Bärenreiter the Musiciansl Choice
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Einleitung 2. Fass. Fußnoten.Qxp 11.11.2010 11:27 Seite 1
Einleitung 2. Fass. Fußnoten.qxp 11.11.2010 11:27 Seite 1 7 Einleitung Die beiden Werkgruppen des vorliegenden Bandes nehmen in Bachs Schaffen einen auch innerhalb der Orgelmusik eine gewisse Tradition aufzuweisen, an die Bach besonderen Platz ein. Sie gehören Gattungen an, die am Anfang des 18. Jahrhunderts anknüpfen konnte. Hier ist in erster Linie an die französische Orgeltradition zu den- der instrumentalen Ensemblemusik zugeordnet wurden und der Tastenmusik im ken, in der eine der wichtigsten Formen – das Trio für zwei Manuale und Pedal – auf Grunde fremd waren. Es ist deshalb nicht verwunderlich, dass es sich bei einem wich- dem kammermusikalischen Modell eines langsamen Triosatzes für zwei Violinen und tigen Teil der Stücke um Bearbeitungen handelt: So basieren die Konzerte auf Generalbass beruht. Bachs Kenntnis solcher Sätze ist für die Drucksammlungen von Streicherkonzerten anderer Komponisten, die Sonaten gehen zum Teil auf eigene Boyvin, Du Mage, Grigny und Raison belegt.2 Kammermusikwerke zurück. Weitere verbindende Elemente – natürlich vor dem Innerhalb der mittel- und norddeutschen Orgeltradition vor Bach wurde der Triosatz Hintergrund der Besonderheiten dieser Werkgattungen – sind die Anlage „à 2 Clav. mit obligatem Pedal dagegen fast ausschließlich mit dem choralgebundenen Spiel in e Ped.“ sowie die Dreisätzigkeit. Verbindung gebracht.3 Dabei herrscht jener Satztyp vor, bei dem die Choralmelodie ins Pedal verlegt und als eine Art Generalbasslinie neu interpretiert wird. Choraltrios, Die Sechs Sonaten und einzelne Sonatensätze bei denen die Choralmelodie in einer oder beiden Oberstimmen mehr oder weniger In den sechs Sonaten für Orgel BWV 525–530 verbinden sich verschiedene Merkmale koloriert auftritt und das Pedal eine reine Generalbassfunktion übernimmt, sind viel von Bachs kompositorischem Schaffen der 1720er Jahre. -
Vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 Volumes Urtext for Historically Informed Performance
Cantatas · Masses · Oratorios Bach Passions · Motets vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 volumes Urtext for historically informed performance • The complete sacred vocal music by J. S. Bach • Musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Bach research • Informative forewords on the work’s history, reception and performance practice • Complete performance material available: full score, vocal score, choral score, and orchestral parts • carus plus: innovative practice aids for choir singers (carus music, the choir app, Carus Choir Coach, practice CDs) and vocal scores XL in large print for the major choral works available • With English singable texts www.carus-verlag.com/en/composers/bach available from: for study & performance Johann Sebastian Bach: The Sacred Vocal Music Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Complete Edition in 23 volumes Schweizer Musikzeitung Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig With the Bach vocal project, we have published Wherever the source material allowed a reconstruc- • Reader-friendly and handy format Reconstructions Johann Sebastian Bach’s complete sacred vocal tion to be made, and the works were also relevant (like a vocal score) Pieter Dirksen: BWV 1882 music in modern Urtext editions geared towards for practical performance, Bach’s fragmentary Andreas Glöckner / Diethard Hellmann: BWV 2473 historically- informed performance practice. We are surviving vocal works have been included in the • User-friendly order following the Diethard Hellmann: BWV 186a3, 197a3 convinced that the needs of performing musicians Bach vocal publishing project, and some have been Bach Works Catalogue Klaus Hofmann: BWV 80b3, 1391, 1573 are best met by a scholarly authoritative music text, published for the first time in performable versions. -
Introduction Schubert Familiar and Unfamiliar
