An Interview with Erik Bosgraaf One of the World’S Most Talented Erecorder Players, a Sort of Rock Star Among Recorder Virtuosos

Total Page:16

File Type:pdf, Size:1020Kb

An Interview with Erik Bosgraaf One of the World’S Most Talented Erecorder Players, a Sort of Rock Star Among Recorder Virtuosos Summer 2021, Vol. LXII, No. 2 • Published by the American Recorder Society • https://AmericanRecorder.org • Published by the American Recorder Society • Vol. LXII, No. 2 ON THE COVER N EWS & NOTES LEARN Grimou, Alexis (c.1680-1740). 3 On the Record(er) • Sören Sieg 28 More on Breathing plus Posture Page with a Reed Pipe, late 17th Music Video Competition 2021; and Hands • A technique tip covering or 18th century. Oil on canvas. Nine Stern appointed Director of body and hand position basics Pushkin Museum of Fine Arts, Community Engagement for Boston by Lobke Sprenkeling Moscow, Russia. Photo: Early Music Festival; Early Music HIP/Art Resource, NY. Cover: America Trailblazer in Historical CRITIQUE ©2021, American Recorder Society. Performance Video Series; 36 Music • Baroque and Baroque- Cléa Galhano leaves St. Paul like music, spirituals and several Conservatory; COVID-19: open works by Raphael Benjamin Meyer those windows for better ventilation Præludium and Ciacona by Klaus and protection against spread of Miehling; Trios for Two by Adrian COVID-19; Arts for the Health of It Wehlte; Singet dem Herrn ein neues Lied, by J.S. Bach, arranged by Bart Spanhove; 4 machen Musik Ufa- FEATURES Filmslager, arranged by Ortrud 6 Not Just the Alto: Sizes Hommes; VI Sonaten by Andreas of Recorder, 1660-1800 • Heinrich Schulze (?); 10 Spirituals, by David Lasocki arranged by Hermann-Josef Wilbert; three works by Raphael Benjamin 18 An Interview with Erik Meyer: Safari for six wild recorders, Bosgraaf • Gail Nickless talks with Abire for Recorder Quartet, The Dutch professional recorder player Swing Thing for 5-7 recorders CONTENTS Erik Bosgraaf, then he offers 2 Editor’s Note & a few of his thoughts on practicing 43 Recording • Compelling COVID-19 President’s Message repertory and uplifting Baroque music from France and Germany LISTEN & PLAY by Tom Bickley: Le Plaintif with 25 Events • More about summer Erik Bosgraaf; Telemann. Mields events Boston Early Music Festival, Temmingh; Duo1702+ Coffee Edition plus a few more summer workshops ARS 46 Chapters & Recorder Orchestras 47 Classifieds 48 Advertising Index HTTPS://AMERICANRECORDER.ORG AMERICAN RECORDER SUMMER 2021 1 CONTENTS Editor's Note · GAIL NICkLESS “We might be able to play together next month.” During a Denver (CO) chapter Zoom, our quartet compared notes on who had been vaccinated; only one of us still lacked the second COVID shot, plus the waiting period for full protection. Board Of Directors As our lives get forward to normal (one that will never get back to being quite David Podeschi President the same, perhaps), it can be almost disorienting—but I think we’re all prepared Ruth Seib to face that eventuality in order to resume playing music in person! Vice-President & Asst. Treasurer In this issue we read about “luminous and shimmering” recordings of Carol Mishler Baroque music in Tom Bickley’s Critique, and about David Lasocki’s exhaus- Secretary & Fundraising Chair tive survey of the instruments that could have been used to play that Baroque Judith Smutek music. For those who hunger for live performance, there is information about Asst. Secretary & events during the virtual Boston Early Music Festival in June (including a Communications Chair Wendy Powers Baroque recital program by Erik Bosgraaf, who is interviewed in this issue). Treasurer As most of us have played music for smaller forces during the pandemic, Alice Derbyshire some of us have also decided to develop better technique habits. Lobke Membership Benefits Chair Sprenkeling gives us more advice on improving some of those basics, covering Peter Faber posture and hand position in this issue. Let’s make the best of where we are now Governance Chair and get ready to meet again in person, putting our best habits forward. • David Melanson Educational Outreach, President's Message · DAVID PODESCHI Grants & Scholarships Chair Eric Haas, Mollie Habermeier, The past year has taught many of us to get comfortable with— Greta Haug–Hryciw, Phil Hollar, call it what you want—virtual, Zoom, e-, online, etc. We’ve held Natalie Lebert, Barbara Prescott everything from happy hours with friends and family to work Board Members meetings, Board meetings, the ARS annual meeting, duets with Erich Katz (1900-1973) friends, chapter meetings, recorder lessons, sessions with a Honorary President professional recorder player on a theme, workshops: all virtually. This does not Winifred Jaeger replace playing together, but it has kept us together. Honorary Vice President We’ve made interesting and valuable gains. Chapters picked up new members; STAff professionals added new students; workshops attracted new participants when Susan Burns location didn’t matter, just time zone—even that didn’t matter for some; I’ve Administrative Director heard of players from Asia joining