Boston Symphony Orchestra Concert Programs, Season 18, 1898-1899

Total Page:16

File Type:pdf, Size:1020Kb

Boston Symphony Orchestra Concert Programs, Season 18, 1898-1899 !V m BOSTON '% SYMPHONY ORCHESTRA tN y season VlnJik X New Scale, Style AA Believing that there is always demand for the highest possible degree of excellence in a given manufacture, the Mason & Hamlin Company has held steadfast to its original principle, and has never swerved from its purpose of producing instruments of rare artistic merit. As a result the Mason & Hamlin Company has received for its products, since its foundation to the present day, words of greatest commendation from the world's most illustrious musicians and critics of tone. Since and including the Great World's Exposition of Paris, 1867, the instruments manufactured by the Mason & Hamlin Company have received, wherever exhibited, at all great world's expositions, the HIGHEST POSSIBLE AWARDS. SEND FOR CATALOGUE. Jtefltx t Ifyumlm €0. Mason & Hamlin Building, 146 Boylston Street, Boston. Boston Symphony Orchestra* MUSIC HALL, BOSTON. EIGHTEENTH SEASON, J> j> <* 1898-99. J> J> J> WILHELM GERICKE, Conductor. PROGRAMME OF THE SEVENTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP.^** FRIDAY AFTERNOON, MARCH 3, AT 2.30 O'CLOCK. SATURDAY EVENING, MARCH 4, AT 8.00 O'CLOCK. PUBLISHED BY C A. ELLIS, MANAGER. (609) Steinway & Sons, rianufacturers j| | A I^T £ \ {Z Grand and of PIANOSMr I r\ 1 ^ VJ^ upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His najesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. His Majesty, FRANZ JOSEPH, EMPEROR OF AUSTRIA and KING OF HUNGARY. Her Majesty, VICTORIA, QUEEN OF GREAT BRITAIN. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES, and THE DUKE OF EDINBURGH. His Majesty,* OSCAR II., KING OF SWEDEN AND NORWAY. His Majesty, UMBERTO I., THE KING OF ITALY. Her Majesty, THE QUEEN OF SPAIN. His flajesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. "William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy of St. Caecilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. William Steinway an honorary member of that institution. The following is the translation of his diploma : — The Royal Academy of St. Ccecilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Alex. Pansotti, Secretary. E. Di San Mabtino, President ILLUSTRATED CATALOGUES flAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, - - 107-111 East 14th Street, New York. M. STEINERT & SONS CO., New England Representatives, 162 Boylston Street, Boston. (610) EIGHTEENTH SEASON, \ 898-99. Seventeenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 3, at 2.30 o'clock. SATURDAY EVENING, MARCH 4, at 8.00 o'clock. PROGRAMME. " Josef Haydn - Symphony in D major, " La Chasse (First time at these concerts.) I. Adagio (D major) ------ 3-4 Allegro (D major) ------ 4-4 II. Andante (Q major) ------ 2-4 III. Menuetto: Allegretto (D major) - - - 3-4 - IV. La Ohasse (D major) 6-8 • Emmanuel Chabrier ------ Bonrree fantasque (Scored for Orchestra by FELIX MOTTL.) (First time in Boston.) Johannes Brahms - - - Symphony No. 2, in D major, Op. 73 I. Allegro non troppo (D major) - - - - 3-4 II. Adagio non troppo (B major) - - - - 4-4 III. Allegretto grazioso, quasi Andantino (G major) 3-4 IV. Allegro con spirito (D major) - - - - 2-2 Patrons unable to remain until the close of the concert are politely requested to leave the hall during a pause in the programme. (611) L. P. HOLLANDER & CO. SPRING LADIES' TAILOR-MADE STREET, GOLF, AND RAINY-DAY SUITS. Exclusive Models and Materials. Very Complete Assortment now being shown. Also SILK WAISTS and Silk Shirt Waists. Many beautiful new designs, including a number of new French Models, especially suitable for the Opera and Theatre. e/^M.Mvg^ such things be? and are, for ST. CLAIR'S CHOCOLATES and CARAMELS are made the day you buy them. Also their ICE-CREAM] SODAS Are incomparable, made of Sparkling Spring Water with Fresh Fruit Syrups ; and the service is perfect. CORNER "TEMPLE PLACE AND ST. GLAIR'S, WASHINGTON STREET. (612) . Symphony in D major, "La Chasse" . Josef Haydn. (Born at Rohrau, Lower Austria, on March 31 — April 1, 1732 ; died in Vienna on May 31, 1809.) This symphony was originally published in engraved orchestral parts by Simrock, in Bonn; since then the score has been published by Rieter- Biedermann (Leipzig and Winterthur), in whose edition it is marked as No. 5. It is not down in the Catalogue of the London Philharmonic So- ciety. It is supposed to have been written about 1780. The title comes from the fourth movement, which is a sort of hunting symphonic poem in itself. The first movement opens with an