Nineteenth-Century Music Review, 13 (2016), pp 3–9. © Cambridge University Press, 2016 doi:10.1017/S1479409815000488 Introduction Schubert Familiar and Unfamiliar: Continuing Conversations Lorraine Byrne Bodley Maynooth University Email: [email protected] James William Sobaskie Mississippi State University Email: [email protected] Two decades ago, the bicentenary celebrations of Franz Schubert’s birth in Duisberg, Graz, Oxford, Paris and Vienna confirmed that a warm spirit of collegiality, one rare among musicians today, had arisen and begun to flourish. Perhaps tired by the irresolvable controversy regarding Schubert’s sexuality, or taken with the newly emerging portrait of the composer and his art, many embraced the collaborative process of developing that image, engaging in cordial conversation regarding their shared fascination in print, in public and in private. The result was a burgeoning of literature in the field of Schubert studies, evidenced and furthered by the founding of five Schubert-centred journals, 1 including Cahiers Franz Schubert: Revue de musique classique et romantique, the 2 3 4 Schubert-Jahrbuch, The Schubertian, Schubert durch die Brille and Schubert: 5 Perspektiven. The wealth of research published in these and other journals has greatly enhanced our understanding of Schubert’s social circle, addressed histor- ical and biographical issues, drawn attention to neglected repertoire and changed 1 Cahiers Franz Schubert: Revue de musique classique et romantique 1–17 (Paris: Societé Franz Schubert, 1992–2009), edited by Xavier Hascher. 2 Schubert–Jahrbuch (Duisberg: Deutsche Schubert-Gesellschaft, 1996–), edited by Christiane Schumann. 3 The Schubertian (Leeds: Schubert Institute [UK], 1996–) edited by Crawford Howie. 4 Schubert durch die Brille (Vienna [1988/89,vols.1–3], then Tutzing [1990–2003,vols.4–30]: Internationales Franz Schubert Institut, 1988–2003), edited by Ernst Hilmar. -
Arsnov34 3..81
Vol 33 2001 & Vol 34 2002 ARS NOVA 1 Contents/Inhoud Editorial/Redaksioneel Carol Steyn Two South African women: the lives and careers of the singers Miriam Makeba and Mimi Coertse 5 Jacobus Kloppers Musical rhetoric and other symbols of communication in Bach's organ music 11 Stephanus Muller Contemporary South African interfaces with aspects of Adornian musical thought 30 Christy Smith Aspects of modernism and postmodernism in music 36 Thembela Vokwana `We sing so that they may have life and have it more abundantly': music performance and Aids in South Africa 42 DanieÈ l G Geldenhuys Cross-cultural representation and influences in ballets by Darius Milhaud and Paul Hindemith 48 Conference reports: DanieÈ l G Geldenhuys The Congress of the Catalonian Musicological Society, Solsona, 1997: developments in the teaching of musicology in northeastern Spain 54 George King The Ninth Biennial Conference on Baroque music, Dublin, 2000 57 Carol Steyn The 17th Congress of the International Musicological Society, Leuven 60 Book reviews: Jonathan Drury Composing music with computers 62 George King Playing with History 68 Chronicle: Unisa graduates/Unisa-gegradueerdes 2001/2002 77 Contributors: Style sheet 78 ARSNOVA^Contents/Inhoud 2 Editorial/Redaksioneel Under its current Dean, Professor Mandla were spent on music in cities such as Venice and Makhanya, the former Faculty of Arts at the Rome as well as on art and architecture; imposing University of South Africa took a decision in 2001 buildings and parklands, great literature, to restructure itself. This restructuring process has magnificent paintings and sculptures, as well as resulted in a number of outcomes. -
Information to Users
Questions of authenticity in three motets attributed to Johann Sebastian Bach. Item Type text; Dissertation-Reproduction (electronic) Authors Morton, Wyant. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 29/09/2021 12:23:35 Link to Item http://hdl.handle.net/10150/185862 INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. -
Digital Resources for the Composer Franz Schubert – the Databases ‘Schubert Online’ and ‘Schubert Digital’