sessions in what was the middle of their night! Julia Ward How do we keep some of these gains, once we are able to again play in per- Administrative Assistant son? At our Board meeting in April, we discussed continuing the online begin- ner lessons that have been so popular and have brought in new ARS members. We will continue to increase our ARS website library of play-along recordings as a good, fun way to practice. As someone who has enjoyed home multi-track recording for years, it was gratifying for me to see so many recorder players Gail Nickless take up this great way of practicing—it forces you to listen to yourself! Editor I know that many of our professionals offered online recorder lessons before CONTRIBUTING Editors the pandemic, but I wonder if they will also continue to offer expanded or Tom Bickley themed online sessions. I understand that some workshops may continue on- Critique: Recordings line workshops post pandemic—in addition to or separately from the real thing. Mary Halverson Waldo Learn What about chapters that have gone virtual? An ARS Board task force will Amanda Pond, explore whether and how a new virtual chapter not based on geography might Cynthia W. Shelmerdine work. My chapter in Dallas, TX, is thinking about resuming in person in the Line Editors fall, if all goes well with vaccines—but I will be recovering from thumb surgery Mark Davenport, and not playing by then. I am thinking of setting up a camera and microphone, Valerie Horst, and Zooming our playing sessions so our new remote members can still join in. David Lasocki, A year ago I certainly didn’t think I would be wondering how to maintain these Thomas Prescott kinds of positives from a pandemic! I hope you, too, have found a silver lining— Advisory Board and maybe even been able to utilize some of the resources ARS has created. • 2 AMERICAN RECORDER SUMMER 2021 HTTPS://AMERICANRECORDER.ORG NEWS & NOTES ON THE RECORD(ER) News about the recorder COMPETITION For the virtual BEMF 2021, Stern in her native New York City, NY. • Play music by Sören Sieg will host an interactive Family Day event on June 12 at 9 a.m., with Boston Early Music Festival, The Sören Sieg Music Video Competi- Recorders Beyond Borders: Boston https://bemf.org/2021-festival/ tion continues, with awards to per- Meets Kenya. The event will feature schedule-of-events formers of any age who create music live performance by a group of young S’Cool Sounds, videos of one of the composer’s solo recorder students in Kenya and a www.scoolsounds.org or duo pieces. Top awards are cash virtual performance by American Article introducing online prizes, plus the winning entry receives children performing a Cantiga de S’Cool Sounds lesson plans, a new work by Sieg; winners in places Santa Maria and a popular Kenyan https://americanrecorder.org/docs/ 4-12 receive two sheet music editions song, in honor of their recorder-play- AR_Sum2020_body.pdf and a CD. The 2021 jury is recorder ing friends from across the world. American Recorder articles about player Ebba-Maria Künning-Zeijl, A similar event featuring the teaching trips to Kenya, Jordan, etc., filmmaker Claire Walka and Sieg. • debut of a BEMF Youth Ensemble is https://americanrecorder.org/docs/ planned for BEMF 2023, with Stern ARwinter16body.pdf and Deadline: October 1, 2021, assembling a group of late elemen- https://americanrecorder.org/docs/ www.soerensieg.de/en tary/middle school players of early ARnov10body.pdf strings, winds and percussion, for a performance in person. HELPING yOUNG PLAyERS Stern founded S’Cool Sounds in EARLy MUSIC america Boston Early Music Festival 2002 as an educational outreach Trailblazers in Historical names Nina Stern as Director nonprofit that has worked to establish Performance Video Series of Community Engagement recorder programs in several schools in the Kibera slum of Nairobi, Kenya; Early Music America (EMA) has The Boston Early Music Festival at Village Health Works in Kigutu, launched a new video resource in (BEMF) has recruited professional Burundi; and at a school for Syrian partnership with The Juilliard School. recorder player Nina Stern as its refugee children in Azraq, Jordan—in Entitled “Trailblazers in Historical Director of Community Engagement. addition to Stern’s teaching activities Performance,” the interviews were recorded between December 2020 and March 2021, and feature early music author and Harvard University music professor Thomas Forrest Kelly talking with leaders in the field of historical performance. With 12 weekly videos planned, the first episode in the series featured a December 2020 conversation with Jeanne Lamon, violinist and for many years artistic director of Tafelmusik. She was honored by EMA as the 2014 recipient of the Howard Mayer Brown Award for lifetime achievement in early music. • EMA Video Resources, www.earlymusicamerica.org/ema- ▲ Nina Stern. Photo by William Stickney Photography. video-resources. HTTPS://AMERICANRECORDER.ORG AMERICAN RECORDER SUMMER 2021 3 NEWS & NOTES ON THE RECORD(ER) News about the recorder CHANGE In her 15 years, she created a host of or master class.