introduction, Adagio * in D major (3-4 time), in which the note of preparation is struck by soft pizzicato chords in the strings against harmonies in repeated eighth-notes in the wind ; some more vivacious rhythmic figures follow, the introduction ending by half- cadence on the dominant. The main body of the movement, Allegro in D major (4-4 time), begins with the exposition of the bright, cheerful first theme, at first by the first and second violins alone, then by the full orchestra, the melody being in * This introduction is marked Larghetto in Grove's thematic catalogue. HORSFORD'S . Acid Phosphate. Recommended and prescribed by physicians of all schools, for Dyspepsia, Nervousness, Exhaustion, and all diseases arising from imperfect digestion and derangement of the nervous system. Taken before retiring, induces refreshing sleep. Pleasant to the taste. For ^ale by all Druggists. 6lin V. Ballard & Sons. Announcement for Spring, 1899. We desire to announce the completion of our large stock of cloths, also models and designs. PRICES. Jacket Costumes, . $60 to $80 Riding Habits, . 50 to 85 Jackets, 35 to 45 Golf Suits, 45 t0 55 256 BOYLSTON STREET, BOSTON. OYSTERS AND SALADS WEBER'S A SPECIALTY. Genuine Vienna ices. 25 Temple Place and 33 West St. JACOB THOMA, 0. A. JENKINS & CO. VIOLIN MAKER. 407 Washington Street, (Awarded a Prize Medal at the Vienna Exposition.) LADIES' HATTERS Old Violins, Violas, 'Cellos, Artist Italian Strings, Silver AND FURRIERS. G's, Artist Bows, Paris Rosin, Violin Cases of all kinds, etc. Agent for Connelly, New York, Turbans, New Violins made from old selected wood over 350 years. Copies after Stradivarius, Guarnerius, etc. Used by the members of RICH FURS. the Boston Symphony Orchestra. Finest skins and latest styles. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED. Garments made to measure. Music Hall Building, Poom 7, Boston. Perfect satisfaction guaranteed Repairer for the Boston Symphony Orchestra. m&.\ the violins in octaves. A rushing subsidiary follows in the dominant, A major. The tricksy second theme enters piano in the violins and violas, the latter being doubled in unison by the flute — a singular early instance of the flute playing the bass of the harmony ! This second theme is a fine example of ingenious modulation : the subsidiary ends in E major ; the bass-note E is then continued by the violas and flute, until it suddenly finds itself the bass of a chord of the 2nd on the fourth degree of B minor, in which key the second theme enters ; the first phrase ends by complete authentic cadence in the tonic D major, when the full orchestra suddenly strikes m forte with E in the bass and G-sharp in the upper voice, thus turning the preceding D into the dominant 7th of A major. The develop- ment is carried on quasi-contrapuntally, a rushing new subsidiary in D minor following as concluding period, the first part of the movement ending in the dominant, A major. There is a repeat. The free fantasia is rather long and elaborate for Haydn, and the third part begins with a fortissimo return of the first theme in the tonic in the full orchestra. The development is much the same as in the first part, the second theme now coming in by a quite new harmonic device. The sub- sidiary ends in the tonic D major ; but, instead of this D being held as the new England Students of Violin and Orchestral Instru= Conservatory of music. ments who desire to prepare themselves for Charles P. Gardiner, President. George W. Chadwick, Jlusical Director Orchestral Work will find superior ad- The Faculty consists of America's vantages here. most successful instructors, and in- cludes many prominent artists. The regular Conservatory Recitals are given every Wednesday evening and Satur- day afternoon. A limited number of tickets may be obtained by addressing FRANK W. HALE, General Manager, Franklin Square, Boston. (615) fourth degree (bass of the third inversion of the dominant 7th) of A minor, — which would have made the modulation correspond exactly to that in the first part of the movement,— the second violins suddenly put an E-flat above it, which crowds the D down to C, and the modulation is to G minor, the theme subsequently passing through D minor, to end in G again. The forte entrance of the full orchestra with A in the bass now repeats the modulation at the corresponding place in the first part of the movement (G to D corresponding to D to A). The concluding period ends the movement without coda. The second movement, Andante in G major (2-4 time), presents the ex- position and continual repetition — either in the form of variations or merely with altered instrumentation — of a simple theme.
