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6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord
Valerio Losito Baroque violin 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 harpsichord Telemann GEORG PHILIPP TELEMANN (1681–1767) Six Sonatas for Solo Violin, 1715 6 Sonatas ‘Frankfurt 1715’ for solo violin and harpsichord “My Lord, I am not without fear in dedicating these sonatas to Your Highness. It is, Sire, that without mentioning the vivacity of your sublime mind, you also have such certain taste in this fine art, which is the only one with the advantage of begin eternal, Sonata No.1 in G minor TWV41:g1 Sonata No.4 in G TWV41:G1 though it is very hard to create in a work worthy of your approbation. My Lord, I 1. Adagio 1’43 13. Largo 1’12 flatter myself that with this gift of the first pieces that I have had published you will 2. Allegro 2‘45 14. Allegro 2’18 find acceptable my intention of recognizing in some way the favour with which you 3. Adagio 1’08 15. Adagio 2’48 have hitherto honoured me. If, my Lord, my work is thus fortunate enough to meet 4. Vivace 3’03 16. Allegro 2’30 with your pleasure, then I am assured of the support of all connoisseurs, because no one can hope to achieve such understanding as yours. The beauty of the Concertos Sonata No.2 in D TWV41:D1 Sonata No.5 in A minor TWV41:a1 that you yourself have written at such a young age is admired by all those who have 5. Allemanda, Largo 3’52 17. Allemanda, Largo 2’37 seen them, and this is a guarantee for me in my aim. -
Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
Oct 12 to 18.Txt
CLASSIC CHOICES PLAYLIST Oct. 12 - 18, 2020 PLAY DATE: Mon, 10/12/2020 6:02 AM Antonio Vivaldi Concerto for violin, 2 flutes, 2 oboes & 6:13 AM Wolfgang Amadeus Mozart Symphony No. 27 6:29 AM Arcangelo Corelli Concerto Grosso No. 6 6:44 AM Johann Nepomuk Hummel Gesellschafts Rondo 7:02 AM Michel Richard Delalande Suite No. 12 7:16 AM Muzio Clementi Piano Sonata 7:33 AM Mademoiselle Duval Suite from the Ballet "Les Génies" 7:46 AM Georg (Jiri Antonin) Benda Sinfonia No. 9 8:02 AM Johann David Heinichen Concerto for fl,ob,vln,clo,theorbo,st,bc 8:12 AM Franz Joseph Haydn String Quartet 8:31 AM Joan Valent Quatre Estacions a Mallorca 9:05 AM Ralph Vaughan Williams Symphony No. 3 9:41 AM Robert Schumann Fantasiestucke 9:52 AM Ralph Vaughan Williams Silent Noon 10:00 AM Wolfgang Amadeus Mozart LA CLEMENZA DI TITO: Overture 10:06 AM Wolfgang Amadeus Mozart Violin Sonata No. 27 10:24 AM Wolfgang Amadeus Mozart Flute & Harp Concerto (mvmt 2) 10:34 AM Wolfgang Amadeus Mozart Divertimento No. 1 10:49 AM Wolfgang Amadeus Mozart Sonata for 2 pianos 11:01 AM Mark Volker Young Prometheus 11:39 AM Georg Philipp Telemann Paris Quartet No. 2:TWV 43: a 3 12:00 PM Ludwig Van Beethoven Wellington's Victory (Battle Symphony) 12:14 PM Ludwig Van Beethoven Piano Sonata No. 6 12:28 PM Johann Strauss, Jr. Wine, Women & Song 12:40 PM John Ireland Piano Trio No. 2 12:54 PM Michael Kamen CRUSOE: Marooned 1:02 PM Mark O'Connor Trio No. -
Folklore______Mmihhhhihhflhi Box 19114,20Th Street Station, W Ashington, DC 20036
Ibe Folklore_______ MMIHHHHIHHflHi Box 19114,20th Street Station, W ashington, DC 20036 j UNBBIHTHI VOLUM E X V I I , NO. 8 APRIL 1981 PHONE (703) 281-2228 Nancy Schatz, Ed it o r Roy Harris Featured in April 10 Program Our April program w ill feature folksinger Roy Harris, Roy, who comes from Nottingham, England, is one of the finest sing ers of traditional songs and ballads. His repertoire is about 80# traditional song with the rest being a mixture of contem porary material, parodies, music hall numbers, even an occa sional popular song from the 1930*s. A ll are presented with a warm, sometimes humorous st yle t h a t 's a l l Royf s own. Roy has been singing full-tim e since 196^ in folk clubs a ll over Europe, Canada, and the United States, He has served as director of the National Folk Festival in Loughborough, Eng land, for four years. He founded the Nottingham tradition al Music Club, He has six solo albums, five of them on the Topic label and one on F e lls id e . The program begins at 8i30 p.m., Friday, April 10, The place* the Washington Ethical Society auditorium, 7750 16th St., N.W. (at Kalmia Rd.) Admission is free to FSGW members, $2 for non-members. Come early to be sure of getting a seat. Battlefield Band to Perform April 18 Battlefield Band can best be described as a high-energy Scottish band. They have just completed their sixth album (Horae Is Where the Van Is, for the Flying Fish label). -