DIGITAL RESOURCES FOR THE COMPOSER FRANZ SCHUBERT – THE DATABASES ‘SCHUBERT ONLINE’ AND ‘SCHUBERT DIGITAL’ Christine Martin / Katharina Loose-Einfalt / Mirjam Kluger (Neue Schubert-Ausgabe) NEUE SCHUBERT-AUSGABE SCHUBERT DIGITAL SCHUBERT ONLINE CRITICAL EDITION: PHILOLOGICAL DESCRIPTIONS OF: DIGITAL REPOSITORY: PRINTED SCORES AUTOGRAPH MANUSCRIPTS IN THEIR AUTOGRAPHS CRITICAL REPORTS Reconstruction of the ORIGINAL AND CURRENT FORM FIRST AND EARLY EDITIONS Visualisation original manuscripts THE MUSICAL AND TEXTUAL CONTENTS via digital LETTERS Possibility of diverse images search requests OF THE MANUSCRIPTS e New Schubert Edition (Neue Schubert-Ausgabe) was established in 1965 and will be completed by 2027, with the aim of providing a new critical edi- The New Schubert Edition is currently developing Schubert Digital. This databa- tion of the complete works of Franz Schubert (1797–1828). e planned 84 se will offer highly detailed philological information on Schubert’s autographs, e publicly accessible database Schubert Online contains high-quality volumes are divided by genres into eight series, and also include a thematic based on the new fi ndings published in the critical reports of the New Schubert digital images of more than 600 Schubert autographs, 1,300 fi rst and early catalogue, a documentary biography, and a catalogue of the principal sour- Edition. Firstly, it will present the manuscripts in their original and current form prints of Schubert’s works, as well as select letters and other documents ces. As a scholarly-critical edition, the New Schubert Edition is based on all and structure, and secondly, it will provide detailed descriptions about the con- Detailed provided by the Wienbibliothek im Rathaus (Vienna), the Austrian National Data drawn from explanation available sources, not only documenting their alternative readings but also tents of each manuscript. -
Ludwig Van Beethoven: the Heard and the Unhearing
Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing Bernhard Richter / Wolfgang Holzgreve / Claudia Spahn (ed.) Ludwig van Beethoven: the Heard and the Unhearing A Medical-Musical-Historical Journey through Time Translated by Andrew Horsfield ® MIX Papier aus verantwor- tungsvollen Quellen ® www.fsc.org FSC C083411 © Verlag Herder GmbH, Freiburg im Breisgau 2020 All rights reserved www.herder.de Cover design by University Hospital Bonn Interior design by SatzWeise, Bad Wünnenberg Printed and bound by CPI books GmbH, Leck Printed in Germany ISBN 978-3-451-38871-2 Words of welcome from Nike Wagner Bonn is not only the birthplace of Beethoven. The composer spent the first two decades of his life here, became a professional musician in this city and absorbed here the impulses and ideas of the Enlightenment that shaped his later creative output, too. To this extent, it is logical that Bonn is preparing to celebrate Beethoven with a kind of “Cultural Capital Year” to mark his 250th birthday. In this special year, opportunities have been cre- ated in abundance to engage with the “great mogul,” as Haydn called him. There is still more to be discovered in his music, as in his life, too. In this sense, a symposium that approaches the phenomenon of Beethoven from the music-medicine perspective represents an additional and necessary enrichment of the anni- versary year. When I began my tenure as artistic director of the Beethoven- feste Bonn in 2014, I set out to bring forth something that was always new, special and interdisciplinary. -
Biffi, Bach, and the E-Minor Violin Sonata BWV 1023 David Schulenberg
