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Sheet TM Version 2.0 Music 1 CD Brahms, Schubert, and Mendelssohn Major Choral Works Table of Contents Welcome to the CD Sheet Music™ edition of Brahms, Schubert, and Mendelssohn, The Major Choral Works. This Table of Contents is interactive. Click on a title below or in the bookmarks section on the left side of the screen to open the sheet music. Once the music is open, the bookmarks become navigation aids to ﬁnd the score or parts of the work. Return to the table of contents by clicking on the bookmark or using the “back” button of Acrobat Reader™. By opening any of the ﬁles on this CD-ROM, you agree to accept the terms of the CD Sheet Music™ license (Click on the bookmark to the left for the complete license agreement). Composers on this CD-ROM BRAHMS SCHUBERT MENDELSSOHN The complete Table of Contents begins on the next page © Copyright 2005 by CD Sheet Music, LLC 0 n 2. Sheet o TM rsi Ve Music 2 CD JOHANNES BRAHMS Ein Deutsches Requiem (German text), Op. 45 A German Requiem (English text), Op. 45 Love Song Waltzes (Liebeslieder Walzer), Op. 52 Nanie, Op. 82 Neue Liebeslieder Walzer (New Love Song Waltzes), Op. 65 Rhapsodie, Op. 53 Rinaldo, Op. 50 Schicksalslied (Song of Destiny), Op. 54 Triumphlied (Triumphal Hymn), Op. 55 Zigeunerlieder (Gypsy Songs), Op. 103/112 FRANZ SCHUBERT Die Allmacht (arranged by Franz Liszt), D. 852, Op. 79, No. 2 Mass No. 1 in F Major (Messe F-dur), D. 105 Mass No. 2 in G Major, D. 167 Mass No. 3 in Bb Major, D. 324, Op. 141 Mass No. 4 in C Major, D. 452, Op. 48 Mass No. 5 in Ab Major, D. 678 Mass No. 6 in Eb Major, D. 950 Miriam’s Song of Triumph, Op. 136 Stabat Mater, D. 383 Tantum Ergo in Eb Major, D. 962 Sheet TM Version 2.0 Music 3 CD FELIX MENDELSSOHN Antigone, Op. 55 Athalia, Op. 74 Come, Let Us Sing (Psalm 95), Op. 46 Elijah, Op. 70 Part I Part II Die Erste Walpurgisnacht, Op. 60 The First Walpurgis Night, Op. 60 Hear My Prayer Hymn of Praise (English Version of Lobgesang), Op. 52 Lauda Sion, Op. 73 Lobgesang (Hymn of Praise), Op. 52 Psalm 42, Op. 42 Psalm 95, Op. 46 Psalm 98, Op. 91 Psalm 114, Op. 51 Psalm 115, Op. 31 Saint Paul, Op.36 Part I Part II.

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SON 442 Einleitung
XII Einleitung Die drei in diesem Band edierten Stücke sind vom Komponis- in seinem Album bewahren will auch einige Takte nach dem ten verfasste Bearbeitungen von originalen Kirchenwerken für Choral als Vorspiel zu der letzten Nummer die er gern drucken Solostimmen, vierstimmigen Chor und Orgel. Während es sich laßen möchte. Die drollige Weise in welcher er sich darüber bei den beiden Stücken mit englischer Textierung, beim Anthem an mich schriftlich ausdrückt, ist zu possirlich daß ich Dir sie „Why, o Lord, delay for ever“ MWV A 19 und beim Hymn nicht vorenthalten kann, u. lege seinen Brief beÿ. Dieses Docu- „Hear my prayer“ MWV B 49, um Auftragswerke handelte, war ment ist eines der zahlreichen seiner absonderlichen halbver- die Übertragung der Orgelstimme des „Ave Maria“ op. 23 Nr. 2 rückten Natur.“4 In dem beigelegten Brief hatte Broadley tags MWV B 19 auf Instrumente der praktischen Notwendigkeit für zuvor gebeten: „With reference to the Prelude, you were kind Aufführungen in Düsseldorf geschuldet. enough to say you would name to Mr. Mendelssohn, I beg to say that Organists in England generally indulge on those oc- casions in a style rather florid – at one time with an extra-low Anthem „Why, o Lord, delay for ever“ MWV A 19 für Solo pedal bass – at another time on the very top of the Instrument (Alt oder Mezzosopran), Chor und Orchester either in thirds, or after the manner of some of the ad libitum passages in the Gems a la Paganini of yours; I think this has a Das Anthem MWV A 19 stellt die Orchestrierung und Umarbei- very good effect for organ Prelude, particularly on theSwell .
