Full Repertoire List (Updated February 2021)

Total Page:16

File Type:pdf, Size:1020Kb

Full Repertoire List (Updated February 2021) Full repertoire list (updated February 2021) Pre-classical Johan Sebastian Bach (1685 – 1750) Selection of fugues from Die Kunst der Fuge BWV 1080 arr. for string quartet Selection of fugues from Das Wohltemperiertes Klavier BWV 846-893 arr. for string quartet Selection of canons BWV 1072-1086 arr. for string quartet Ricercar a 6 from Musikalisches Opfer BWV 1079 arr. for string sextet Choral preludes BWV 662 & 731 arr. for string quartet Guillaume de Machaut (ca. 1300 – 1377) Selection of Messe de nostre dame arr. for string quartet by D. Faber Josquin des Prez (1450 – 1521) Mille regretz arr. for string quartet by D. Faber Giovanni Gabrieli (ca. 1555 – 1612) Sonata con XXI con tre violini arr. for string quartet by M. Wester Carlo Gesualdo (1566 – 1613) Selection of Madrigali libro sesto arr. for string quartet by D. Faber Johannes Ockeghem (ca. 1410 – 1497) Selection from Missa Prolationum arr. for string quartet by D. Faber Giovanni Pierluigi da Palestrina (ca. 1525 – 1594) Ave Marie á 4 arr. for string quartet by D. Faber Giovanni Pergolesi (1710 – 1736) Stabat Mater for soprano, alto, string quartet and continuo Perotin (fl. c. 1200) Viderunt Omnes arr. for string quartet by D. Faber Jean-Philippe Rameau (1683 – 1764) Entrée de Polymnie from Les Boreades arr. for string quintet by D. Faber Ouverture, 2 Gavottes & Chacony from Castor & Pollux arr. for string quartet by D. Faber Heinrich Schütz (1585 – 1672) Also hat Gott die Welt geliebt SWV 380 arr. for string quartet by D. Faber Jan Pieterszoon Sweelinck (1562 – 1621) Selection of Psalms arr. for string quartet by the D. Faber Classical Ludwig van Beethoven (1770 – 1827) String quartet op. 18 no. 1 in F Major String quartet op. 18 no. 2 in G Major String quartet op. 18 no. 6 in B-flat Major String quartet op. 59 no. 2 in E Minor String quartet op. 127 in E-flat Major String quartet op. 130 in B-flat Major (with Grosse Fuge and/or alternative Allegro finale) String quartet op. 132 in A Minor Piano Concerto no. 4 op. 58 in G major arr. for piano and string quintet Symphony no. 6 op. 68 in F major arr. for string sextet Johannes van Bree (1801 – 1857) Allegro for four string quartets Joseph Haydn (1732 – 1809) String quartet op. 20 no. 1 in E-flat Major String quartet op. 20 no. 2 in C Major String quartet op. 20 no. 3 in G Minor String quartet op. 20 no. 4 in D Major String quartet op. 20 no. 5 in F minor String quartet op. 20 no. 6 in A major String quartet op. 33 no. 1 in B Minor String quartet op. 33 no. 3 in C Major String quartet op. 33 no. 4 in B-flat Major String quartet op. 54 no. 2 in C Major String quartet op. 64 no. 3 in B-flat Major String quartet op. 76 no. 1 in G Major String quartet op. 76 no. 4 in B-flat Major Sonnenaufgang String quartet op. 76 no. 5 in D major Wolfgang Amadeus Mozart (1756 – 1791) String quartet K. 387 in G Major String quartet K. 465 in C Major Dissonance String quartet K. 589 in B-flat Major Prussian Piano concert K. 414 in A major arr. for piano and string quartet by Mozart String quintet K. 593 in D Major Clarinet quintet