Recommended publications
  • The Physicality of Sound Production on Acoustic Instruments
    THE PHYSICALITY OF SOUND PRODUCTION ON ACOUSTIC INSTRUMENTS A thesis submitted for the degree of Doctor of Philosophy by Tristan Rhys Williams School of Arts Brunel University September 2010 (funded by the Arts and Humanities Research Council) Abstract This thesis presents practical research into sound production on instruments, working collaboratively with players, in order to build an understanding of the sounds available. I have explored the way in which instrumental technique can be extended in such a way as to function as the basis for musical material. The function of ‘figuration’ has also be brought into question, by employing seemingly primitive, residual material pushed to such a degree that it is possible to hear what happens underneath a gesture. Research in this area has been conducted by, among others, Helmut Lachenmann and Rebecca Saunders; I am drawn to the way their work highlights the tangible quality of sound. The exploration of the physicality of sound production inevitably encounters the problem that the finished work becomes a catalogue of extended techniques. My research has drawn on the work of these composers and has attempted to resolve this problem by exploring the way in which texture can suggest ‘line’ and the structural implications of sculpting self-referential material through angular and polarized divisions. This facilitates a Braille-like reading of a sound’s progress by foregrounding a non-thematic sound-surface of resonance and decay. This takes a positive and active approach to the problems of musical language, by questioning the functions and expectations put upon music. The possible solutions have been worked through in a series of works for mixed chamber ensembles, in order to investigate the palette possibilities of fusing instruments in intimate settings.
    [Show full text]
  • An Investigation of Novice Middle and High School Band Directors’ Knowledge of Techniques and Pedagogy Specific to the Horn
    AN INVESTIGATION OF NOVICE MIDDLE AND HIGH SCHOOL BAND DIRECTORS’ KNOWLEDGE OF TECHNIQUES AND PEDAGOGY SPECIFIC TO THE HORN Jennifer B. Daigle A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2006 Committee: Carol Hayward, Co-advisor Andrew Pelletier, Co-advisor Vincent J. Kantorski Charles Saenz © 2006 Jennifer B. Daigle All Rights Reserved iii ABSTRACT Carol Hayward, Advisor The purpose of this study was to determine novice middle school and high school band directors’ knowledge of techniques and pedagogy specific to the horn. Ten band directors currently teaching middle or high school band and who were in their first through fourth year of teaching were interviewed. Questions were derived from current brass methods textbooks and placed in one of the following six categories: (a) collegiate background; (b) teaching background; (c) embouchure, posture and right hand placement; (d) construction of single and double horns; (e) muted, stopped and miscellaneous horn pedagogy; (f) care and maintenance. Findings from this study indicate that novice middle and high school band directors have varying amounts of knowledge and expertise of the horn and, in general, are lacking fundamental knowledge of specific horn techniques. In addition, it appears that directors have more knowledge and understanding of concepts relating to the horn that are common to all brass instruments as opposed to concepts associated specifically with the horn. iv This thesis is dedicated to everyone who has helped inspire and motivate me to make music more than a hobby. I would like to thank family and friends for all their patience and encouragement throughout this process.
