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The String Quartets of George Onslow First Edition
The String Quartets of George Onslow First Edition All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Edition Silvertrust a division of Silvertrust and Company Edition Silvertrust 601 Timber Trail Riverwoods, Illinois 60015 USA Website: www.editionsilvertrust.com For Loren, Skyler and Joyce—Onslow Fans All © 2005 R.H.R. Silvertrust 1 Table of Contents Introduction & Acknowledgements ...................................................................................................................3 The Early Years 1784-1805 ...............................................................................................................................5 String Quartet Nos.1-3 .......................................................................................................................................6 The Years between 1806-1813 ..........................................................................................................................10 String Quartet Nos.4-6 .......................................................................................................................................12 String Quartet Nos. 7-9 ......................................................................................................................................15 String Quartet Nos.10-12 ...................................................................................................................................19 The Years from 1813-1822 ...............................................................................................................................22 -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ VIOLIN ETUDES: A PEDAGOGICAL GUIDE A document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2006 by Semi Yang [email protected] B.M., Queensland Conservatorium of Music, Griffith University, Australia, 1995 M.M., Queensland Conservatorium of Music, Griffith University, Australia, 1999 Advisor: Dr. Won-bin Yim Reader: Prof. Kurt Sassmannshaus Reader: Dr. Robert Zierolf ABSTRACT Studying etudes is one of the most essential parts of learning a specific instrument. A violinist without a strong technical background meets many obstacles performing standard violin literature. This document provides detailed guidelines on how to practice selected etudes effectively from a pedagogical perspective, rather than a historical or analytical view. The criteria for selecting the individual etudes are for the goal of accomplishing certain technical aspects and how widely they are used in teaching; this is based partly on my experience and background. The body of the document is in three parts. The first consists of definitions, historical background, and introduces different of kinds of etudes. The second part describes etudes for strengthening technical aspects of violin playing with etudes by Rodolphe Kreutzer, Pierre Rode, and Jakob Dont. The third part explores concert etudes by Wieniawski and Paganini. -
Franco-Belgian Violin School: on the Rela- Tionship Between Violin Pedagogy and Compositional Practice Convegno Festival Paganiniano Di Carro 2012
5 il convegno Festival Paganiniano di Carro 2012 Convegno Società dei Concerti onlus 6 La Spezia Centro Studi Opera Omnia Luigi Boccherini Lucca in collaborazione con Palazzetto Bru Zane Centre de Musique Romantique Française Venezia Musicalword.it CAMeC Centro Arte Moderna e Contemporanea Piazza Cesare Battisti 1 Comitato scientifico: Andrea Barizza, La Spezia Alexandre Dratwicki, Venezia Lorenzo Frassà, Lucca Roberto Illiano, Lucca / La Spezia Fulvia Morabito, Lucca Renato Ricco, Salerno Massimiliano Sala, Pistoia Renata Suchowiejko, Cracovia Convegno Festival Paganiniano di Carro 2012 Programma Lunedì 9 LUGLIO 10.00-10.30: Registrazione e accoglienza 10.30-11.00: Apertura dei lavori • Roberto Illiano (Centro Studi Opera Omnia Luigi Boccherini / Società dei Concerti della Spezia) • Francesco Masinelli (Presidente Società dei Concerti della Spezia) • Massimiliano Sala (Presidente Centro Studi Opera Omnia Luigi Boccherini, Lucca) • Étienne Jardin (Coordinatore scientifico Palazzetto Bru Zane, Venezia) • Cinzia Aloisini (Presidente Istituzione Servizi Culturali, Comune della Spezia) • Paola Sisti (Assessore alla Cultura, Provincia della Spezia) 10.30-11.30 Session 1 Nicolò Paganini e la scuola franco-belga presiede: Roberto Illiano 7 • Renato Ricco (Salerno): Virtuosismo e rivoluzione: Alexandre Boucher • Rohan H. Stewart-MacDonald (Leominster, UK): Approaches to the Orchestra in Paganini’s Violin Concertos • Danilo Prefumo (Milano): L’infuenza dei Concerti di Viotti, Rode e Kreutzer sui Con- certi per violino e orchestra di Nicolò Paganini -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