K. 581 in A Major Selection of aria’s from Don Giovanni & Die Zauberflöte arr. for clarinet quintet by J. van Driel & M. Wester Romantic Johannes Brahms (1833 – 1897) String quartet op. 51 no. 1 in C Minor String quartet op. 51 no. 2 in A Minor String quartet op. 67 in B-flat major Piano quintet op. 34 in F minor Clarinet quintet in B minor op. 115 String quintet in G major op. 111 Wide selection of choral, piano, orchestral and organ works s arr. for string quartet by D. Faber & J. van Driel Selection of songs arr. for baritone and string quartet by D. Faber & J. van Driel Anton Bruckner (1824 – 1896) String quintet F major, WAB 112 Ernest Chausson (1855 – 1899) Concerto op. 21 in D Minor for violin, string quartet and piano Antonin Dvořák (1841 – 1904) String sextet op. 48 in A Major String quartet op. 61 in C Major Piano quintet op. 81 in A Major César Franck (1822 – 1890) Piano quintet in F minor Mikhail Glinka (1804 – 1857) Grand sextet for piano, string quartet and double bass in E-flat major Edvard Grieg (1843 – 1907) String quartet no. 1 op. 27 in G Minor String quartet no. 2 EG 117 in F Major (unfinished) Felix Mendelssohn (1809 – 1847) String quartet op. post. 80 in F Minor Octet op. 20 in E-flat Major Ottorino Respighi (1879 – 1936) Il Tramonto for mezzo-soprano and string quartet Julius Röntgen (1855 – 1932) Concerto for string quartet and orchestra Franz Schubert (1797 – 1828) Five menuets and six trios D.89 String quartet D. 87 op. 125 no. 1 in E-flat Major String quartet D. 703 Quartettsatz in C minor String quartet D. 804 Rosamunde in A minor String quartet D. 810 Der Tod und Das Mädchen in D minor String quartet D. 887 in G major String quintet D. 965 in C major Octet D. 803 in F Major Robert Schumann (1810 – 1856) String quartet op. 41 no. 1 in A Minor String quartet op. 41 no. 3 in A Major Piano quintet op. 44 in E-flat Major Cello concerto op. 129 in Minor arr. for cello and string quartet by A. Karttunen Johann Strauss Sr. (1804 – 1849) Wiener-Gemüths-Walzer op. 116 arr. for string quartet by David Faber Piotr Ilitch Tchaikovsky (1840 – 1893) String quartet no. 3 op. 30 in E-flat Minor String sextet op. 70 in D Minor Souvenir de Florence Johannes Verhulst (1816 – 1891) String quartet no. 2 op. 6 in A-flat Major Richard Wagner (1813 – 1883) Prelude an Liebestod from Tristan und Isolde arr. for string quartet and accordion by Max Knigge Carl Maria von Weber (1786 – 1826) Clarinet quintet in B-flat Major op. 36 20th century Grazyna Bacewicz (1909 – 1969) String quartet no. 4 Henriëtte Bosmans (1895-1952) String quartet (1927) Benjamin Britten (1913 – 1976) Phantasy Quartet for oboe and string trio op. 2 Bela Bartók (1881 – 1945) Romanian Folk Dances Sz. 56 arr. for string quartet and clarinet quartet by D. Faber String quartet no. 1 op. 7 Sz. 40 String quartet no. 5 Sz. 102 Adolf Busch (1891 – 1952) Quintet for alto saxophone and string quartet (1928) Claude Debussy (1862 – 1918) String quartet op. 10 in G Première Rhapsody arr. for clarinet, flute, harp and string quartet Selection of Préludes Livre I arr. for string quartet by D. Faber Karl Amadeus Hartmann (1905 – 1963) Kammerkonzert for clarinet, string quartet and string