    [Show full text]
  • A Guide to Extended Techniques for the Violoncello - By
    Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
    [Show full text]
  • The Heyday of the Hand Horn and the Birth of the Valved Horn: a Study of Nineteenth-Century Horn Technique As Revealed in the Solo Works for Horn by Carl Czerny
    118 HISTORIC BRASS SOCIETY JOURNAL THE HEYDAY OF THE HAND HORN AND THE BIRTH OF THE VALVED HORN: A STUDY OF NINETEENTH-CENTURY HORN TECHNIQUE AS REVEALED IN THE SOLO WORKS FOR HORN BY CARL CZERNY Andrew Clark Rarely has one composer given us so much potential insight into a crucial historical devel- opment of an instrument as that revealed by the works for horn and piano by Carl Czerny. The Introduction and Concertante Variations, Op. 248, written for valved horn ca. 1830 demonstrates Czerny’s knowledge of valve technology, but subsequently he composed for the natural (valveless) horn in the Brilliant Fantasies, Op. 339 (ca. 1836), and the Andante e Polacca (no opus number, 1848). We do not know exactly why he seemed to turn his back on the new development of valves, but we can learn some of his thoughts and feelings about the use of the horn from his School of Practical Composition, Op. 600 (first published 1839). In the English version of 1846 there are several points in the main section on the use of the natural horn, but he refers to brass instruments with valves only in the appendix, where he gives an outline of the “Sax Horn” family. This is how he perceived the duet combining piano and horn, a popular form of nineteenth century salon music: The wind instruments most generally combined with the Pianoforte … are the Flute and the Horn.…The Horn … is especially adapted for calm sus- tained notes, for tender or melancholy ideas, or for an expression of energy and grandeur.… Beethoven, Ries, Hummel and many modern writers have produced distinguished examples.1 Regarding the use of the hand-stopped notes on the natural horn, he informs the reader: In modern times, the Horn has been so greatly improved that the artificial notes sound as well and as firm as the natural ones.2 He adds that the bass notes “are only used slowly and piano,” but fails to follow this advice several times in these works! The Introduction and Concertante Variations is one of the first works ever written for the solo valved horn and piano.
    [Show full text]
  • Essay-Do You Hear Me.Pdf
    Do you hear me? Handbook for violin contemporary music notation by Dejana Sekulić Author’s Note: This might be a work with no end, as it is almost impossible to think of there could be an end of this research, and of this essay. Every new sign, sonority, color, timbre... experience in reading and playing becomes additional material. With (almost) each new piece, there will be new additions, especially to the segment “Notation: see me-hear me-make me”. It is, as well, very likely that new chapters will arise, both on left and right hand technique, as well as marks on other sonority and timbre remarks. This publication captures this research at this point in time, and should not be considered as the ultimate statement, but the base on which the future findings will be added on. Special thank you to Marc Danel and Bart Bouckaert. Table of contents: Introduction 07 Beautiful noise and sound of silence 11 Notation: see me-hear me-make me 15 ●Pitch 16 *Microtones alterations 17 *Highest (and lowest) pitch 18 *Indeterminate pitch 19 ●Special note-heads 20 ●Time/Rhythm 21 ●Left hand 21 *Muting, muffing and damping 23 *Chords and double stops 24 *Glissando 25 *Triller 26 *Harmonics, half harmonics and subharmonics 27 *Vibrato 28 ●Right hand 31 *Timbre 31 *Pizzicato 35 *Irregular bow directions 41 *Arpeggio tremolo 43 *Tailpiece 44 Percussive techniques 44 Helmut Lachenmann 47 ●Bridge hey 47 ●Bow technique dabbing with the 48 screw of the bow Be practical: 50 ●Arranging you score 50 ●Color coding 51 Bibliography 55 Scores 57 Introduction “Experimenting, that’s the only way to find out – by trying things.” “Nobody has enough technique, you could never have enough.