Biffi, Bach, and the E-Minor Violin Sonata BWV 1023 David Schulenberg Despite intense research on the textual history of individual works, much of Bach’s development as a musician and composer has remained a matter of speculation due to the loss of composing scores and other relevant documents. This is particularly true for the early part of his career, up to his appointment as Concertmeister to the court of Weimar in spring 1714. We have ample quantities of keyboard music that originated before that date—enough to furnish the basis for plausible theories of his evolution as a player and writer of music for organ and harpsichord—even if the absolute chronologies postulated by scholars for various works must be regarded as hypothetical.1 We have far less early vocal music and essentially nothing for instrumental ensemble; the handful of vocal compositions that can be placed at earlier stations of Bach’s life (especially at Mühlhausen in the years 1707 and 1708) stands in no clear stylistic relationship to his later cantatas, concertos, and sonatas, including individual instrumental movements within the Weimar cantatas. Vocal works of an up-to-date Italianate type seem to emerge fully formed around the middle of Bach’s Weimar period (1708–17) with the so-called Hunt Cantata, BWV 208, which probably dates from February 1713.2 Regular composition of sacred cantatas in the same style began about a year later, preceded possibly by BWV 21 and perhaps a few others.3 How Bach accomplished the transition from the middle-Baroque style of his first vocal compositions to one broadly echoing, or inspired by, that of contemporary Venetian and German composers, including Vivaldi and Telemann, is a mystery of which this essay attempts to illuminate one or two small facets. -
557171Bk Schubert 09/10/2003 05:13 Pm Page 28
557171bk Schubert 09/10/2003 05:13 pm Page 28 Also available on Naxos: Deutsche Schubert Lied Edition Vol. 8 DEUTSCHE Schiller-Lieder, Vol. 2 Deutsche Schubert Lied Edition Vol. 1 Die Bürgschaft • Gruppe aus dem Tartarus SCHUBERT-LIED-EDITION • 15 Winterreise An Emma • Sehnsucht a.o. Roman Trekel, Baritone Regina Jakobi, Mezzo-soprano Ulrich Eisenlohr, Piano. 8.554471 Ulrich Eisenlohr, Piano. 8.554741 Deutsche Schubert Lied Edition Vol. 2 Deutsche Schubert Lied Edition Vol. 9 SCHUBERT Schwanengesang • Auf dem Strom • Herbst Schubert’s Friends, Vol. 1 Lebensmut • Lieder on texts by Ludwig Rellstab Schatzgräbers Begehr • Jägers Liebeslied Michael Volle, Baritone / Ulrich Eisenlohr, Piano Genügsamkeit • Der Strom • Grablied a.o. Schubert’s Friends, Vol. 2 Sjön Scott, Horn. 8.554663 Markus Eiche, Baritone / Jens Fuhr, Piano. 8.554799 Deutsche Schubert Lied Edition Vol. 3 Deutsche Schubert Lied Edition Vol. 10 Brigitte Geller, Soprano Goethe-Lieder, Vol. 1 Austrian Contemporaries, Vol. 1 An den Mond • Der Fischer • Ganymed • Meeres Stille Drang in die Ferne • Die Sterne • Am Fenster a.o. Ulrich Eisenlohr, Piano Prometheus • Wandrers Nachtlied I & II a.o. Christoph Genz, Tenor Ulf Bästlein, Baritone / Stefan Laux, Piano. .8.554665 Wolfram Rieger, Piano. .8.554796 Deutsche Schubert Lied Edition Vol. 4 Deutsche Schubert Lied Edition Vol. 11 Mayrhofer-Lieder, Vol. 1 North German Poets Der Alpenjäger • An die Freunde • Auf der Donau Auf der Bruck • Im Frühling • Der Wanderer a.o. Aus “Heliopolis” I & II • Der Hirt a.o. Hanno Müller-Brachmann, Bass-Baritone Cornelius Hauptmann, Bass Ulrich Eisenlohr, Piano . .8.555780 Stefan Laux, Piano. .8.554738 Deutsche Schubert Lied Edition Vol. -
Schubert, Dance, and Dancing in Vienna, 1815-1840
Schubert, Dance, and Dancing in Vienna, 1815-1840 11 August 2012; updated 21 March 2015 David Neumeyer The University of Texas at Austin Introduction1 On 7 October 2009, I wrote the 3irst entry for a blog named “Hearing Schubert D779n13.” The goal was to “post and discuss a variety of readings of D779n13, not only the 32 from the Notre Dame conference ["Critical Perspectives on Schenker: Toward a New Research Paradigm,” March 1994] but many others that I have generated since, a few of which were published in Neumeyer 2006” (Introduction). Ultimately, the total of readings reached ninety: see the tally here. [Please note that this PDF document does contain some live links, which will take you out to web pages. Since the original version of this ?ile was created in August 2012, however, I cannot guarantee that all these links in fact are still live.] The idea of a menu of readings 3it the broad goals of post-World War II academic criticism and analysis as they have been realized in both scholarly and pedagogical literatures. The point of the Notre Dame paper was to make more vivid through examples a critical position that had come to the fore in music theory during the course of the 1980s: a contrast between this widely accepted “diversity” standard and the closed, ideologically bound habits of descrip- tive and interpretative practice associated with classical pc-set analysis and Schenkerian analysis. Blogs are inherently dynamic, and it is hardly surprising, I suppose, that the topics dis- cussed on “Hearing Schubert” wandered off from the initial goal of a radical demonstration of music-theoretical Methodism. -