orchestra String quartet no. 1 Carillon Leos Janácek (1854 – 1928) String quartet no. 1 Kreutzer-Sonata György Kúrtag (*1926) 12 Mikroludiën op. 13 G. Ligeti (1923 – 2006) String quartet no. 1 Métamorphoses Nocturnes String quartet no. 2 Balada si joc arr. for string quartet by D. Faber Alberic Magnard (1865 – 1914) String quartet op. 16 in E Minor Olivier Messiaen (1908 – 1992) Oraison from Fete des Belles Eaux arranged for string quartet by D. Faber Darius Milhaud (1892 – 1974) La Création du monde arr. by the composer for piano quintet Hans Pfitzner (1869 – 1949) String quartet in C-sharp Minor op. 36 Sergei Prokofiev (1891 – 1953) String quartet no. 2 op. 92 On Kabardian Themes Overture on Hebrew themes op. 24 for piano, clarinet and string quartet Maurice Ravel (1875 – 1937) String quartet in F major Introduction and Allegro for harp, flute, clarinet and string quartet Robert de Roos (1907 – 1976) String quartet no. 8 (finished by Leo Samama) ★ Arnold Schoenberg (1875 – 1951) Verklärte Nacht for string sextet op. 4 String quartet no. 1 in D minor op. 7 Dmitri Shostakovich (1906 – 1975) Piani quintet op. 57 String quartet no. 1 op. 49 String quartet no. 5 op. 92 String quartet no. 7 op. 108 String quartet no. 8 op. 110 String quartet no. 10 op. 118 2 pieces for string quartet (Elegy & Polka, 1931) 7 preludes from op. 34 arr. for string quartet by J. van Driel & D. Faber Prelude & Scherzo for string octet op. 11 Matthijs Vermeulen (1888 – 1967) Quatuor (1960-’61) Heitor Villa-Lobos (1887 – 1959) String quartet no. 3 op. 17 Anton Webern (1883 – 1945) Langsamer Satz for string quartet (1905) String quartet op. 28 Mieczysław Weinberg String quartet no. 3 op. 14 in D minor Contemporary ★ = World première given by the Dudok Quartet Amsterdam Thomas Adés (*1971) Arcadiana op. 12 (1994) Bernard van Beurden (1933-2016) A4 for accordeon and string quartet (2010) Trygve Brøske (*1973) The old songs that got stuck in my head (2013) David Dramm (*1961) MASK for two violins and piano (2015) ★ Martin Fondse (*1967) Minute Menuets for piano quintet (2015) ★ Sofia Gubaidulina (*1931) Silenzio for bajan, violin and violoncello Paco Jordi (*1984) Nystagmus (2012) ★ Pavel Karmanov (*1970) String quaREtet (1997) Forellenquintet (1998) Holland for piano, soprano and string quartet (2007) ★ Tristan Keuris (1946 – 1996) String quartet no. 2 (1989) Clarinet quintet (1985) Max Knigge (*1984) Took my Suitcase (2008) ★ Hoor de wind waait… Variations on a Dutch folksong (2013) OhEngelOh revisited (2015) ★ Lauri Mäntysaari (*1982) Muove (2012) ★ Vladimir Martynov (*1946) Beatitudes for string quartet and pre-recorded string quartet Pim Moorer (*1954) Oh my Boy for soprano, recorder and string quartet (2016) ★ Maarten Ornstein (*1967) Big fella, show me the moves for piano quintet (2015) ★ De la Pantera (2021) Jesse Passenier (*1985) String quartet (2016) ★ Fantasy for string quartet, double bass, piano, flute and EWI (2016) ★ Emma-Ruth Richards Marinela de la predare plange (2011) ★ Wolfgang Rihm (*1952) Sextett for horn, clarinet and string quartet (2014) Steve Reich (*1936) Different trains for string quartet and tape Joey Roukens (*1982) What Remains… String quartet no.
Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
    [Show full text]
  • 6 Program Notes
    UMD Wind OrchestraUMD VIRTUOSI University Maryland of School Music of Presents March 3, 2018 . 8PM DEKELBOUM CONCERT HALL at The Clarice University of Maryland School of Music presents VIRTUOSI University of Maryland Wind Orchestra PROGRAM Michael Votta Jr., music director James Stern, violin Audrey Andrist, piano Kammerkonzert .........................................................................................................................Alban Berg I. Thema scherzoso con variazioni II. Adagio III. Rondo ritmico con introduzione James Stern, violin Audrey Andrist, piano INTERMISSION Serenade for Brass, Harp,Piano, ........................................................Willem van Otterloo Celesta, and Percussion I. Marsch II. Nocturne III. Scherzo IV. Hymne Danse Funambulesque .....................................................................................................Jules Strens I wander the world in a ..................................................................... Christopher Theofanidis dream of my own making 2 MICHAEL VOTTA, JR. has been hailed by critics as “a conductor with ABOUT THE ARTISTS the drive and ability to fully relay artistic thoughts” and praised for his “interpretations of definition, precision and most importantly, unmitigated joy.” Ensembles under his direction have received critical acclaim in the United States, Europe and Asia for their “exceptional spirit, verve and precision,” their “sterling examples of innovative programming” and “the kind of artistry that is often thought to be the exclusive
    [Show full text]
  • Isang Yun World Premiere: 06 Nov 1983 Trossingen, Germany Hugo Noth, Accordion; Joachim-Quartett
    9790202514955 Accordion, String Quartet Isang Yun World Premiere: 06 Nov 1983 Trossingen, Germany Hugo Noth, accordion; Joachim-Quartett Contemplation 1988 11 min for two violas 9790202516089 2 Violas Isang Yun photo © Booseyprints World Premiere: 09 Oct 1988 Philharmonie, Kammermusiksaal, Berlin, Germany Eckart Schloifer & Brett Dean ENSEMBLE AND CHAMBER WITHOUT VOICE(S) Availability: This work is available from Boosey & Hawkes for the world Bläseroktett Distanzen 1993 18 min 1988 16 min for wind octet with double bass ad lib. for wind quintet and string quintet 2ob.2cl.2bn-2hn-db(ad lib) 9790202516409 (Full score) 9790202518427 (Full score) World Premiere: 09 Oct 1988 World Premiere: 19 Feb 1995 Philharmonie, Kammermusiksaal, Berlin, Germany Stuttgart, Germany Scharoun Ensemble Stuttgarter Bläserakademie Conductor: Heinz Holliger Availability: This work is available from Boosey & Hawkes for the world Availability: This work is available from Boosey & Hawkes for the world Bläserquintett Duo for cello and harp 1991 16 min 1984 13 min for wind quintet (or cello and piano) fl.ob.cl.bn-hn 9790202514986 Cello, Harp 9790202580790 Flute, Oboe, Clarinet, Bassoon, Horn (score & parts) 9790202580806 Flute, Oboe, Clarinet, Horn, Bassoon (Full Score) World Premiere: 27 May 1984 Ingelheim, Germany Ulrich Heinen, cello / Gerda Ockers, harp World Premiere: 06 Aug 1991 Schleswig-Holstein Musik Festival, Altenhof bei Kiel, Germany Availability: This work is available from Boosey & Hawkes for the world Albert Schweitzer Quintett Espace II Concertino 1993 13 min 1983 17 min for cello, harp and oboe (ad lib.) for accordion and string quartet 9790202517475 Cello, Harp, (optional Oboe) 9790202518700 Accordion, String Quartet (string parts) World Premiere: 17 Sep 1993 St.
