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Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D
Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier. -
Espressivo Program Notes April 2018 the Evolution of Chamber Music For
Espressivo Program Notes April 2018 The evolution of chamber music for a mixed ensemble of winds and strings coincides with the domestication of the double bass. Previously used as an orchestral instrument or in dance music, the instrument was admitted into the salon in the late eighteenth century. The granddaddy of the genre is Beethoven’s Septet of 1800, for four strings, clarinet, horn and bassoon. Beethoven seems to have discovered that the largest string instrument, essentially doubling the cello an octave lower and with the capability to play six notes below the lowest note on the bassoon, provided overtones that enhanced the vibrations of the higher instruments. In any case, the popularity of the Septet, which sustains to this day, caused the original players to have a similar work commissioned from Franz Schubert, who added a second violin for his Octet (1824). (Espressivo performed it last season.) It is possible, if not probable, that Schubert’s good friend Franz Lachner wrote his Nonet for the same group, adding a flute, but the origins, and even the date of the composition are in dispute. An indicator might be the highlighting of the virtuosic violin part, as it would have been played by Ignaz Schuppanzigh, who had premiered both the Septet and the Octet. All three works, Septet, Octet and Nonet, have slow introductions to the first and last uptempo movements, and all include a minuet. All seem intended to please rather than to challenge. Beethoven’s Septet was commissioned by a noble patron for the delectation of his guests, as was Schubert’s Octet. -
A Performance Edition of the Opera Kaspar Der Fagottist by Wenzel Müller
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819) Susan Nita Barber Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Barber, Susan Nita, "A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819)" (2003). LSU Doctoral Dissertations. 2272. https://digitalcommons.lsu.edu/gradschool_dissertations/2272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE EDITION OF THE OPERA, KASPAR DER FAGOTTIST BY WENZEL MÜLLER (1767-1835), AS ARRANGED FOR HARMONIE BY GEORG DRUSCHETZKY (1745-1819) Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Susan Nita Barber B.M., State University of New York at Potsdam, 1988 M.M., The Juilliard School, 1990 May 2003 „ Copyright 2002 Susan N. Barber All rights reserved ii ACKNOWLEDGMENTS I would like to express my thanks to my husband, family, friends and colleagues for their support throughout the time that I have been engaged in my research and writing for this degree. -
L'age D'or of the Chamber Wind Ensemble
L’Age d’or of the Chamber Wind Ensemble A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Ensembles and Conducting Division of the College-Conservatory of Music 2013 by Danielle D. Gaudry BM, McGill University, 2000 BE, University of Toronto, 2001 MM, The Pennsylvania State University, 2009 Committee Chair: Terence Milligan, DMA ABSTRACT This document presents a narrative history of the chamber wind ensembles led by Paul Taffanel, Georges Barrère and Georges Longy in the late nineteenth and early twentieth centuries. Using different historical approaches, this study examines contemporaneous musical society and the chamber wind ensemble genre to explore the context and setting for the genesis of the Société de musique de chambre pour instruments à vents, the Société moderne des instruments à vents, the Longy Club and the Barrère Ensemble of Wind Instruments. A summary of each ensemble leader’s life and description of the activities of the ensemble, selected repertoire and press reactions towards their performances provide essential insights on each ensemble. In demonstrating their shared origins, ideologies, and similarities in programming philosophies, this document reveals why these chamber wind ensembles created a musical movement, a golden age or age d’or of wind chamber music, affecting the local music scene and continuing to hold influence on today’s performers of wind music. ""!! ! Copyright 2013, Danielle D. Gaudry """! ! ! ACKNOWLEDGMENTS I would like to extend my deepest gratitude to all those who have been a part of my journey, both in the completion of this document and over the course of this degree. -