Recommended publications
  • Handel's Tea Time
    Handel’s Tea Time Dorothee Mields Die Freitagsakademie George Frideric Handel (1685–1759) “Venus & Adonis” Cantata for soprano, oboe and basso continuo, HWV 85 Kantate für Sopran, Oboe und Basso continuo, HWV 85 � I. Recitative “Behold, where weeping Venus stands” �:�� � II. Aria “Dear Adonis, beauty’s treasure” �:�� � III. Recitative “Thus, queen of beauty” �:�� � IV. Aria “Transporting joy, tormenting fears” �:�� Concerto à quattro in D Minor for oboe, violin, cello and basso continuo* Concerto à quattro in d-moll für Oboe, Violine, Violoncello und Basso continuo � I. Adagio �:�� � II. Allegro �:�� � III. Largo �:�� � IV. Allegro �:�� From 24 English Songs for soprano, oboe, violin and basso continuo, HWV 228 Aus „24 English Songs“ für Sopran, Oboe, Violine und Basso continuo, HWV 228 � Bacchus �:�� �� The Rapture �:�� Trio Sonata in G Major From 9 German Arias for oboe, violin and basso continuo, HWV 384 for soprano, obligatory instrument and basso continuo Triosonate in G-Dur Aus „9 Deutsche Arien“ für Oboe, Violine und Basso continuo, HWV 384 für Sopran, obligates Instrument und Basso continuo �� I. Adagio �:�� �� “Flammende Rose, Zierde der Erden”, HWV 210 �:�� �� II. Allegro �:�� �� “Süßer Blumen Ambraflocken”, HWV 204 �:�� �� III. Grave �:�� �� “Meine Seele hört im Sehen”, HWV 207 �:�� �� IV. Allegro �:�� “Mi palpita il cor” Henry Purcell (1659–1695) Cantata for soprano, oboe and basso continuo, HWV 132 b Kantate für Sopran, Oboe und Basso continuo, HWV 132 b From the semi-opera “The Fairy Queen”, Z 629 Aus der Semi-Opera „Fairy Queen“, Z 629 �� I. Recitative “Mi palpita il cor” �:�� �� II. Aria “Ho tanti affanni in petto” �:�� �� “O let me weep” (Aria) �:�� �� III.
    [Show full text]
  • An African-American Contribution to the Percussion Literature in the Western Art Music Tradition
    Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition by Darrell Irwin Thompson A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Mark Sunkett, Chair Bliss Little Kay Norton James DeMars Jeffrey Bush ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Illuminating Silent Voices: An African-American Contribution to the Percussion Literature in the Western Art Music Tradition will discuss how Raymond Ridley's original composition, FyrStar (2009), is comparable to other pre-existing percussion works in the literature. Selected compositions for comparison included Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra, Op. 278 (1949); David Friedman's and Dave Samuels's Carousel (1985); Raymond Helble's Duo Concertante for Vibraphone and Marimba, Op. 54 (2009); Tera de Marez Oyens's Octopus: for Bass Clarinet and one Percussionist (marimba/vibraphone) (1982). In the course of this document, the author will discuss the uniqueness of FyrStar's instrumentation of nine single reed instruments--E-flat clarinet, B-flat clarinet, alto clarinet, bass clarinet, B-flat contrabass clarinet, B-flat soprano saxophone, alto saxophone, tenor saxophone, and B-flat baritone saxophone, juxtaposing this unique instrumentation to the symbolic relationship between the ensemble, marimba, and vibraphone. i ACKNOWLEDGMENTS I first want to thank God, for guiding my thoughts, hands, and feet. I am grateful, for the support, understanding, and guidance I have received from my parents. I also want to thank my grandmother, sister, brother, and to the rest of my family for being one of the best support groups anyone could have.