    [Show full text]
  • Piano; Trio for Violin, Horn & Piano) Eric Huebner (Piano); Yuki Numata Resnick (Violin); Adam Unsworth (Horn) New Focus Recordings, Fcr 269, 2020
    Désordre (Etudes pour Piano; Trio for violin, horn & piano) Eric Huebner (piano); Yuki Numata Resnick (violin); Adam Unsworth (horn) New focus Recordings, fcr 269, 2020 Kodály & Ligeti: Cello Works Hellen Weiß (Violin); Gabriel Schwabe (Violoncello) Naxos, NX 4202, 2020 Ligeti – Concertos (Concerto for piano and orchestra, Concerto for cello and orchestra, Chamber Concerto for 13 instrumentalists, Melodien) Joonas Ahonen (piano); Christian Poltéra (violoncello); BIT20 Ensemble; Baldur Brönnimann (conductor) BIS-2209 SACD, 2016 LIGETI – Les Siècles Live : Six Bagatelles, Kammerkonzert, Dix pièces pour quintette à vent Les Siècles; François-Xavier Roth (conductor) Musicales Actes Sud, 2016 musica viva vol. 22: Ligeti · Murail · Benjamin (Lontano) Pierre-Laurent Aimard (piano); Bavarian Radio Symphony Orchestra; George Benjamin, (conductor) NEOS, 11422, 2016 Shai Wosner: Haydn · Ligeti, Concertos & Capriccios (Capriccios Nos. 1 and 2) Shai Wosner (piano); Danish National Symphony Orchestra; Nicolas Collon (conductor) Onyx Classics, ONYX4174, 2016 Bartók | Ligeti, Concerto for piano and orchestra, Concerto for cello and orchestra, Concerto for violin and orchestra Hidéki Nagano (piano); Pierre Strauch (violoncello); Jeanne-Marie Conquer (violin); Ensemble intercontemporain; Matthias Pintscher (conductor) Alpha, 217, 2015 Chorwerk (Négy Lakodalmi Tánc; Nonsense Madrigals; Lux æterna) Noël Akchoté (electric guitar) Noël Akchoté Downloads, GLC-2, 2015 Rameau | Ligeti (Musica Ricercata) Cathy Krier (piano) Avi-Music – 8553308, 2014 Zürcher Bläserquintett:
    [Show full text]
  • Felix Mendelssohn's Career As a Composer
    10-27 Sat Mat.qxp_Layout 1 10/18/18 2:07 PM Page 29 Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair String Quintet in B-flat major, Op. 87 Felix Mendelssohn elix Mendelssohn’s career as a composer was not strictly that of the mainstream. As a Fand conductor was flourishing in 1845. result, certain of his works — such as the first He was considering competing job offers and last movements of this quintet — can from two crowned heads (the Kings of Prus - sometimes sound less like classic chamber sia and of Saxony), he was deriving satisfac - music than like little string symphonies, re - tion from his pet project of elevating the flecting a hierarchy in which the first violin Leipzig Conservatory into a world-class in - spends more time in the spotlight than the stitution, and he enjoyed great happiness on lower-lying “accompanying” instruments. In the home front, the more so when he and his fact, his interest in those first and last move - wife greeted the arrival of their fifth child, ments seems fixed less on the themes them - Lili. There is no way that the composer, who selves than on the harmonic and structural was only 36 years old, could have known processes used in developing them. Wilhelm when he wrote the B-flat-major Quintet that Altman, writing in the classic Cobbett’s Cyclo - it would be among his last works. He died two pedic Survey of Chamber Music , perspica - years later after a series of strokes.
    [Show full text]
  • Proton Nmr Spectroscopy
    1H NMR Spectroscopy (#1c) The technique of 1H NMR spectroscopy is central to organic chemistry and other fields involving analysis of organic chemicals, such as forensics and environmental science. It is based on the same principle as magnetic resonance imaging (MRI). This laboratory exercise reviews the principles of interpreting 1H NMR spectra that you should be learning right now in Chemistry 302. There are four questions you should ask when you are trying to interpret an NMR spectrum. Each of these will be discussed in detail. The Four Questions to Ask While Interpreting Spectra 1. How many different environments are there? The number of peaks or resonances (signals) in the spectrum indicates the number of nonequivalent protons in a molecule. Chemically equivalent protons (magnetically equivalent protons) give the same signal in the NMR whereas nonequivalent protons give different signals. 1 For example, the compounds CH3CH3 and BrCH2CH2Br all have one peak in their H NMR spectra because all of the protons in each molecule are equivalent. The compound below, 1,2- dibromo-2-methylpropane, has two peaks: one at 1.87 ppm (the equivalent CH3’s) and the other at 3.86 ppm (the CH2). 1.87 1.87 ppm CH 3 3.86 ppm Br Br CH3 1.87 ppm 3.86 10 9 8 7 6 5 4 3 2 1 0 2. How many 1H are in each environment? The relative intensities of the signals indicate the numbers of protons that are responsible for individual signals. The area under each peak is measured in the form of an integral line.