Heartland of German History
Travel DesTinaTion saxony-anhalT HEARTLAND OF GERMAN HISTORY The sky paThs MAGICAL MOMENTS OF THE MILLENNIA UNESCo WORLD HERITAGE AS FAR AS THE EYE CAN SEE www.saxony-anhalt-tourism.eu 6 good reasons to visit Saxony-Anhalt! for fans of Romanesque art and Romance for treasure hunters naumburg Cathedral The nebra sky Disk for lateral thinkers for strollers luther sites in lutherstadt Wittenberg Garden kingdom Dessau-Wörlitz for knights of the pedal for lovers of fresh air elbe Cycle route Bode Gorge in the harz mountains The Luisium park in www.saxony-anhalt-tourism.eu the Garden Kingdom Dessau-Wörlitz Heartland of German History 1 contents Saxony-Anhalt concise 6 Fascination Middle Ages: “Romanesque Road” The Nabra Original venues of medieval life Sky Disk 31 A romantic journey with the Harz 7 Pomp and Myth narrow-gauge railway is a must for everyone. Showpieces of the Romanesque Road 10 “Mona Lisa” of Saxony-Anhalt walks “Sky Path” INForMaTive Saxony-Anhalt’s contribution to the history of innovation of mankind holiday destination saxony- anhalt. Find out what’s on 14 Treasures of garden art offer here. On the way to paradise - Garden Dreams Saxony-Anhalt Of course, these aren’t the only interesting towns and destinations in Saxony-Anhalt! It’s worth taking a look 18 Baroque music is Central German at www.saxony-anhalt-tourism.eu. 8 800 years of music history is worth lending an ear to We would be happy to help you with any questions or requests regarding Until the discovery of planning your trip. Just call, fax or the Nebra Sky Disk in 22 On the road in the land of Luther send an e-mail and we will be ready to the south of Saxony- provide any assistance you need. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
The Program E E
W the program E E 24 K june RISING STAR SERIES 4 y a d s Daria Rabotkina, piano e u T 8 PM “FLOW MY TEARES” (1600) John Dowland (1563-1626)/arr. Daria Rabotkina SONATA IN E MAJOR, K. 162 (1756-57) Domenico Scarlatti (1685-1757) Andante—Allegro—Andante—Allegro SELECTIONS FROM ORDRE 18ÈME DE CLAVECIN IN F MAJOR (1722) François Couperin (1668-1733) ITALIAN CONCERTO, BWV 971 ( ca . 1735) Johann Sebastian Bach (1685-1750) [without tempo designation] Andante Presto :: intermission :: SONATINE (1903-05) Maurice Ravel (1875-1937) Modéré Mouvement de menuet Animé SONATA NO. 3 IN A MINOR FOR PIANO, OP. 28 (1917) Sergei Prokofiev (1891-1953) Allegro tempestoso—Moderato—Allegro tempestoso—Moderato—Più lento—Più animato—Allegro I—Poco più mosso FANTASY SUITE AFTER BIZET’S CARMEN , 1ST MOVEMENT Sergei Rabotkin (b. 1953) This concert is made possible in part through the generosity of Pat Petrou. Ms. Rabotkina is a winner of the Concert Artists Guild International Competition and is represented by Concert Artists Guild. concertartists.org 33RD SEASON | ROCKPORT MUSIC :: 51 “FLOW MY TEARES” John Dowland (b. London, 1563; d. London, February 20, 1626)/arr. Daria Rabotkina Composed 1600 Non otthees program In addition to wide-ranging “traditional” piano repertoire, Daria Rabotkina has acquired a substantial store of piano works borrowed and adapted from far-flung places in the music by world, including her own concert arrangement* of ragtime legend “Luckey” Roberts’s “Pork Sandra Hyslop and Beans.” As the opening offering on this evening’s concert—in contrast to the fantasy on Bizet’s stormy opera Carmen with which she closes—Ms. -
The Lute's Influence on Seventeenth-Century Harpsichord