    [Show full text]
  • Exploration of an Adaptable Just Intonation System Jeff Snyder
    Exploration of an Adaptable Just Intonation System Jeff Snyder Submitted in partial fulfillment of the requirements of the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences Columbia University 2010 ABSTRACT Exploration of an Adaptable Just Intonation System Jeff Snyder In this paper, I describe my recent work, which is primarily focused around a dynamic tuning system, and the construction of new electro-acoustic instruments using this system. I provide an overview of my aesthetic and theoretical influences, in order to give some idea of the path that led me to my current project. I then explain the tuning system itself, which is a type of dynamically tuned just intonation, realized through electronics. The third section of this paper gives details on the design and construction of the instruments I have invented for my own compositional purposes. The final section of this paper gives an analysis of the first large-scale piece to be written for my instruments using my tuning system, Concerning the Nature of Things. Exploration of an Adaptable Just Intonation System Jeff Snyder I. Why Adaptable Just Intonation on Invented Instruments? 1.1 - Influences 1.1.1 - Inspiration from Medieval and Renaissance music 1.1.2 - Inspiration from Harry Partch 1.1.3 - Inspiration from American country music 1.2 - Tuning systems 1.2.1 - Why just? 1.2.1.1 – Non-prescriptive pitch systems 1.2.1.2 – Just pitch systems 1.2.1.3 – Tempered pitch systems 1.2.1.4 – Rationale for choice of Just tunings 1.2.1.4.1 – Consideration of non-prescriptive
    [Show full text]
  • Contimbre Modes
    All available playing techniques of conTimbre 1 brass ho rns ho rn in f bisbigliando 2 brass horns horn in f flutter-tongue/tongue-R 3 brass horns horn in f half depressed valves 4 brass horns horn in f hit on mouthpiece 5 brass horns horn in f insert straight mute into bell 6 brass horns horn in f kiss 7 brass horns horn in f mouthpiece backwards 8 brass horns horn in f mouthpiece only 9 brass ho rns ho rn in f o rdinario 10 brass horns horn in f play and sing/woman 11 brass horns horn in f silent brass mute 12 brass horns horn in f slap 13 brass horns horn in f snap with a finger on the bell 14 brass horns horn in f snap with a finger on the bell/coin on finger 15 brass horns horn in f stop mute/closed 16 brass horns horn in f stop mute/open 17 brass horns horn in f stop mute/wahwah effect 18 brass horns horn in f straight mute 19 brass horns horn in f without mouthpiece/air noise/english 'f' 20 brass horns horn in f without mouthpiece/air noise/english 'h' 21 brass horns horn in f without mouthpiece/air noise/english 'k' 22 brass horns horn in f without mouthpiece/air noise/english 'p' 23 brass horns horn in f without mouthpiece/air noise/english 's' 24 brass horns horn in f without mouthpiece/air noise/english 'sh' 25 brass horns horn in f without mouthpiece/air noise/english 't' 26 brass horns horn in f without mouthpiece/air noise/flutter-tongue/tongue-R 27 brass horns horn in f without tubings/bb-horn 28 brass horns horn in f without tubings/f-horn 29 brass ho rns natural ho rn in a o rdinario 30 brass horns natural horn in ordinario
    [Show full text]
  • DMA Document
    UNIVERSITY OF CINCINNATI Date: 18-Jan-2010 I, Sherry Holbrook Baker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Horn It is entitled: In Memoriam: Nine Elegiac Works for Horn, 1943–2004 Student Signature: Sherry Holbrook Baker This work and its defense approved by: Committee Chair: bruce mcclung, PhD bruce mcclung, PhD Randy Gardner, BM Randy Gardner, BM Alan Siebert, MM Alan Siebert, MM 3/4/2010 383 In Memoriam: Nine Elegiac Works for Horn, 1943–2004 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 Division of Performance Studies of the College-Conservatory of Music by Sherry Holbrook Baker M.M., Michigan State University, 1999 B.M., University of Kentucky, 1997 Committee Chair: bruce d. mcclung, Ph.D ABSTRACT In Memoriam: Nine Elegiac Works for Horn, 1943–2004 September 2007 marked the fiftieth anniversary of the death of one of the twentieth century’s greatest hornists, Dennis Brain. It also marked the sixth anniversary of the September 2001 terrorist attacks on the United States. The horrific events of 11 September stunned the nation; the death of Brain at the age of thirty-six in a car accident affected his family, music lovers, and musicians. Composers have memorialized both tragedies in elegies for horn. In fact, a wide variety of elegiac works composed during the latter half of the twentieth century feature horn. This study investigates eight such memorial works for horn: Jeffrey Agrell’s September Elegy (2001), dedicated to the victims of the 11 September 2001 terrorist attacks; Hermann Baumann’s Elegia for Natural Horn (1984), dedicated to Francesco Raselli; Adrian Cruft’s Elegy for Horn and Strings (1967), dedicated to Dennis Brain; James Funkhouser’s In Memoriam (2004), dedicated to Elaine Crawford; Douglas Hill’s Elegy for Horn Alone (1998), dedicated to C.
