MUSICAL INSTRUMENTS a Fine Art Underwriting Primer
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Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker. -
Die Sammlung Historischer Streichinstrumente Der Oesterreichischen Nationalbank
OESTERREICHISCHE NATIONALBANK EUROSYSTEM Die Sammlung historischer Streichinstrumente der Oesterreichischen Nationalbank The collection of Historical String Instruments of the Oesterreichische Nationalbank Inhaltsverzeichnis Contents Impressum Medieninhaberin: Oesterreichische Nationalbank, Otto-Wagner-Platz 3, 1090 Wien, T: (+43 1) 404 20-6605, F: (+43 1) 404 20-6697, www.oenb.at Redaktion: Mag. Brigitte Alizadeh-Gruber, Muna Kadum, Martina Leitner, Mag. Irene Mühldorf Grafik, Layout und Satz: Melanie Schuhmacher Fotos: © Graphisches Atelier Neumann, Wien Druck: Oesterreichische Nationalbank, Abteilung für Öffentlichkeitsarbeit und Publikationen, Gruppe Multimedia-, Internet- und Print-Service. © Oesterreichische Nationalbank, 2013. Streichinstrumente/ String Instruments 9 Amati Andrea 10 Violoncello, Cremona, spätes 16. Jh. 10 Bergonzi Carlo 12 Violine, Cremona 1723 12 Violine, Cremona nach 1724 14 Bergonzi Michelangelo 16 Violine, Cremona um 1740 16 Violine, „ex Hamma-Segelman“, Cremona um 1750 18 Camilli Camillus 20 Violine, Mantua 1736 20 Ceruti Giovanni Battista 22 Viola, Cremona um 1810 22 Gagliano Alessandro 24 Violoncello, Neapel ca. 1710 24 Grancino Giovanni 26 Violoncello, „ex Piatti“ – „ex Dunlop“, Mailand 1706 26 Guadagnini Giovanni Battista 28 Violoncello, „ex von Zweygberg“, Piacenza 174. 28 Violine, Mailand 1749 30 Violine, „ex Meinel“, Turin um 1770–1775 32 Violine, Turin 1772 34 Violine, „Mantegazza“, Turin 1774 36 Violine, Turin 177. 38 Viola, Turin 1784 40 Guarneri Andrea 42 Violine, Cremona, Mitte 17. Jh. 42 Guarneri del Gesù Giuseppe 44 Violine, „ex Sorkin“, Cremona 1731 44 Violine, „ex Guilet“, Cremona nach 1732 46 Violine, „ex Carrodus“, Cremona 1741 48 Lorenzini Gaspare 50 Violine, Piacenza um 1760 50 Maggini Giovanni Paolo 52 Viola, Brescia, frühes 17. Jh. 52 Montagnana Domenico 54 Violine, Venedig 1727 54 Seraphin Sanctus 56 Violine, Venedig 1733 56 Violine, „ex Hamma“, Venedig nach 1748 58 Silvestre Pierre 60 Violine, „ex Moser“, Lyon ca. -
TANGLEWOOD MUSIC CENTER FELLOWS GEORGE BENJAMIN, Conductor
Monday, August 12, 8 p.m. Florence Gould Auditorium, Seiji Ozawa Hall TANGLEWOOD MUSIC CENTER FELLOWS GEORGE BENJAMIN, conductor GEORGE BENJAMIN Written on Skin (2009-12; U.S. premiere) Opera in Three Parts after the anonymous 13th century razo “Guillem de Cabestanh—Le Coeur Mangé” Text by Martin Crimp Concert performance Agnès.......................LAURENSNOUFFER,soprano Protector . .EVAN HUGHES, bass-baritone* Angel 1/Boy . .AUGUSTINE MERCANTE, countertenor Angel 2/Marie . .TAMMY COIL, mezzo-soprano Angel3/John...........................ISAIAHBELL,tenor Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation and the Tanglewood Music Center Opera Fund. *Guest artist George Benjamin (b.1960) Written on Skin, Opera in Three Parts (2009-12) SYNOPSIS by Martin Crimp Part One I. Chorus of Angels “Erase the Saturday car-park from the market place—fade out the living—snap back the dead to life.” A Chorus of Angels takes us back 800 years, to a time when every book is a precious object “written on skin”. They bring to life two of the story’s protagonists: the Protector, a wealthy and intelligent landowner “addicted to purity and violence,” and his obedient wife—his “property” —Agnès. One of the angels then transforms into the third protagonist— “the Boy”—an illuminator of manuscripts. II. The Protector, Agnès and the Boy In front of his wife, the Protector asks the Boy to celebrate his life and good deeds in an illuminated book. It should show his enemies in Hell, and his own family in Paradise. As proof of his skill the Boy shows the Protector a flattering miniature of a rich and merciful man. -
Bass Drum Journal May 2018 of the Harvard University B and Vol