    [Show full text]
  • G. Ph. TELEMANN ERIK BOSGRAAF & FRIENDS - ENSEMBLE CORDEVENTO
    G. Ph. TELEMANN ERIK BOSGRAAF & FRIENDS - ENSEMBLE CORDEVENTO THE DOUBLE CONCERTOS WITH RECORDER DIE DOPPELKONZERTE MIT BLOCKFLÖTE Georg Philipp Telemann 1681–1767 Telemann’s Double Concertos The Double Concertos with Recorder with Recorder In his autobiography of 1740, Georg Philipp “the Italian style ... currently occupies me Concerto in E minor for alto recorder, traverso, Concerto in B-fl at major for two alto recorders, Telemann (1681–1767) mentions that he more than the [other styles] do.” strings and basso continuo, TWV 52:e1 strings and basso continuo, TWV 52:B1 taught himself to play the recorder as well The Telemann scholar Steven Zohn has 1 Largo 3:53 17 Grave 2:07 as the violin and zither in elementary school noted: “The fact that the 1740 autobiography 2 Allegro 4:15 18 Vivace 1:32 before the age of 10, and continued to is silent on his Eisenach encounter with con- 3 Largo 3:39 19 Tendrement 1:49 practice the recorder into his teens. This love certos seems to indicate a change of heart. 4 Presto 2:39 20 Gayment 2:05 and practical understanding of the instrument Telemann’s apparent distaste for virtuosity help to explain why he wrote so much as an end in itself ... led him to develop his Concerto in A minor for two alto recorders, idiomatic music for it. own stylistic paradigm for the concerto, strings and basso continuo, TWV 52:a2 Total time: 63:14 In his lifetime, Telemann was considered one that tended to downplay soloistic display 5 Gravement 2:13 the consummate master of the new, progres- in favor of close dialogue and mixed-taste 6 Vistement 1:34 sive “mixed” German style, which drew on cosmopolitanism.” Telemann imbues ritornel- 7 Largement 1:56 Erik Bosgraaf, recorder & direction French and Italian elements.
    [Show full text]
  • Bach and BACH
    Bach and B-A-C-H Works by Jan Pieterszoon Sweelinck, Johann Sebastian Bach, Robert Schumann and Jan Esra Kuhl INTERNATIONAL BACH COMPETITION 2012 WINNER IN THE ORGAN CATEGORY Johannes Lang, Organ Bach and B-A-C-H Johannes Lang, Organ Johann Sebastian Bach (1685–1750) Praeludium in C, BWV 566 01 . (11'17) Jan Pieterszoon Sweelinck (1562–1621) Fantasia à 4, SwWV 273 02 . (12'59) Johann Sebastian Bach From “Art of the Fugue”, BWV 1080 03 Contrapunctus 14 . (10'10) Robert Schumann (1810–1856) From “Six Fugues on B.A.C.H., Op. 60” 04 2 . Vivace (Lebhaft) . (06'10) Johann Sebastian Bach Organ Sonata No. 6 in G major, BWV 530 05 Vivace . (04'08) 06 Lento . (10'11) 07 Allegro . (03'44) Jan Esra Kuhl (*1988) Variations on B-A-C-H (2013/2014) 08 . (06'25) World premiere recording Johann Sebastian Bach Toccata, Adagio and Fugue in C major, BWV 564 09 Toccata . (06'01) 10 Adagio . (05'07) 11 Fuge . (04'49) Total Time . (81'08) Deutsche Stiftung Musikleben | Supporting Aspiring Young Musicians Deutsche Stiftung Musikleben has been generously providing support to aspiring young mu- sicians in Germany since 1962 . The foundation provides long-term, personalized assistance to the current group of 300 scholarship recipients aged 12 to 30 . Jointly established with the German federal government, the Deutscher Musikinstru- mentenfonds provides promising young concert artists with string instruments of the highest quality, which are awarded each year as part of a demanding music competition . The foundation’s Foyer Junger Künstler concert series gives the foundation’s “rising stars” many different opportunities to show off their abilities.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Nonlinear Physics of Musical Instruments