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). -
Rivera, Doctor of Musical Arts, 2016
ABSTRACT Title of Dissertation: W.A. MOZART’S DIE ZAUBERFLÖTE AN ARRANGEMENT AND PERFORMANCE EDITION FOR WIND INSTRUMENTS AND VOCAL SOLOISTS Anthony Rivera, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. Michael Votta, Jr., School of Music The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble1 to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of 1 The instrumentation model of most current US university band programs is based on the instrumentation of the original 1952 Eastman Wind Ensemble. the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring. -
Solo Oboe, English Horn with Band
A Nieweg Chart Solo Oboe or Solo English Horn with Band or Wind Ensemble 95 editions April 2017 The 2017 Chart is an update of the 2010 Chart. It is not a complete list of all available works for Oboe or EH and band. Works with prices listed are for sale from any music dealer. Prices current as of 2010. Look at the publisher’s website for the current prices. Works marked rental must be hired directly from the publisher listed. Sample Band Instrumentation code: 3fl[1.2.3/pic] 2ob 7cl[Eb.1.2.3.acl.bcl.cbcl] 3bn[1.2.cbn] 4sax[a.a.t.b] — 4hn 3tp 3tbn euph tuba double bass — tmp+3perc — hp, pf, cel This listing gives the number of parts used in the composition, not the number of players. ------------------ Abbado, Marcello (b. Milan, 1926; ) Concerto in C minor (complete) Arranger / Editor: Trans. Charles T. Yeago Instrumentation: Oboe solo and band Pub: BAS Publishing. SOS-217 http://www.baspublishing.com ------------------ ALBINONI, Tommaso (1674-1745) Concerto in F for TWO Oboes and Band Adapted: Paul R. Brink Grade Level: Medium Pub: Bas Publishing Co.; Score and band set SOS-226 -$65.00 | 2 oboes and piano ENS-708. $10.00 ------------------ ARENZ, Heinz (b. 1924) German wind director, administrator, and composer Concertino fur Solo Oboe und Blasorchester Dur: 7'39" Grade Level: solo 6, band 5 Pub: HeBu Music Publishing; Band score and set 113.00 € Oboe and Piano 11.00 € ------------------ ATEHORTUA, Blas Emilio (b. Medellin, Columbia, 3 October 1933) Concerto for Oboe and Wind Symphony Orchestra Instrumentation listed <http://www.edition-peters.com/pdf/Albinoni-Grieg.pdf> Dur: 15' Pub: C. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
16-1108 Program
NEC Wind Ensemble Charles Peltz, conductor with This organization is supported in part Frank Epstein, guest conductor by the Massachusetts Cultural Council, a state agency, and by a grant from the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council and administrated by the Mayor’s Office of Arts, Tourism, and Special Events. Unauthorized use of cameras and tape recorders is not allowed in Jordan Hall. Please switch off cellular phones, pagers, and watch alarms. Assistive Listening Devices are available for Jordan Hall concerts at the coatroom, or by contacting the Head Usher or House Manager on duty. necmusic.edu/cloud Connect with NEC and our music on Facebook, Twitter, and beyond, and sign up for e-mail news bulletins. Tuesday, November 8, 2016 7:30 p.m. NEC’s Jordan Hall necmusic.edu/concerts Upcoming Wind Ensemble Concerts at NEC –continued PROGRAM NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , ____________________ William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors A Holiday Concert Thursday, December 1, 2016 at 7:30 p.m., Jordan Hall Giovanni Gabrieli Canzona X NEC SYMPHONIC WINDS , NEC CHAMBER SINGERS , NAVY BAND NORTHEAST , (ca. 1554–ca. 1612) William Drury, Erica Washburn, and Lt. Cmdr. Greg Fritz, conductors ed. Salfelder/Peltz A Holiday Concert, part of the Brown Bag Concert series Wednesday, December 7, 2016 at 12:00 noon, Mechanics Hall, Worcester, MA (free admission) Edgard Varèse Ionisation (1929-1931) NEC WIND ENSEMBLE STUDENT CONDUCTORS – Holly Hyun Choe, Emily Eng, and (1883–1965) Harris Malasky – conduct members of the wind ensembles Frank Epstein, guest conductor Thursday, December 15, 2016 at 7:30 p.m., Brown Hall Carl Reinecke Octet in B-flat, op. -