Violin Repertoire List
Violin Repertoire List In reverse order of difficulty (beginner books at top). Please send suggestions / additions to [email protected]. Version 1.1, updated 27 Aug 2015 List A: (Pieces in 1st position & basic notation) Fiddle Time Starters Fiddle Time Joggers Fiddle Time Runners Fiddle Time Sprinters The ABCs of Violin Musicland Violin Books Musicland Lollipop Man (Violin Duets) Abracadabra - Book 1 Suzuki Book 1 ABRSM Grade Book 1 VIolinSchool Editions: Popular Tunes in First Position ● Twinkle Twinkle Little Star ● London Bridge is Falling Down ● Frère Jacques ● When the Saints Go Marching In ● Happy Birthday to You ● What Shall We Do With the Drunken Sailor ● Ode to Joy ● Largo from The New World ● Long Long Ago ● Old MacDonald Had a Farm ● Pop! Goes the Weasel ● Row Row Row Your Boat ● Greensleeves ● The Irish Washerwoman ● Yankee Doodle Stanley Fletcher, New Tunes for Strings, Book 1 2 Step by Step Violin Play Violin Today String Builder Violin Book One (Samuel Applebaum) A Tune a Day I Can Read Music Easy Classical Violin Solos Violin for Dummies The Essential String Method (Sheila Nelson) Robert Pracht, Album of Easy Pieces, Op. 12 Doflein, Violin Method, Book 1 Waggon Wheels Superstudies (Mary Cohen) The Classical Experience Suzuki Book 2 Stanley Fletcher, New Tunes for Strings, Book 2 Doflein, Violin Method, Book 2 Alfred Moffat, Old Masters for Young Players D. Kabalevsky, Album Pieces for 1 and 2 Violins and Piano *************************************** List B: (Pieces in multiple positions and varieties of bow strokes) Level 1: Tomaso Albinoni Adagio in G minor Johann Sebastian Bach: Air on the G string Bach Gavotte in D (Suzuki Book 3) Bach Gavotte in G minor (Suzuki Book 3) Béla Bartók: 44 Duos for two violins Karl Bohm www.ViolinSchool.org | [email protected] | +44 (0) 20 3051 0080 3 Perpetual Motion Frédéric Chopin Nocturne in C sharp minor (arranged) Charles Dancla 12 Easy Fantasies, Op.86 Antonín Dvořák Humoresque King Henry VIII Pastime with Good Company (ABRSM, Grade 3) Fritz Kreisler: Berceuse Romantique, Op. -
Programm 24.–27
ESSENTIALS 2012 Kammer musik festival Thun Programm 24.–27. Mai Wir haben uns bewusst dafür entschieden, Welcome to GAIA im Jahr 2012 den ursprünglichen Traum des Essentials 2012 – Herzlich Festivals wieder aufleben zu lassen und zu dem zurückzukehren, woraus es entstan- we look forward to being with you den ist – der Vision, grossartige Musik zu willkommen präsentieren, die von einer kleinen Gruppe and sharing every moment! herausragender Musiker an atemberauben- bei GAIA Essentials 2012 – den Orten für ein warmherziges Publikum dargeboten wird; ein Publikum, das neugie- In 2012, we have consciously decided to reco - wir freuen uns darauf, rig auf inspirierende Begegnungen ist. Alle, ver this Festival’s first dream and to revisit die bei GAIA mitwirken, lieben die Musik that of which it was born – a vision to offer Sie bei uns zu haben und und das, was sie uns zu enthüllen vermag. sublime music, performed by a small group Die Planung dieses Festivals beschwingt uns of outstanding musicians in breathtaking ve- jeden Augenblick jedes Jahr aufs Neue: ein Fest voller Kunst, nues to an open-hearted audience curious to Sinnenfreude, Austausch, Emotionen und experience more. We at GAIA love music and mit Ihnen zu teilen! Freundschaft. Diese Wechselbeziehung ist all that it can reveal. We are fulfilled each nur ein kleiner Teil unseres Spektrums ... year anew when we conceive this Festival: Die Welt ist schön – voller Magie und a celebration of art, senses, exchange, emo- Wunder, erfüllt durch ihre eigene Existenz tions, and friendship. This interrelationship und in sich vollkommen. Die Menschheit is just a small piece of our spectrum… baut auf diese Wahrheit, und je mehr wir ver- The world is a beautiful place – full of suchen, die Essenz des Lebens zu ergründen, magic and wonder, fulfilled by its own exis - desto stärker wächst in uns wieder das Ver - tence, complete within itself. -
Violin Sonata No. 2 in a Major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781
