes Existing Salicional revoiced Viola Celeste TC 8' 49 pipes Existing Voix Celeste revoiced Octave 4' 61 pipes New Harmonic Flute 4' 61 pipes Vintage Fifteenth 2' 61 notes 2' Component from Mixture IV Mixture III-IV 2' 232 pipes New Contra Oboe 16' 73 pipes New Trumpet 8' 73 pipes New Oboe 8' 61 notes Extension Clarion 4' 61 notes Extension Tremolo Antiphonal on Swell 8' Swell to Swell 16' Swell Unison Off Swell to Swell 4' MIDI on Swell The Episcopal Church of Saints Andrew and Matthew Wilmington, Delaware Final Tonal Specification Page 2 of 4 CHOIR ORGAN 9 ranks Enclosed Dulciana 16' 73 pipes Vintage Chimney Flute 8'
    [Show full text]
  • Paul Hindemith Works for Viola D’Amore Gunter Teuffel 02 Die Viola D’Amore Und Paul Hindemith 03
    Paul Hindemith Works for Viola d’amore Gunter Teuffel 02 Die Viola d’amore und Paul Hindemith 03 Heinrich IGNAZ Franz Biber Paul Hindemith (1895 – 1963) „Ich habe einen neuen Sport, ich spiele Viola Musik hat Hindemith auch in seinen späteren Jah- (1644 – 1704) d’amour, ein ganz herrliches Instrument, das ganz ren begleitet. Im amerikanischen Exil unterrichtet Kleine Sonate für Viola d’amore verschollen ist, und für das nur eine ganz kleine er in Yale auch Alte Musik, er rekonstruiert etwa eutsch Partita für zwei Violen d’amore und b. c.* [16:52] und Klavier op. 25 Nr. 2 [11:23] Literatur besteht. Das Schönste, was Du Dir an Monteverdis Orfeo und führt ihn nach dem Krieg Klang vorstellen kannst; eine nicht zu beschrei- mit den Wiener Symphonikern in Wien auf, wobei D 1 Präludium. Adagio [03:12] 12 Mäßig schnell. Lustig [01:30] bende Süße und Weichheit. Es ist heikel zu spielen, Nikolaus Harnoncourt am Cello mitwirkte, was für 2 Allemande [02:43] 13 Sehr langsam [06:16] aber ich spiele es mit großer Begeisterung und zur diesen wiederum ein Schlüsselerlebnis gewesen 3 Sarabande [01:49] 14 Sehr lebhaft [03:36] Freude aller Zuhörer.“ sein soll. Eine Orgel, die eigens für diese Auffüh- 4 Gigue [02:15] rung gebaut wurde, steht heute im Haydn-Institut 5 Aria [01:59] Kammermusik Nr. 6 für Viola d’amore und Dieses Zitat Paul Hindemiths stammt aus einem der Musikuniversität Wien. 6 Trezza [00:47] kleines Kammerorchester op. 46 Nr. 1 [16:19] Brief an seine Freundin Emily Ronnefeld aus dem 7 Arietta variata [04:03] Jahre 1922.
    [Show full text]
  • Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi
    Wooden Musical Instruments - Different Forms of Knowledge Marco Pérez, Emanuele Marconi To cite this version: Marco Pérez, Emanuele Marconi. Wooden Musical Instruments - Different Forms of Knowledge: Book of End of WoodMusICK COST Action FP1302. Marco A. Pérez; Emanuele Marconi. 2018, 979-10-94642-35-1. hal-02086598 HAL Id: hal-02086598 https://hal.archives-ouvertes.fr/hal-02086598 Submitted on 1 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Musical instrument are fundamental tools of human expression of Knowledge Forms — Diferent Instruments Musical Wooden that reveal and reflect historical, technological, social and cultural aspects of times and people. These three-dimensional, polyma- teric objects—at times considered artworks, other times technical objects—are the most powerful way to communicate emotions and to connect people and communities with the surrounding world. The participants in WoodMusICK (WOODen MUSical Instrument Conservation and Knowledge) COST Action FP1302 have aimed to combine forces and to foster research on wooden musical instruments in order to preserve, develop and disseminate knowledge on musical instruments in Europe through inter- and transdisciplinary research. This four-year program, supported by COST (European Cooperation in Science and Technology), has involved a multidisciplinary and multi-national research group composed of curators, conservators/restorers, wood, material and mechanical scientists, chemists, acousticians, organologists and instrument makers.
    [Show full text]
  • St. Matthew United Methodist Church, Belleville, Illinois
    ST. MATTHEW UNITED METHODIST CHURCH, BELLEVILLE, ILLINOIS GREAT DIVISION (II) 16 SUB PRINCIPAL 8 DIAPASON 8 PRINCIPAL 8 GEMSHORN 8 FLUTE HARMONIQUE 8 ROHRFLOTE 4 OCTAVE 4 SPITZFLOTE 2 2/3 QUINTE 2 SUPER OCTAVE 2 WALDFLOTE 1 3/5 TERZ FOURNITURE IV SCHARF IV 16 DOUBLE TRUMPET 8 TRUMPET* 4 CLARION* TREMULANT SWELL DIVISION (III) 16 BOURDON DOUX 8 GEIGEN PRINCIPAL 8 BOURDON 8 VIOLE DE GAMBE 8 GAMBE CELESTE 8 VOIX CELESTE II* 8 FLUTE CELESTE II 8 MUTED VIOLS II 4 OCTAVE 4 FLAUTO TRAVERSO 4 UNDA MARIS II 2 2/3 NAZARD 2 FLUTE A BEC 1 3/5 TIERCE PLEIN JEU IV CYMBALE IV 16 CONTRE BASSON 8 TROMPETTE* 8 HAUTBOIS* 8 VOIX HUMAINE MP 8 VOIX HUMAINE MF 4 CLARION TREMULANT 16 SWELL TO SWELL SWELL UNISON OFF 4 SWELL TO SWELL CHOIR DIVISION (I) 16 ERZAHLER 8 ERZAHLER CELESTE II Page 1 ST. MATTHEW UNITED METHODIST CHURCH, BELLEVILLE, ILLINOIS 8 CONCERT FLUTE 8 VIOLA POMPOSA 8 VIOLA CELESTE 4 FUGARA 4 LIEBLICHFLOTE 2 FLAUTINO DULCETT III RAUSCHQUINTE IV 16 RANKETT 8 KRUMMHORN* 4 MUSETTE HARP TREMULANT 16 CHOIR TO CHOIR CHOIR UNISON OFF 4 CHOIR TO CHOIR POSITIV DIVISION (I) 8 PRESTANT 8 HOLZGEDACKT 4 PRINZIPAL 4 KOPPELFLOTE 2 OKTAV 1 1/3 QUINTFLOTE 1 SIFFLOTE ZIMBEL IV TREMULANT ECHO DIVISION (IV) 8 COR DE NUIT 8 VOIX SERAPHIQUE II 8 VOX DES ANGES II 4 ECHO FLUTE D'ARGENT 8 VOX HUMANA TREMULANT 16 ECHO TO ECHO ECHO UNISON OFF 4 ECHO TO ECHO 8 MILLENNIAL TRUMPET* ECHO ON I ECHO ON II ECHO ON III SOLO DIVISION (IV) 8 OPEN DIAPASON* 8 DOPPELFLOTE 8 CELLO CELESTE 8 VIOLON CELLO 8 GAMBA CELESTE II* Page 2 ST.
    [Show full text]