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The "Lobgesang." a Comparison of the Original and Revised Scores Author(S): Joseph Bennett Source: the Musical Times and Singing Class Circular, Vol
The "Lobgesang." A Comparison of the Original and Revised Scores Author(s): Joseph Bennett Source: The Musical Times and Singing Class Circular, Vol. 29, No. 545 (Jul. 1, 1888), pp. 393-396 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/3360757 Accessed: 06-02-2016 19:10 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times and Singing Class Circular. http://www.jstor.org This content downloaded from 202.28.191.34 on Sat, 06 Feb 2016 19:10:08 UTC All use subject to JSTOR Terms and Conditions 1888. THE MUSICAL TIMES.-JuLY I, 393 (November 18, 1840) to Carl Klingemann in terms as THE MUSICAL TIMES thus:-- AND SINGING-CLASS CIRCULAR, " My ' Hymn of Praise' is to be performedat the end of this month for the benefit of old invalided 1888. JULY I, musicians. I am determined,however, that it shall not be produced in the imperfect form in which, THE " LOBGESANG." owing to my illness, it was given in Birmingham, so A COMPARISON OF THE ORIGINAL AND REVISED that makes me work hard.
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Mendelssohn, Bruckner, Whitacre, Stainer
Mendelssohn, Bruckner, Whitacre, Stainer Hear my prayer Felix Mendelssohn (1809-1847) Felix Mendelssohn-Bartholdy has a good claim to be considered the greatest prodigy in musical history. Although Mozart was composing fluent, sometimes large-scale, pieces in his childhood and teens, almost none of his juvenilia have actually survived in the repertoire, whereas Mendelssohn’s Octet (written aged 16), Midsummer Night’s Dream Overture (17), Fingal’s Cave Overture (20) and Italian Symphony (24) are masterpieces which have never slipped from the repertoire since their first publication. Mendelssohn showed an interest in sacred choral music from an early age, and wrote two oratorios - Elijah (which RCS will be performing on 23 rd June 2012) and St Paul . He also wrote a number of other sacred choral works, among which one of the best known and best loved is tonight’s setting of an adaptation of Psalm 55, Hear my Prayer . The composition of this psalm took place towards the end of Mendelssohn’s tragically short life (he died aged only 38 in 1847), being completed on 25 th January 1844. It was originally composed in German as Hör mein Bitten and dedicated to his friend Wilhelm Taubert. The English version of the text, which was approved by Mendelssohn, is by William Bartholomew, an English lyricist, librettist, composer and writer who was, by profession, a chemist. It was given its first performance in English at a concert arranged by Bartholomew’s wife in January 1845. It is possible that Mendelssohn modelled it on English verse anthems, having studied examples by Purcell, Croft and others provided by Thomas Attwood, the organist at St Paul’s Cathedral.
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Najaarsconcert 2018 2
NAJAARSCONCERT 2018 2 Welkom Beste concertbezoeker, Ik heet u namens de Oratoriumvereniging van harte welkom bij ons najaarsconcert in deze prachtige Martinikerk van Bolsward. Dit concert staat in het teken van Jacob Ludwig Felix Mendelssohn Bartholdy (geboren 3 februari 1809 en overleden op 4 november 1847). Hij was een Duitse componist, pianist, organist en dirigent in de vroeg romantische periode. Mendelssohn schreef symfonieën, concerten, oratoria, pianomuziek en kamermuziek. Hij vierde zijn successen in Duitsland en liet de muziek van Johann Sebastian Bach herleven. Vanmiddag voeren wij twee werken van hem uit: het Lobgesang en Psalm 42. Verder zal onze organist nog een sonate van Mendelssohn spelen. Onze uitvoering vanmiddag is een bijzondere uitvoering. Zoals u ziet zijn het koor, het orkest en de solisten geplaatst op een speciaal voor deze uitvoering gemaakt podium vlak voor het prachtige kerkorgel, dat meewerkt aan de uitvoering. U, als publiek zit nu ook andersom. Wij willen vandaag als koor ervaren hoe deze opstelling bevalt. Mocht dat positief zijn, dan zullen we in de toekomst waarschijnlijk vaker gebruik gaan maken van deze opstelling. In dit concertboekje kunt u verder alle informatie over dit concert lezen. Ook is er een plattegrond opgenomen waarop staat aangegeven waar de toiletten zijn en waar de nooduitgangen zich bevinden. Graag deze plattegrond voor aanvang van het concert goed bekijken. Volgend jaar voeren wij in de week voor Pasen weer tweemaal de Matthäus-Passion uit en in het najaar de volledige uitvoering van de Messiah van Händel. We hopen u dan ook als luisteraar te mogen begroeten. Met vriendelijke groeten, G.J.Ankersmit (voorzitter) Heeft u vandaag genoten van onze uitvoering, dan is het misschien een goed idee om vriend van onze Oratoriumvereniging te worden.