Download Booklet
ne of the many delights of being Artistic Director of America’s oldest continuously fact that he was writing for a paying audience, but also the press and their daily music criticism Operforming arts organisation, the Handel and Haydn Society (H+H), is that I am given – something which didn’t happen on the continent. London loved him and his Symphony the opportunity to present most of our concert season at Boston’s glorious Symphony Hall. No. 99 was not to disappoint. One critic hailed it as “a composition of the most exquisite kind, Built in 1900, it is principally the home of the Boston Symphony Orchestra, but it has been rich, fanciful, bold and impressive”. The woodwind writing in the second movement Adagio is our primary performance home since 1900 as well, and it is considered by many, with some simply exemplary and demonstrates his mastery of symphonic art. Haydn was out to enlighten justification I would add, to be one of the finest concert halls in the world. It is that classic and delight and its Finale certainly achieves the latter. He litters the movement with numerous ‘shoebox style’ reminiscent of the Musikverein in Vienna; the acoustics are quite superb and, jokes of instrumentation and the overall effect is quite simply breathtaking. despite its size – c.2500 capacity – perfect for playing on period instruments. I feel very privileged to have taken this august Society into its Bicentennial; yes, the Handel On this live recording, we present a programme devoted to our namesake, Haydn. Having and Haydn Society was founded in 1815. -
ONYX 4012 BK 4/8/06 01:25 Page 1
ONYX 4012_BK 4/8/06 01:25 Page 1 mozart serenades K361 'Gran Partita' & K388 p1 London Winds Michael Collins ONYX 4012_BK 4/8/06 01:25 Page 2 p2 Michael Collins ONYX 4012_BK 4/8/06 01:25 Page 3 WOLFGANG AMADEUS MOZART (1756-1791) Serenade K361 (370a) “Gran Partita”in Bb major for 13 wind instruments en si bémol majeur pour 13 instruments à vent B-Dur für 13 Bläser 1 I Largo – Molto allegro 9.06 2 II Menuetto – Trio - Trio II 9.32 3 III Adagio 5.09 4 IV Menuetto (Allegretto) – Trio – Trio II 4.41 5 V Romanze: Adagio – Allegretto – Adagio 6.56 6 VI Thema mit 6 Variationen (Andante) 9.59 7 VII Finale (Molto allegro) 3.24 For purely musical reasons of Serenade K388 (K384a) in C minor (“Nacht Musique”) improved blend and balance, London Winds have performed ut mineur. C-moll K361 for many years with 8 I Allegro 8.29 contrabassoon rather than 9 II Andante 4.02 double bass. Mozart clearly p3 indicated string bass in the 10 III Menuetto in canone – Trio: in canone al rovescio 4.26 autograph, but equally the 11 IV Allegro 6.39 contrabassoon and its players in 1780s Vienna would have TOTAL TIME 72.31 struggled with the required articulation of the part, and by London Winds the early 1800s the instrument Director: Michael Collins had improved to the extent that the first printed edition of K361 Oboe. Hautbois: Gareth Hulse *, Katie Clemmow * uses contrabassoon and Clarinet. Clarinette. Klarinette: Michael Collins *, Jennifer McLaren * Beethoven gives it prominence in Basset Horn. -
Franz Joseph Haydn's Writing for Wind Instruments and the Evolution of the Military Band and Orchestral Wind Section
Graduate Theses, Dissertations, and Problem Reports 2008 Franz Joseph Haydn's writing for wind instruments and the evolution of the military band and orchestral wind section Jonathan Neiderhiser West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Neiderhiser, Jonathan, "Franz Joseph Haydn's writing for wind instruments and the evolution of the military band and orchestral wind section" (2008). Graduate Theses, Dissertations, and Problem Reports. 2845. https://researchrepository.wvu.edu/etd/2845 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Franz Joseph Haydn‟s Writing for Wind Instruments and the Evolution of the Military Band and Orchestral Wind Section Jonathan Neiderhiser Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Performance: Conducting Dr. Kathleen Shannon, chair Prof. John Hendricks Dr. Mary Ferer Dr.