Page 1 (1/31/20) Violin Sonata No. 2 in A major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781. Joseph Boulogne, Chevalier de Saint-Georges, one of music history’s most fascinating figures, was born on Christmas Day 1745 on the Caribbean island of Guadeloupe, where his father, a French civil servant, was stationed as comptroller-general; his mother was a black islander. The family moved to Paris when the boy was ten. Joseph was enrolled in the academy of Nicolas Texier de La Boëssière, one of France’s most renowned fencing masters, and there received a good general education as well as rigorous training in swimming, boxing, horse riding and other physical and social skills; he became one of the finest fencers in Europe. Saint-Georges’ musical education was less well documented, though he apparently had shown talent as a violinist even before leaving Guadeloupe and seems to have been a student of the celebrated composer François Gossec for several years. sHe joined Gossec’s orchestra at the Concert des Amateurs in 1769, made his debut there as a soloist three years later (in two of his own violin concertos), and became concertmaster and conductor of the group shortly thereafter. In 1777, Saint-Georges entered the employ of the Duke of Orléans, and four years later took on the additional position of concertmaster of the Concert de la Loge Olympique, for which Claude-François-Marie Rigoley, Comte d’Ogny commissioned Haydn’s “Paris” symphonies. Saint-Georges acted as intermediary in finalizing the arrangements with Haydn, and he presumably directed the premieres of the works. -
New 6-Page Template a 27/4/16 9:32 PM Page 1
573000bk Kummer:New 6-page template A 27/4/16 9:32 PM Page 1 Frédéric Kummer (1797–1879) und François Schubert (1808–1878) zu den bekanntesten Bühnenwerken des Opern- und führt im pianissimo wieder nach G-dur und zum Dreivier- Duos Concertants pour Violon et Violoncelle Ballettkomponisten Louis Joseph Ferdinand Hérold teltakt zurück – zunächst als ruhiges Moderato molto mit (1791–1833) und zu den beliebtesten Singspielen des 19. der Melodie im Violoncello, dann als abschließendes Friedrich August (alias Frédéric) Kummer wurde am 5. Unterricht bei seinem Vater und bei Antonio Rolla (1798- Jahrhunderts gehörte. Das Duo in der Tonart D-dur beginnt Allegro molto. August 1797 in Meiningen geboren. Sein Vater Friedrich 1837) wurde er in Paris von Charles Philippe Lafont (1781- mit einem Allegro, das neben einigen lieblichen Momenten Die Deux Duos de Concert pour Violon et Violoncelle August sen. (1770-1849) war zunächst Oboist in der 1839) ausgebildet, der seinerseits bei Rodolphe Kreutzer viel virtuoses Passagenwerk enthält. Von hier aus führt der op. 52 schließlich beginnen mit einem Souvenir de Fra Hofkapelle des Herzogs von Sachsen-Meiningen, und Pierre Rode studiert hatte. Da man ihn bisweilen mit Weg zu einem Andantino mit zwei Variationen, denen sich Diavolo, der wohl besten opéra-comique des Autorenteams übersiedelte aber mit seiner Familie bald nach der Geburt dem weitaus berühmteren Franz Schubert aus Wien ein Melancolico in Moll und im Dreivierteltakt anschließt. Daniel-François-Esprit Auber (1782–1871) und Eugène seines Sohnes nach Dresden und gab seinem Sprössling verwechselte, nahm er in Paris, wo er unter anderem mit Danach werden die ursprüngliche Tonart und der Scribe (1791–1861), dessen Namen wir üblicherweise im Frédéric den ersten Musikunterricht, bevor dieser von Justus Chopin Freundschaft schloss, den Namen »François« an. -
Henry Thoreau, from Which He Would Obtain Plutarch Materials Plus Quotes from Crates of Thebes and Simonides’S “Epigram on Anacreon” That He Would Recycle in a WEEK.)
HDT WHAT? INDEX 1814 1814 EVENTS OF 1813 General Events of 1814 SPRING JANUARY FEBRUARY MARCH SUMMER APRIL MAY JUNE FALL JULY AUGUST SEPTEMBER WINTER OCTOBER NOVEMBER DECEMBER Following the death of Jesus Christ there was a period of readjustment that lasted for approximately one million years. –Kurt Vonnegut, THE SIRENS OF TITAN THE NEW-ENGLAND ALMANACK FOR 1814. By Isaac Bickerstaff. Providence, Rhode Island: John Carter. THE NEW-ENGLAND ALMANACK FOR 1814. By Isaac Bickerstaff. Providence: John Carter. Sold also by George Wanton, Newport. 21-year-old Edward Hitchcock calculated and published a COUNTRY ALMANAC (recalculated and reissued each year to 1818). John Farmer’s “A Sketch of Amherst, New Hampshire” (2 COLL. MASS. HIST. SOC. II. BOSTON). Noah Webster, Esq. became a member of the Massachusetts General Court (he would serve also in 1815 and 1817). Carl Phillip Gottfried von Clausewitz was reinstated in the Prussian army. EVENTS OF 1815 HDT WHAT? INDEX 1814 1814 The 2d of 3 volumes of a revised critical edition of an old warhorse, ANTHOLOGIA GRAECA AD FIDEM CODICIS OLIM PALATINI NUNC PARISINI EX APOGRAPHO GOTHANO EDITA ..., prepared by Christian Friedrich Wilhelm Jacobs, appeared in Leipzig (the initial volume had appeared in 1813 and the final volume would appear in 1817). ANTHOLOGIA GRAECA (My working assumption, for which I have no evidence, is that this is likely to have been the unknown edition consulted by Henry Thoreau, from which he would obtain Plutarch materials plus quotes from Crates of Thebes and Simonides’s “Epigram -