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The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL and INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors
The Seventh Season Being Mendelssohn CHAMBER MUSIC FESTIVAL AND INSTITUTE July 17–August 8, 2009 David Finckel and Wu Han, Artistic Directors Music@Menlo Being Mendelssohn the seventh season july 17–august 8, 2009 david finckel and wu han, artistic directors Contents 3 A Message from the Artistic Directors 5 Welcome from the Executive Director 7 Being Mendelssohn: Program Information 8 Essay: “Mendelssohn and Us” by R. Larry Todd 10 Encounters I–IV 12 Concert Programs I–V 29 Mendelssohn String Quartet Cycle I–III 35 Carte Blanche Concerts I–III 46 Chamber Music Institute 48 Prelude Performances 54 Koret Young Performers Concerts 57 Open House 58 Café Conversations 59 Master Classes 60 Visual Arts and the Festival 61 Artist and Faculty Biographies 74 Glossary 76 Join Music@Menlo 80 Acknowledgments 81 Ticket and Performance Information 83 Music@Menlo LIVE 84 Festival Calendar Cover artwork: untitled, 2009, oil on card stock, 40 x 40 cm by Theo Noll. Inside (p. 60): paintings by Theo Noll. Images on pp. 1, 7, 9 (Mendelssohn portrait), 10 (Mendelssohn portrait), 12, 16, 19, 23, and 26 courtesy of Bildarchiv Preussischer Kulturbesitz/Art Resource, NY. Images on pp. 10–11 (landscape) courtesy of Lebrecht Music and Arts; (insects, Mendelssohn on deathbed) courtesy of the Bridgeman Art Library. Photographs on pp. 30–31, Pacifica Quartet, courtesy of the Chamber Music Society of Lincoln Center. Theo Noll (p. 60): Simone Geissler. Bruce Adolphe (p. 61), Orli Shaham (p. 66), Da-Hong Seetoo (p. 83): Christian Steiner. William Bennett (p. 62): Ralph Granich. Hasse Borup (p. 62): Mary Noble Ours.
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Brahms, Johannes (B Hamburg, 7 May 1833; D Vienna, 3 April 1897)
Brahms, Johannes (b Hamburg, 7 May 1833; d Vienna, 3 April 1897). German composer. The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid and late 19thcentury art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime. 1. Formative years. 2. New paths. 3. First maturity. 4. At the summit. 5. Final years and legacy. 6. Influence and reception. 7. Piano and organ music. 8. Chamber music. 9. Orchestral works and concertos. 10. Choral works. 11. Lieder and solo vocal ensembles. WORKS BIBLIOGRAPHY GEORGE S. BOZARTH (1–5, 10–11, worklist, bibliography), WALTER FRISCH (6– 9, 10, worklist, bibliography) Brahms, Johannes 1. Formative years. Brahms was the second child and first son of Johanna Henrika Christiane Nissen (1789–1865) and Johann Jakob Brahms (1806–72). His mother, an intelligent and thrifty woman simply educated, was a skilled seamstress descended from a respectable bourgeois family. His father came from yeoman and artisan stock that originated in lower Saxony and resided in Holstein from the mid18th century. A resourceful musician of modest talent, Johann Jakob learnt to play several instruments, including the flute, horn, violin and double bass, and in 1826 moved to the free Hanseatic port of Hamburg, where he earned his living playing in dance halls and taverns.