Audrey S. Rutt 12 April 2017 A BLEND OF TRADITIONS: THE LUTE’S INFLUENCE ON SEVENTEENTH-CENTURY HARPSICHORD REPERTOIRE The Harpsichord ◦ Mechanically, a hybrid instrument ◦ Like the organ: ◦ chromatic keyboard with one pitch per key ◦ well-suited for polyphony and accompaniment ◦ Like the lute: ◦ plucked string instrument ◦ must account for quick sound decay by forms of arpeggiation ◦ Existent by the fifteenth century ◦ Not widely manufactured until the sixteenth century The Organ’s Influence ◦ The early harpsichord style was not distinct from the organ’s ◦ Pieces not designated specifically for either keyboard instrument ◦ Early works were simply transcriptions of vocal or ensemble pieces ◦ Obras de musica para tecla, arpa, y vihuela (Antonio Cabezón, 1510-1566) ◦ vocal transciptions arranged generally for polyphonic string instruments ◦ The broadness of this collection could include the harp, the Spanish vihuela, and the keyboard ◦ suggests that “the stringed keyboard instruments had not developed enough of a basic style to warrant independent compositions of their own” ◦ Early harpsichord composers were also organists, so idioms of the organ tradition were assumed The Organ Tradition ◦ For many centuries, the primary keyboard instrument ◦ Robertsbridge Codex (1320) is first example of newly-composed repertoire but follows vocal tradition closely ◦ Development of a true organ style ◦ Conrad Paumann (1410-1473), Paul Hofhaimer (1459-1537), Andrea Gabrieli (1533-1585) ◦ Fundamentum organisandi ◦ used florid, rhythmically varying upper -
Trumpet, Cornet, Flugelhorn GRADE 6 from 2017
Trumpet, Cornet, Flugelhorn GRADE 6 from 2017 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Albrechtsberger Larghetto: 3rd movt from Concertino (Brass Wind) 2 J. S. Bach Esurientes implevit bonis (from Magnificat). Baroque Around the Clock for Trumpet, arr. Blackadder and Gout (Brass Wind) 3 Fiala Largo (observing cadenza): 1st movt from Divertimento in D (Faber) 4 Gibbons The King’s Juell. No. 4 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 5 Handel Allegro: 2nd movt from Sonata (in A b), Op. 1 No. 11. No. 2 from Handel Two Sonatas, trans. Varasdy and Orbán (Editio Musica Budapest Z.13933) 6 Haydn Andante: 2nd movt from Trumpet Concerto in E b, Hob. VIIe/1 (Henle HN 456 or Universal HM 223: B b/E b edition) 7 Mendelssohn Allegretto grazioso only. Mendelssohn Songs without Words Nos 9 and 30, arr. Round (Wright & Round ) 8 Mozart Alleluia (from Exultate Jubilate). Trumpet in Church, arr. Denwood (Emerson E283) 9 Stanley Trumpet Voluntary, Op. 6 No. 5. No. 11 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP ) LIST B 1 Leroy Anderson A Trumpeter’s Lullaby (Alfred 41061) 2 Gershwin Theme (from Rhapsody in Blue). Concert Repertoire for Trumpet, arr. Calland (Faber) 3 Hubeau Sarabande: 1st movt from Sonata for Trumpet (Durand: B b/C edition) 4 Bryan Kelly Colonel Glib (Retired) or The Chase: No. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members As at 12Th April 1981 Abbreviations: F in Left-Hand Margin Denotes Fellow
FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members as at 12th April 1981 Abbreviations: F in left-hand margin denotes Fellow. After the name: M - maker; R - restorer; C - collector; P - performer; L - lecturer/teacher; W - writer; D - dealer; res - research (not yet W or L) NB: No distinction is made between amateur and professional, nor between the beginner and the highly experienced. This is a list of members and their interests; it is not a trade list nor a professional register. Richard W.Abel, Beatty Run Road, RD no.5, Franklin, PA 16525, USA; tel: (814) 574-4H9 (woodwind; R,C,P). Ian Abernethy, 21 Bridge Street, Kelso, Roxburghshire, Scotland TD5 7HT, UK; tel: 5805 (recorder, P; keybds, M). Bernard Adams, 2025-55 St. SW, Calgary, Alberta, Canada T5E 2X5; tel: (405) 242-8946 (string instrs, ww; M,R). Gerald Adams, 252 Queens Road, Norwich, Norfolk, UK (plucked str. instrs, hurdy-g, bar. guitar; M). Robin Adams, 2 Tunbridge Court, Sydenham Hill, London SE26 6RR, UK. Gilliam Alcock - see Terence McGee (dulcmr, banjo, hpschd, M; dulcmr, hpschd, concertina, P). Christopher Allworth, RR5-1110, Yarmouth, Nova Scotia, Canada B5A 4A7 (med. string instrs; M,P). AMLI Central Library for Music & Dance, 26 Bialik Street, POB 4882, Tel-Aviv, Israel; tel: Tel-Aviv 58106 (all instrs). Susan Elizabeth Andersen - see Theo Miller (psalteries, M; recorders, P). Lars H.Andersson, Vaisalavagen 8, 02150 Esbo 15, Finland; tel: 9O-46444O (viol; M,P). Peter B.Armitage, 52 Downs Road, Epsom, Surrey KT18 5JN, UK; tel: Epsom 22560 (violin fam. & other string instrs).