the bAss Drum JournAl May 2018 of the hArvArD university b AnD Vol. 98 No. 1 three Cheers for 100 yeArs ne of the really special things to me about the band is our Ohistory and the traditions that have emerged from it. When I was interviewing everyone running for junior staff, I asked each of them what their favorite silly band tradition was. I originally intended this to reduce tension and allow any nervous freshmen to relax with an easy frst question, but the responses I received highlighted many of the wonderful aspects of band. My most shocking takeaway from that question was that no two people had the same answer. All 24 people who were interviewed each had The Band caroling in downTown BosTon To spread The holiday spiriT a unique favorite tradition. While many we lead the band into its 100th year, answers were the ones I would expect: as many playing the bottle cheer. Looking maintaining its history and adding to it march down, flower/flour, confetti, forward, planning for the 100th Reunion is while we go. I’ve loved working with verse 2, cuts, and Bagpipes, there well underway. The reunion will take place on you all these past six months, and I were also many traditions the weekend of October 12th, 2019 when our have no doubts that you will all be great I had never even thought football team takes on Cornell. We’d love going forward and make the band even of, such as the trumpets to have as many crusts as possible, and I better. -
Quatuor Ébène
„A string quartet that can easily morph into a jazz band“ QUATUOR ÉBÈNE PIERRE COLOMBET (VIOLIN), GABRIEL LE MAGADURE (VIOLIN), MARIE CHILEMME (VIOLA), RAPHAËL MERLIN (VIOLONCELLO) wrote the New York Times after a 2009 performance by the Quatuor Ébène. The ensemble opened with Debussy and Haydn, and then improvised on a film music theme—with exactly the same enthusiasm and passion. What began in 1999 as a distraction in the university’s practice rooms for the four young French musicians, has become a trademark of the Quatuor Ébène, and has generated lasting reverberations in the music scene. The four breathe new life into chamber music through their consistently direct, open-minded perspective on the works. Regardless of the genre, they approach the music with humility and respect. They change styles with gusto, and yet remain themselves: with all the passion that they experience for each piece, and which they bring to the stage and to their audiences directly and authentically. There is no single word that describes their style: they’ve created their own. Their traditional repertoire does not suffer from their engagement with other genres; rather, their free association with diverse styles brings a productive excitement to their music. From the beginning, the complexity of their oeuvre has been greeted enthusiastically by audiences and critics. After studies with the Quatuor Ysaÿe in Paris and with Gábor Takács, Eberhard Feltz and György Kurtág, the quartet had an unprecedented victory at the ARD Music Competition 2004. This marked the beginning of their rise, which has culminated in numerous prizes and awards including the 2007 Borletti- Buitoni Trust and – as first ensemble ever - the 2019 Frankfurt Music Prize. -
1002775354-Alcorn.Pdf
3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin....... -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part. -
T19i EVOLUTION of the ROLE of the SOLO TROMBONE in THE
t19I A/o.80 EVOLUTION OF THE ROLE OF THE SOLO TROMBONE IN THE NINETEENTH AND TWENTIETH CENTURIES DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Karl G. Hinterbichler, B.M., M.M. Denton, Texas May, 1974 Hinterbichler, Karl G., Evolution of the Role of the Solo Trombone in the Nineteenth and Twentieth Centuries.: A Lecture Recital, Together with Three Recitals of Selected Works of Frescobaldi, White, Druckman, Jones, Baecher, Ott and Others. Doctor of Musical Arts, May, 1974, 43 pp., 18 illustrations, b bliography, 67 titles. The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoir. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were )rou ht to new heights by exclecnt study material and contest solos. -
How to Purchase Concert Percussion Accessories Cymbals
How To Purchase Concert Percussion Accessories by Neil W. Grover A more accurate title for this piece should be, “Concert Percussion Accessories; What To Purchase?” Buying is the easy part, deciding what to purchase is the task at hand. Acquiring a viable array of instruments for a student percussionist is an important, yet often neglected, part of a music educator’s core responsibilities. All too often, I encounter band rooms where quality percussion accessories are lacking, and unacceptable substitutes are used. For some reason, percussion accessories seem to be relegated to bottom of a music educator’s line item budget. Excuses like “my percussionists just don’t take care of the accessories” or “we already have a (rock) tambourine” breed an atmosphere whereby students are forced to play on inadequate instruments