    [Show full text]
  • Download Program Notes
    Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Piano Quintet in F minor, Op. 34 Johannes Brahms ohannes Brahms was 29 years old in 1862, seated at the other piano. Ironically, critics Jwhen he embarked on this seminal mas- now complained that the work lacked the terpiece of the chamber-music repertoire, sort of warmth that string instruments would though the work would not reach its final have provided — the opposite of Joachim’s form as his Piano Quintet until two years objection. Unlike the original string-quintet later. He was no beginner in chamber music version, which Brahms burned, the piano when he began this project. He had already duet was published — and is still performed written dozens of ensemble works before and appreciated — as his Op. 34bis. he dared to publish one, his B-major Piano By this time, however, Brahms must have Trio (Op. 8) of 1853–54. Among those early, grown convinced of the musical merits of his unpublished chamber pieces were 20-odd material and, with some coaxing from his string quartets, all of which he consigned friend Clara Schumann, he gave the piece to destruction prior to finally publishing his one more try, incorporating the most idiom- three mature works in that classic genre in atic aspects of both versions. The resulting the 1870s. In truth, he did get some use out Piano Quintet, the composer’s only essay of those early quartets — to paper the walls in that genre (and no wonder, after all that and ceilings of his apartment.
    [Show full text]
  • Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr
    ÉRTZ, SIMON ISTVÁN, D.M.A. Beyond Extended Techniques: Fundamental Techniques in Viola Spaces of Garth Knox. (2016) Directed by Dr. Scott Rawls. 49 pp. Viola Spaces are often seen as interesting extra projects rather than valuable pedagogical tool that can be used to fill where other material falls short. These works can fill various gaps in the violist’s literature, both as pedagogical and performance works. Each of these works makes a valuable addition to the violist’s contemporary performance repertoire as a short, imaginative, and musically satisfying work and can be performed either individually or as part of a smaller set in a larger program (see Appendix A). They all also present interesting technical challenges that explore what are seen as extended techniques but can also be traced back to work on some of the fundamentals of viola technique. Etudes for viola are often limited to violin transcriptions mostly written in the eighteenth, nineteenth, or early twentieth centuries. Contemporary etudes written specifically for viola are valuable but are usually not as comprehensive or as suitable for performance etudes as are Viola Spaces. Few performance etudes cover the technical varieties that are presented in these works of Garth Knox. In this paper I will discuss the historical background of the viola and etudes written for viola. Many viola etudes written in the earlier history of the viola have not continued to be published; this study will also look at why some survived and others are no longer used. Compared to literature for the violin there are large gaps in the violists’ repertoire that Viola Spaces does much to fill; furthermore many violinists have asked for transcriptions of these works.