    Rep. Prog. Phys. 62 (1999) 723–764. Printed in the UK PII: S0034-4885(99)65724-4 The nonlinear physics of musical instruments N H Fletcher Research School of Physical Sciences and Engineering, Australian National University, Canberra 0200, Australia Received 20 October 1998 Abstract Musical instruments are often thought of as linear harmonic systems, and a first-order description of their operation can indeed be given on this basis, once we recognise a few inharmonic exceptions such as drums and bells. A closer examination, however, shows that the reality is very different from this. Sustained-tone instruments, such as violins, flutes and trumpets, have resonators that are only approximately harmonic, and their operation and harmonic sound spectrum both rely upon the extreme nonlinearity of their driving mechanisms. Such instruments might be described as ‘essentially nonlinear’. In impulsively excited instruments, such as pianos, guitars, gongs and cymbals, however, the nonlinearity is ‘incidental’, although it may produce striking aural results, including transitions to chaotic behaviour. This paper reviews the basic physics of a wide variety of musical instruments and investigates the role of nonlinearity in their operation. 0034-4885/99/050723+42$59.50 © 1999 IOP Publishing Ltd 723 724 N H Fletcher Contents Page 1. Introduction 725 2. Sustained-tone instruments 726 3. Inharmonicity, nonlinearity and mode-locking 727 4. Bowed-string instruments 731 4.1. Linear harmonic theory 731 4.2. Nonlinear bowed-string generators 733 5. Wind instruments 735 6. Woodwind reed generators 736 7. Brass instruments 741 8. Flutes and organ flue pipes 745 9. Impulsively excited instruments 750 10.
    [Show full text]
  • The Source Spectrum of Double-Reed Wood-Wind Instruments
    Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No.
    [Show full text]
  • Schütz Edition Has Been Published Containing Choral Collection, Loreley, Which Is Published As Part of the Various Individual Works
    X | 201X CHCHORCHORALCHORMUSIKOR MUMUSIK MUSICSIK HEUTE HEUTHEUTETODAYE 2 | 2017 CARUSCARUS MagazinMagazine MOZART UNVOLLEN- DET Fragment c-Moll-Messe BACH COMPLETE EDITION GOUNOD GEISTLICH INTEGRATION MUSIKALISCH ChorwerkeThe Complete für die KircheSacred VocalKinderlieder Works für alle MUSICAL CAPITAL PARIS CULTURAL TREASURE Following Rossini and Gounod German folk songs in new arrangements C Carus Gioachino Rossini 1792–1868 150th anniversary of death 2018 Although first and foremost considered an opera composer, the Italian Gioachino Rossini composed an extensive range of sacred and secular vocal music. Well-known are the Stabat Mater and the Petite Messe solennelle. It is also worth discovering his many smaller choral works. Gioachino Rossini ROSSINI Petite Messe solennelle Stabat Mater Nach seinem frühen Abschied von der Opernbühne im Jahre 1829 Stabat Mater komponierte Gioachino Rossini neben Kammermusik nur noch Carus 40.650 größer besetzte Kirchenmusik. Zu dieser gehört das Stabat Mater, das in zwei Arbeitsphasen zwischen 1831 und 1841 entstand und 1842 in Paris uraufgeführt worden ist. Der Text fasst die Schmerzen Marias angesichts des Gekreuzigten in ein Gebet. Immer wieder hat Rossini die bildreiche Sprache der vermutlich aus dem 13. Jahrhundert stam- menden latenischen Dichtung Komponisten zu Vertonungen inspi- riert, darunter große Namen wie Pergolesi, Joseph Haydn und Verdi. In 10 Nummern vereinigt Rossini unterschiedliche Formen wie Arie, CHOIR Chor- und E AP Duett, Quartett und Chor, opernhaft ariose Schreibweise und stren- TH P Stabat Mater gen A-cappella-Stil zu einem der Höhepunkte dieser Gattung. Ensemblemusik Following his early departure from the opera stage in 1829, besides chamber music Gioachino Rossini composed only larger scored works Carus 70.089 of church music.