which would make even a pro like me sound unmusical! Playing musically is difficult enough with a good quality triangle, no less a cheap piece of junk! It’s important to realize that quality should not come at the expense of quantity. While being sensitive to budget restrictions is more important than ever, it is possible for the average music department to identify, and (over time), purchase an array of quality percussion accessories, which when cared for, provide many years of trouble free service. Percussion accessories run the gamut from whip to flexatone: triangle to log drum. For the purpose of this article, I will concentrate on those instruments which are most critical and basic to the educational percussion program. Cymbals Cymbals are instruments of great artistic expression. Just listen to a recording of Tchaikovsky’s “Romeo & Juliet Overture”, or Debussy’s tone poem “La Mer.” Ah, those glorious overtones, which can only be produced by a good set of cymbals. -
Written on Skin
WRITTEN ON SKIN 10. NOVEMBER 2018 ELBPHILHARMONIE GROSSER SAAL Sa, 10. November 2018 | 20 Uhr | Elbphilharmonie Großer Saal Elbphilharmonie für Kenner 1 | 2. Konzert 19 Uhr | Einführungsgespräch mit Martin Crimp und Johannes Blum im Großen Saal MULTIVERSUM GEORGE BENJAMIN MAHLER CHAMBER ORCHESTRA GEORGIA JARMAN AGNÈS EVAN HUGHES PROTECTOR BEJUN MEHTA ANGEL 1 / THE BOY VICTORIA SIMMONDS ANGEL 2 / MARIE ROBERT MURRAY ANGEL 3 / JOHN MARTIN CRIMP TEXT BENJAMIN DAVIS REGIE DIRIGENT SIR GEORGE BENJAMIN George Benjamin Written on Skin (2012) Semiszenische Aufführung in englischer Sprache Keine Pause / Ende gegen 21:45 Uhr Gefördert durch die 7797 BMW 8er HH Elbphil 148x210 Programmheft 2018.indd 1 08.08.18 10:45 WILLKOMMEN Nicht vielen Neukompositionen ist es vergönnt, sogleich Teil des Kanons zu werden. George L U X Benjamin gelang das Kunststück mit seiner 2012 uraufgeführten Oper »Written on Skin«, die seit her gut hundertmal in aller Welt gespielt wurde. AETERNA Darin geht es um eine unglückliche Affäre, den EIN MUSIKFEST FÜR DIE SEELE Weg einer Frau zu sich selbst und ein »auf Haut geschriebenes« Buch, das seinem Schöpfer am DIE TANZENDEN DERWISCHE AUS DAMASKUS, Ende den Tod bringt. Zum Auftakt von George NDR ELBPHILHARMONIE ORCHESTER, INGO METZMACHER, ENSEMBLE RESONANZ, PEKKA KUUSISTO, HOURIA AÏCHI, Benjamins aktueller, groß angelegter Residenz IVETA APKALNA, ANNA LUCIA RICHTER, GEORG NIGL, an der Elbphilharmonie kommen neben dem DUO NAQSH, ROKIA TRAORÉ, CRAIG TABORN dirigierenden Komponisten selbst viele Mitwir kende der Uraufführung nach Hamburg, darun ter der Countertenor Bejun Mehta und das ful 3. 27. FEBRUAR 2019 ELBPHILHARMONIE, LAEISZHALLE, minante Mahler Chamber Orchestra. ST. KATHARINEN, PLANETARIUM, ST. -
Vocal Philologies: Written on Skin and the Troubadours
Vocal Philologies: Written on Skin and the Downloaded from https://academic.oup.com/oq/article/33/3-4/207/4801221 by University of California, Irvine user on 14 September 2020 Troubadours emma dillon king’s college london Parchment or slate were precious materials to the medieval scholar—or com- poser—and they were used repeatedly for successive sketching. Today, many cen- turies later, surviving manuscripts appear chaotic, with a surface complexity almost resembling organic growth, although their straight lines reveal they are man-made. In deciphering these mysterious objects one can unravel the sequence of layers and trace back to the initial text. —George Benjamin, program note to Palimpsests for Orchestra (1998À2002)1 Protector: What is it that you are looking at? Boy: Nothing, says the Boy, thumbing the knife. Protector: Thinking about? Boy: I’m thinking that when this wood and this light are cut through by eight lanes of poured concrete, I’m thinking that the two of us and everyone we love will have been dead for a thousand years. Protector: The future’s easy: tell me about now. —George Benjamin, Written on Skin, text for music by Martin Crimp (Part II, scene 9)2 Parchment is an unexpected vocal source to bring to a special issue on the voice in contemporary opera studies. In a field such as medieval studies, my more familiar scholarly habitat, parchment is the common currency of the voice: the ultimate proxy for vocal acts that are long since gone. Voice in the context of parchment is synonymous with the philological activity required to decipher information about song-acts as they were transmitted, reworked, and sometimes corrupted in the me- dium of ink, notation, and skin.