    [Show full text]
  • 103 CHAPTER V STRING SEXTET, OP. 47 in the Standard
    CHAPTER V STRING SEXTET, OP. 47 In the standard instrumentation of two violins, two violas, and two cellos, only a half-dozen works for string sextet, all from the Romantic tradition, enjoy a place in the standard repertoire today. These are: the two sextets of Johannes Brahms, op. 18 in B f and op. 36 in G; Dvorak’s Sextet in A, op. 48; and the program works of the Romantic era, Schoenberg’s Verklärte Nacht, Tchaikowsky’s Souvenir di Florence, and Richard Strauss’s Prelude to Capriccio. The efforts by Vincent d’Indy and Joseph Joachim Raff, as well as a handful of their lesser-known contemporaries, have fallen into obscurity. In the post-Romantic era, contributions to the genre have come from Frank Bridge, Erich Korngold, Bohuslav Martinu˚, Darius Milhaud, Walter Piston, Quincy Porter, and Max Reger, along with a few dozen works from lesser-known composers.1 Part of the reason for this sparsity of repertoire can be attributed to the overwhelming popularity of the string quartet, which since Haydn’s time has been the accepted proving ground for composers of chamber music. Another factor, in the post- 1 Margaret K. Farish, String Music in Print, 2nd ed. (New York, R.R. Bowker & Co, 1973), 289–90; 1984 Supplement (Philadelphia: Musicdata, Inc., 1984), 99–101; 1998 Supplement (Philadelphia: Musicdata, Inc.), 101–4. This periodically updated catalog offers the most complete listing of string chamber music available in the last thirty years. 103 104 tonal era, is the exploration of new and atypical sound combinations, which has led to a great proliferation of untraditional mixed ensembles, including acoustic and electronic instruments.
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]
  • Guide to Repertoire
    Guide to Repertoire The chamber music repertoire is both wonderful and almost endless. Some have better grips on it than others, but all who are responsible for what the public hears need to know the landscape of the art form in an overall way, with at least a basic awareness of its details. At the end of the day, it is the music itself that is the substance of the work of both the performer and presenter. Knowing the basics of the repertoire will empower anyone who presents concerts. Here is a run-down of the meat-and-potatoes of the chamber literature, organized by instrumentation, with some historical context. Chamber music ensembles can be most simple divided into five groups: those with piano, those with strings, wind ensembles, mixed ensembles (winds plus strings and sometimes piano), and piano ensembles. Note: The listings below barely scratch the surface of repertoire available for all types of ensembles. The Major Ensembles with Piano The Duo Sonata (piano with one violin, viola, cello or wind instrument) Duo repertoire is generally categorized as either a true duo sonata (solo instrument and piano are equal partners) or as a soloist and accompanist ensemble. For our purposes here we are only discussing the former. Duo sonatas have existed since the Baroque era, and Johann Sebastian Bach has many examples, all with “continuo” accompaniment that comprises full partnership. His violin sonatas, especially, are treasures, and can be performed equally effectively with harpsichord, fortepiano or modern piano. Haydn continued to develop the genre; Mozart wrote an enormous number of violin sonatas (mostly for himself to play as he was a professional-level violinist as well).
    [Show full text]
  • Memorandum LIBRARY of CONGRESS
    UNITED STATES GOVERNMENT Memorandum LIBRARY OF CONGRESS 5JSC/LC/12 TO: Joint Steering Committee for Development of RDA DATE: February 6, 2008 FROM: Barbara B. Tillett, LC Representative SUBJECT: Proposed revision of RDA chap. 6, Additional instructions for musical works and expressions The Library of Congress is submitting rule revision proposals for the RDA December 2007 draft chapter 6 instructions for musical works and expressions. Goals of proposals 1. To maintain the additional instructions for music intact (although LC recommends integrating them with the general instructions after the first release of RDA). 2. To fill in gaps in the AACR2 rules carried over into RDA by a. Incorporating selected AACR2 rule revisions; b. Adding instructions that clarify, make explicit, or expand some principles and instructions carried over from AACR2; c. Proposing new instructions. 3. To simplify some unnecessarily complex instructions. 4. To arrange certain subsections in the six major instructions in a more logical way, based wherever possible on principles that group together types of resources having common characteristics. 5. To revise the instructions for medium of performance to provide for all media found in resources and to do that using vocabulary that adheres as closely as possible to the principle of representation: incorporating words the composer or resource uses. 6. To revise or eliminate instructions LC finds unworkable based on past experience with AACR2 (e.g., the instructions for key (6.22) in section M of this document). 7. In the interest of simplification, to eliminate vexing terms catalogers have spent inordinate amounts of time interpreting when using AACR2 (e.g., “type of composition” as a formal term when all it need be is a useful phrase; “score order”).
    [Show full text]