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ELIJAH, Op. 70 (1846) Libretto: Julius Schubring English Translation
ELIJAH, Op. 70 (1846) Libretto: Julius Schubring Felix Mendelssohn-Bartholdy (1809-1847) English Translation: William Bartholomew PART ONE The Biblical tale of Elijah dates from c. 800 BCE. "In fact I imagined Elijah as a real prophet The core narrative is found in the Book of Kings through and through, of the kind we could (I and II), with minor references elsewhere in really do with today: Strong, zealous and, yes, the Hebrew Bible. The Haggadah supplements even bad-tempered, angry and brooding — in the scriptural account with a number of colorful contrast to the riff-raff, whether of the court or legends about the prophet’s life and works. the people, and indeed in contrast to almost the After Moses, Abraham and David, Elijah is the whole world — and yet borne aloft as if on Old Testament character mentioned most in the angels' wings." – Felix Mendelssohn, 1838 (letter New Testament. The Qu’uran also numbers to Julius Schubring, Elijah’s librettist) Elijah (Ilyas) among the major prophets of Islam. Elijah’s name is commonly translated to mean “Yahweh is my God.” PROLOGUE: Elijah’s Curse Introduction: Recitative — Elijah Elijah materializes before Ahab, king of the Four dark-hued chords spring out of nowhere, As God the Lord of Israel liveth, before Israelites, to deliver a bitter curse: Three years of grippingly setting the stage for confrontation.1 whom I stand: There shall not be dew drought as punishment for the apostasy of Ahab With the opening sentence, Mendelssohn nor rain these years, but according to and his court. The prophet’s appearance is a introduces two major musical motives that will my word.
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Glimpses of Handel in the Choral-Orchestral Psalms of Mendelssohn
Glimpses of Handel in the Choral-Orchestral Psalms of Mendelssohn Zachary D. Durlam elix Mendelssohn was drawn to music of the Baroque era. His early training Funder Carl Friedrich Zelter included study and performance of works by Bach and Handel, and Mendelssohn continued to perform, study, and conduct compositions by these two composers throughout his life. While Mendels- sohn’s regard for J. S. Bach is well known (par- ticularly through his 1829 revival of Bach’s St. Matthew Passion), his interaction with the choral music of Handel deserves more scholarly at ten- tion. Mendelssohn was a lifelong proponent of Handel, and his contemporaries attest to his vast knowledge of Handel’s music. By age twenty- two, Mendelssohn could perform a number of Handel oratorio choruses from memory, and two years later, fellow musician Carl Breidenstein remarked that “[Mendelssohn] has complete knowledge of Handel’s works and has captured their spirit.”1 Zachary D. Durlam Director of Choral Activities Assistant Professor of Music University of Wisconsin Milwaukee [email protected] 28 CHORAL JOURNAL Volume 56 Number 10 George Frideric Handel Felix Mendelssohn Glimpses of Handel in the Choral- Mendelssohn’s self-perceived familiarity with Handel’s Mendelssohn’s Psalm 115 compositions is perhaps best summed up in the follow- and Handel’s Dixit Dominus ing anecdote about English composer William Sterndale During an 1829 visit to London, Mendelssohn was Bennett: allowed to examine Handel manuscripts in the King’s Library. Among these scores, he discovered and
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Armida Abducts the Sleeping Rinaldo”
“Armida abducts the sleeping Rinaldo” Neutron autoradiography is capable of revealing different paint layers piled-up during the creation of the painting, whereas different pigments can be represented on separate films due to a contrast variation created by the differences in the half-life times of the isotopes. Thus, in many cases the individual brushstroke applied by the artist is made visible, as well as changes made during the painting process, so-called pentimentis. When investigating paintings that have been reliably authenticated, it is possible to identify the particular style of an artist. By an example - a painting from the French painter Nicolas Poussin (1594–1665), belonging to the Berlin Picture Gallery - the efficiency of neutron autoradiography is demonstrated as a non- destructive method. Fig. 1: Nicolas Poussin, Replica, “Armida abducts the sleeping Rinaldo”, (c. 1637), Picture Gallery Berlin, 120 x 150 cm2, Cat No. 486 The painting show scenes from the bible and from classical antiquity. In 1625 the legend of the sorceress Armida and the crusader Rinaldo had inspired Poussin to a painting named “Armida and Rinaldo”, now owned by the Dulwich Picture Gallery in London, that has been identified as an original. In contrast, the painting from the Berlin Picture Gallery “Armida abducts the sleeping Rinaldo” (Fig. 1) shows a different but similar scene, and was listed in the Berlin Gallery’s catalogue as a copy. To clarify the open question of the ascription a neutron radiography investigation was carried out. In Fig. 2, one of the autoradiographs is depicted. Fig. 2: Nicolas Poussin, “Armida abducts the sleeping Rinaldo”, 1st neutron autoradiography assembled from 12 image plate records: in order to investigate the whole picture, two separated irradiations were carried out and finally recomposed.