557369-70 Bk Schubert EU 16/03/2005 10:13Am Page 20
557369-70 bk Schubert EU 16/03/2005 10:13am Page 20 Deutsche Schubert Lied Edition Vol. 7 Deutsche Schubert Lied Edition Vol. 13 DEUTSCHE European Poets, Vol. 1 Goethe Lieder, Vol. 2 Ellens Gesänge • Lied des gefangenen Jägers, Lieder der Mignon • Gretchen-Lieder • Suleika I,II a.o. SCHUBERT-LIED-EDITION • 18 Normans Gesang • Lodas Gespenst a.o Ruth Ziesak, Soprano • Ulrich Eisenlohr, Piano Ruth Ziesak, Soprano / Roman Trekel, Baritone Christian Elsner, Tenor. 8.554666 Ulrich Eisenlohr, Piano. 8.554795 Deutsche Schubert Lied Edition Vol. 14 Deutsche Schubert Lied Edition Vol. 8 European Poets, Vol. 2 SCHUBERT Schiller-Lieder, Vol. 2 Edward • An Silvia • Vedi quanto adoro Die Bürgschaft • Gruppe aus dem Tartarus a.o. Petrarca-Sonette a.o. Regina Jakobi, Mezzo-soprano Maya Boog, Soprano / W. M. Friedrich, Bass-Baritone Schiller-Lieder, Vols. 3 and 4 Ulrich Eisenlohr, Piano. 8.554741 Ulrich Eisenlohr, Piano. .8.557026-27 Maya Boog, Soprano • Lothar Odinius, Tenor Deutsche Schubert Lied Edition Vol. 9 Deutsche Schubert Lied Edition Vol. 15 Schubert’s Friends, Vol. 1 Schubert's Friends Vol. 2 Ulrich Eisenlohr, Piano Schatzgräbers Begehr • Jägers Liebeslied a.o. Nacht und Träume, Wehmut, Vergißmeinnicht a.o. Markus Eiche, Baritone / Jens Fuhr, Piano. 8.554799 Brigitte Geller, Soprano Ulrich Eisenlohr, Piano. 8.557171 Deutsche Schubert Lied Edition Vol. 10 Austrian Contemporaries, Vol. 1 Deutsche Schubert Lied Edition Vol. 16 Drang in die Ferne • Die Sterne • Am Fenster a.o. Goethe Lieder Vol. 3 Christoph Genz, Tenor Erlkönig, Geheimes, Der Musensohn Wolfram Rieger, Piano. 8.554796 Johannes Kalpers, Tenor Burkhard Kehring, Piano. .8.554667 Deutsche Schubert Lied Edition Vol. -
Interpretation of the First Movements of Beethoven's and Schubert's Last
Final Thoughts? Interpretation of the First Movements of Beethoven’s and Schubert’s Last Three Piano Sonatas Marie-Charline Foccroulle Dissertation submitted to Dublin City University in partial fulfilment of the requirements for the degree Doctor in Music Performance ROYAL IRISH ACADEMY OF MUSIC Supervisor: Dr. Denise Neary September 2017 Terms and Conditions of Use of Digitised Theses from Royal Irish Academy of Music Copyright statement All material supplied by Royal Irish Academy of Music Library is protected by copyright (under the Copyright and Related Rights Act, 2000 as amended) and other relevant Intellectual Property Rights. By accessing and using a Digitised Thesis from Royal Irish Academy of Music you acknowledge that all Intellectual Property Rights in any Works supplied are the sole and exclusive property of the copyright and/or other Intellectual Property Right holder. Specific copyright holders may not be explicitly identified. Use of materials from other sources within a thesis should not be construed as a claim over them. Access Agreement By using a Digitised Thesis from the Royal Irish Academy of Music you are bound by the following Terms & Conditions: I have read and I understand the following statement: All material supplied as a Digitised Thesis from the Royal Irish Academy of Music is protected by copyright and other intellectual property rights, and duplication or sale of all or part of any of a thesis is not permitted, except that material may be duplicated by you for your research use or for educational purposes in electronic or print form providing the copyright owners are acknowledged using the normal conventions.