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Interpreting Henri Dutilleux’s Quotations of Baudelaire in "Tout un monde lointain..." Permalink https://escholarship.org/uc/item/0tz887wb Author Tyler, Charles Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Interpreting Henri Dutilleux’s Quotations of Baudelaire in Tout un monde lointain… A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Charles Robert Tyler 2016 © Copyright by Charles Robert Tyler 2016 ABSTRACT OF THE DISSERTATION Interpreting Henri Dutilleux’s Quotations of Baudelaire in Tout un monde lointain… by Charles Robert Tyler Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Antonio Lysy, Chair Henri Dutilleux (1916-2013) is one of the most significant and widely acclaimed composers of the last century. Dutilleux is best known for his approach towards orchestral timbre and color and his works exhibit an individual style that defies classification. This dissertation will be dedicated to exploring the interpretive issues presented in Henri Dutilleux’s composition for cello and orchestra, Tout un monde lointain… The quotations taken from Baudelaire’s poetry found in this score above each movement leave the performer with many unanswered interpretive questions. Through researching Dutilleux’s use of quotation in other scores, examining the intricacies of Baudelaire’s poetry and considering the existing publications pertaining to his concerto, one will be considerably better equipped to answer the varying questions sense of mystery raised by these quotations. Such analysis will aid one in interpreting and executing his concerto with a heightened understanding of Dutilleux’s musical language within the aesthetics and context he provides through his quotations of Baudelaire.
    [Show full text]
  • Abendprogrammheft Accattone Als
    ARBEIT STINKT ACCATTONE Nach dem gleichnamigen Film von Pier Paolo Pasolini in einer Fassung von Koen Tachelet Musikalische Leitung: Philippe Herreweghe (14., 15., 19., 20. 08.), Christoph Siebert (22., 23. 08.) Regie: Johan Simons Bühne: Muriel Gerstner Kostüm: Anja Rabes Licht: Wolfgang Göbbel Soundscapes: Steven Prengels Sounddesign: Will-Jan Pielage Dramaturgie: Koen Tachelet, Tobias Staab Musikdramaturgie: Jan Vandenhouwe Mitarbeit Musikdramaturgie: Jens Van Durme Aufnahmeleitung: Marc Swaenen Regieassistenz: Katelijne Laevens Bühnenbildassistenz: Luc Goedertier Sprachcoach: Roswitha Dierck Kostümassistenz: Christina Hillinger Regiepraktikum: Julie Peters, Clara-Lilian Risa Berger Inspizienz: Stefan Jansen Übertitelinspizienz: Erik Borgmann, Dirk Dehooghe Beratung Klangkonzept: Barak Koren Kinderbetreuung: Chris Nietvelt Künstlerische Produktionsleitung: Marieke Cardinaels, Caitlin van der Maas Technische Projektleitung: Andreas Dietmann Produktionsleitung Kostüm: Monika Frenz Garderobe: Sandra Gabrovec, Stefanie Klein Maske: Sabine Heuser, Laura Nahberger ACCATTONE Darsteller: Accattone: Steven Scharf Maddalena: Sandra Hüller Amore: Elsie de Brauw Das Gesetz: Benny Claessens Stella: Anna Drexler Pio: Mandela Wee Wee Balilla: Steven van Watermeulen Cartagine: Jeff Wilbusch Renato: Lukas von der Lühe Nannina / Ascensa: Laura Mentink Io: Pien Westendorp Solisten: Dorothee Mields (Sopran) Alex Potter (Alt) Thomas Hobbs (Tenor) Peter Kooij (Bass) Christine Busch (Solo Violine) Chor Collegium Vocale Gent Sopran: Dorothee Mields, Griet
    [Show full text]
  • Concerto for Bassoon and Chamber Orchestra
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 Concerto for Bassoon and Chamber Orchestra Timothy Patrick Cooper [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Cooper, Timothy Patrick, "Concerto for Bassoon and Chamber Orchestra. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/964 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Timothy Patrick Cooper entitled "Concerto for Bassoon and Chamber Orchestra." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Brendan P. McConville, Daniel R. Cloutier Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Concerto For Bassoon and Chamber Orchestra A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Timothy Patrick Cooper August 2011 Copyright © 2011 by Timothy Cooper. All Rights Reserved. ii Acknowledgements Several individuals deserve credit for their assistance in this project.
    [Show full text]