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A Prima Vista
A PRIMA VISTA a survey of reprints and of recent publications 2002/1 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: 020-6796575 CDs: 020-6751653/fax: 020-6646759 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2002/1 PAGE HEADING 03 PIANO 2-HANDS 07 PIANO 4-HANDS, 2 AND MORE PIANOS, HARPSICHORD 08 ORGAN 09 KEYBOARD 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 10 VIOLIN SOLO, VIOLA SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 11 VIOLIN WITH ACCOMPANIMENT 12 VIOLIN PLAY-ALONG 13 VIOLA WITH ACCOMPANIMENT, CELLO WITH ACCOMPANIMENT 14 VIOLA DA GAMBA WITH ACCOMPANIMENT 14 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 18 FLUTE SOLO, OBOE SOLO 19 CLARINET SOLO, SAXOPHONE SOLO, BASSOON SOLO, TRUMPET SOLO 20 HORN SOLO, TROMBONE SOLO, TUBA SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 20 PICCOLO WITH ACCOMPANIMENT, FLUTE WITH ACCOMPANIMENT 22 FLUTE PLAY-ALONG, ALTO FLUTE WITH ACCOMPANIMENT 23 OBOE WITH ACCOMPANIMENT, OBOE PLAY-ALONG, CLARINET WIT ACCOMPANIMENT 24 CLARINET PLAY-ALONG 25 BASSETHORN WITH ACCOMPANIMENT, SAXOPHONE WITH ACCOMPANIMENT 27 SAXOPHONE PLAY-ALONG 28 BASSOON WITH ACCOMPANIMENT, TRUMPET WIT ACCOMPANIMENT 29 TRUMPET PLAY-ALONG, HORN WITH ACCOMPANIMENT 30 TROMBONE WITH ACCOMPANIMENT, TROMBONE PLAY-ALONG 31 TUBA WITH ACCOMPANIMENT, EUPHONIUM PLAY-ALONG 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 31 2 AND MORE WOODWIND
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Defining the Late Style of Johannes Brahms: a Study of the Late Songs
Graduate Theses, Dissertations, and Problem Reports 2019 Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Casey-Ann Crutcher [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons Recommended Citation Crutcher, Natilan Casey-Ann, "Defining the Late Style of Johannes Brahms: A Study of the Late Songs" (2019). Graduate Theses, Dissertations, and Problem Reports. 3886. https://researchrepository.wvu.edu/etd/3886 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]. Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Crutcher Dissertation 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 Voice Performance Hope Koehler, DMA, Chair Evan MacCarthy, Ph.D. William Koehler, DMA David Taddie, Ph.D. General Hambrick, BFA School of Music Morgantown, West Virginia 2019 Keywords: Johannes Brahms, Lieder, Late Style Copyright 2019 Natilan Crutcher Abstract Defining the Late Style of Johannes Brahms: A Study of the Late Songs Natilan Crutcher Johannes Brahms has long been viewed as a central figure in the Classical tradition during a period when the standards of this tradition were being altered and abandoned.
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Purcell, Handel, Haydn, and Mendelssohn Anniversary Reflections
Purcell, Handel, Haydn, and Mendelssohn Anniversary Reflections March 2009 Martin Adams Trinity College, Dublin "That what took least, was really best": tensions between the private and public aspects of Purcell's compositional thought. Roger North remembered that Purcell "used to mark what did not take for the best musick, it being his constant observation that what took least, was really best." Purcell's penchant for complexity has been discussed widely; and Alan Howard has recently said that aspects of the composer's practice set him "somewhat apart from contemporary composers and, even more importantly, from the expectations of his audiences." They also set him somewhat apart from the other composers in this conference. My paper will argue that this apartness is rooted in a tension between expectations - those towards himself and towards his paying audience. It is a tension between the private and the public, the private epitomised in music of a "highbrow" kind (whatever its intended audience), and the public epitomised in his theatre music. Via a comparison of works private (especially songs from Harmonia Sacra) and public (mainly theatre songs), the paper will define the thinking and practice that differentiates the two spheres. It will also suggest that the private sphere was so deeply embedded that Purcell's reputation inevitably rests on a small number of works. In that respect too, he makes a revealing comparison with the other composers in this conference. Maria Teresa Arfini Milan and Aosta University Music as Autobiography: Mendelssohn between Beethoven and Schumann There are some compositions where Mendelssohn shows actually autobiographical traits.
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