    [Show full text]
  • Contemporary Violin Techniques: the Timbral Revolution
    CONTEMPORARY VIOLIN TECHNIQUES: THE TIMBRAL REVOLUTION By Michael Vincent December 17th, 2003 TABLE OF CONTENTS Introduction .......................................................................................................................................................................1 From the Renaissance to the Dadaists.............................................................................................................................1 Bowing..................................................................................................................................................................................2 Sul Ponticello........................................................................................................................................................................2 Col Legno..............................................................................................................................................................................3 Col legno tratto....................................................................................................................................................................3 Subharmonics and ALF’s...................................................................................................................................................4 Percussive Techniques...................................................................................................................................................5 The Fingertips......................................................................................................................................................................5
    [Show full text]
  • Like Speaking Into Each Other's Mouths, 2018
    like speaking into each other’s mouths for clarinet in Bb and cello marcus jackson [2018] programme note like speaking into each other’s mouths acts as a display of intimacy and awkwardness. It presents a situation where the performers attempt to unify their sounding actions, only to be betrayed by their physicality. The work exists at the point of departure between cause and causality, where each performer is simultaneously the initiator and receptor, suspended in a feedback loop in a constant effort to adapt. performance notes s.v./p.v./m.v. – senza/poco/molto vibrato ord./norm. – cancels any previous performance direction e.g. vib. norm. calls for regular vibrato style mst/pst/st – molto/poco sul tasto (near the fingerboard) msp/psp/sp – molto/poco sul ponticello (near the bridge) overpressure – using a large amount of downward pressure on the bow in order to create a sound with high noise content dynamics throughout should be performed such that the performers achieve maximum blend between the two instruments – it is desired that, as much as possible, it is not clear which instrument is playing which line. where there are hairpins with no indicated target dynamic, a nuanced swell should occur up one dynamic degree, then returning to the previous dynamic indication. the performers should not attempt throughout the piece to adjust their tuning to a perfect unison with the other performer – there are many instances where either a different fingering or playing style results in a slight detuning, and this is intended. it is, however, desired that the performers are in tune before the piece, as is standard.
    [Show full text]
  • Extended Techniques for Intermediate Violin Students Mariana Krewer Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 1-23-2018 Extended Techniques for Intermediate Violin Students Mariana Krewer Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Practice Commons Recommended Citation Krewer, Mariana, "Extended Techniques for Intermediate Violin Students" (2018). LSU Doctoral Dissertations. 4196. https://digitalcommons.lsu.edu/gradschool_dissertations/4196 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]. EXTENDED TECHNIQUES FOR INTERMEDIATE VIOLIN STUDENTS A Dissertation 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 Mariana Krewer B.M., Universidade Federal do Rio Grande do Sul, 2012 M.M., Valdosta State University, 2014 May 2018 Acknowledgements I owe the completion of this dissertation to the many great people I was lucky to meet throughout my journey. First, all the violin teachers in my life, specially Celio Elgert, Hella Frank, Fredi Gerling, Marcello Guerchfeld, Max Brent Williams, and Espen Lilleslatten, who shared their love of music and guided my path in this profession. Second, Louisiana State University’s professors and staff, in particular prof. Dinos Constantinides, Dr. Mikel LeDee, and Dr. Lori Bade, who were always supportive and available to help with my questions and concerns.
    [Show full text]
  • UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title How baroque cello music laid the foundation for cello works of the 19th and 20th centuries Permalink https://escholarship.org/uc/item/56f7f9kv Author Fedoryka, Larissa Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara How Baroque cello music laid the foundation for cello works of the 19th and 20th centuries A supporting document submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Music by Larissa Anna Maria Fedoryka Committee in charge: Professor Robert Koenig, Chair Jennifer Kloetzel, M.M., Lecturer Professor Lee Rothfarb Professor Paul Berkowitz Dr. Nona Pyron January 2018 The supporting document of Larissa Fedoryka is approved. ________________________________________________________ Nona Pyron ________________________________________________________ Paul Berkowitz ________________________________________________________ Lee Rothfarb _________________________________________________________ Jennifer Kloetzel _________________________________________________________ Robert Koenig, Committee Chair January 2018 How baroque cello music laid the foundation for cello works of the 19th and 20th centuries Copyright © 2017 by Larissa Fedoryka iii ACKNOWLEDGMENTS This document is dedicated to the memory of my mother, Irene Fedoryka. I would like to thank God for the gift of music. I would like to thank my grandparents, Osyp, Stephania, Bohdan, Myroslava, and parents Damian and Irene for sharing this beautiful gift with me. To each one of my siblings, Kateryna, Teresa, Maria, Sofia, Damian (sharing your cello with me), Alexander, Halyna, Danylo and Melanie, thank you for your constant support throughout this journey. A heartfelt thank you to Vuiko (uncle) Stefko and Teta (aunt) Xrystia, for encouraging me to continue with the pursuit of my doctorate.
    [Show full text]