MUSIC in the EIGHTEENTH CENTURY Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE EIGHTEENTH CENTURY Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE EIGHTEENTH CENTURY John Rice n W. W. NORTON AND COMPANY NEW YORK ē LONDON W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program— trade books and college texts—were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: JoAnn Simony Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics—Fairfield, PA Library of Congress Cataloging-in-Publication Data Rice, John A. -
Poslovni Vidiki Delovanja Samozaposlenih Pianistov
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE mag. Tamara Goličnik Mentor: izr. prof. dr. Neven Borak Poslovni vidiki delovanja samozaposlenih pianistov Doktorska disertacija Ljubljana, 2015 Povzetek Poslovni vidiki delovanja samozaposlenih pianistov V nalogi na podlagi uporabljene literature o podjetništvu in menedžmentu, lastnih izkušenj ter empirične raziskave proučujem poslovne vidike delovanja samozaposlenih pianistov. Namen naloge je preučitev pogojev in načina delovanja samozaposlenega pianista, da bi se lahko določili ključni dejavniki uspešnosti, ki so osnova modela za načrtovanje in spremljanje pos- lovnih strategij ter ugotavljanje uspešnosti poslovanja. Oblikovanje poslovnega načrta in pos- tavitev modela BSC za samozaposlenega pianista je bil glavni cilj naloge. V pregledani relevantni literaturi nisem zasledila vseh poslovnih vidikov delovanja samoza- poslenih glasbenikov – pianistov, zato sem se oprla na vire, ki obravnavajo principe delovanja umetniških organizacij. Narava pianistove dejavnosti je umetniška in na nek način sorodna dejavnosti umetniških organizacij, zlasti ko gre za storitev – koncert, zato se lahko nekateri principi delovanja s področja trženja, odnosov z javnostmi, financiranja in inoviranja smiselno uporabijo tudi za samozaposlenega pianista. V nalogi privzemam tudi stališče, da je v organi- zacijskem smislu samozaposleni pianist mikro-podjetnik in se opiram na ekonomske vidike delovanja podjetnikov. Glasbenike motivira v veliki meri želja po neodvisnosti, poleg tega pa tudi realizacija ideje in specifično delo. Nekateri avtorji jih opredeljujejo kot kulturne podjet- nike, ki so odkrili in ovrednotili priložnosti na umetniškem trgu ter ustanovili (mikro) podjetja, da bi te priložnosti uresničili. V disertaciji torej izhajam iz tega, da je pianist mikro-podjetnik, ki sam prevzame vse naloge vodenja svoje dejavnosti, zlasti na začetku samostojnega delova- nja. -
P.A. Locatelli and J.-M. Leclair
INTERNATIONAL CONFERENCE P. A. LOCATELLI AND J.-M. LECLAIR LEGACY IN THE XIX CENTURY 17-19 October 2014 Bergamo, Fondazione MIA (Sala Locatelli) PROGRAMME ORGANIZED BY CENTRO STUDI OPERA OMNIA LUIGI BOCCHERINI www.luigiboccherini.org P. A. LOCATELLI AND J.-M. LECLAIR LEGACY IN THE XIX CENTURY International Conference 17-19 October 2014 Bergamo, Fondazione MIA (Sala Locatelli) Organized by Centro Studi Opera Omnia Luigi Boccherini Fondazione MIA Palazzetto Bru Zane – Centre de musique romantique française in Association with Edizione Nazionale Italiana delle Opere Complete di Pietro Antonio Locatelli ef Scientifc Committee Annalisa Barzanò, Bergamo Sergio Durante, Padua Roberto Illiano, Lucca Étienne Jardin, Paris/Venice Fulvia Morabito, Lucca Paola Palermo, Bergamo Rudolf Rasch, Utrecht Massimiliano Sala, Bergamo ef Keynote Speakers Sergio Durante (Università degli Studi di Padova) Rudolf Rasch (Utrecht University) Neal Zaslaw (Cornell University, Ithaca, NY) FRIDAY 17 OCTOBER 10.00-10.30: Welcome and Registration 10.30-11.15: Opening tClaudio Pelis (Consigliere Fondazione MIA) tMassimiliano Sala (Centro Studi Opera Omnia Luigi Boccherini, Lucca) tÉtienne Jardin (Palazzetto Bru Zane – Centre de musique romantique française, Venice) tFulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini, Lucca) tJeanine Dunning tGiovanni Fumagalli 11.30-12.30: Introductory Address t Fulvia Morabito (Centro Studi Opera Omnia Luigi Boccherini): Towards the ‘Locatelli Reinassance’ ef 13.00 Lunch 15.30-16.30: Keynote Speaker 1 tRudolf Rasch (Utrecht University):