DOCSLIB.ORG

[4] Concerto, Fantasia & Fugue Keyboard Works from the Weimar

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
[4] Concerto, Fantasia & Fugue Keyboard Works from the Weimar HARPSICHORD MUSIC · CEMBALOMUSIC · LA MUSIQUE POUR CLAVECIN · MÚSICA PARA CLAVE COMPUESTA [4] Concerto, Fantasia & Fugue Keyboard Works from the Weimar Period Werke für Tasteninstrumente aus den Weimarer Jahren / Œuvres pour clavier de la période de Weimar Obras para instrumentos de teclado del periodo de Weimar MM4120-2 07.07.2004 12:03 Uhr Seite 2 Aufnahmeleitung und Digitalschnitt/Producer and digital editor/Directeur de l’enregistrement et montage digital/Dirección de grabación y corte digital: Stefan Weinzierl Johann Sebastian Toningenieur/Sound engineer/Ingénieur du son/Ingeniero de sonido: Stefan Weinzierl Aufnahme/Recording/Enregistrement/Grabación: 2. bis 5. Oktober/October/Octobre/Octubre 1999, Kath. Pfarrkirche Oberried/Breisgau Bach Einführungstext/Programme notes/Texte de présentation/Textos introductorios: Prof. Dr. Robert Hill (1685–1750) Redaktion/Editor/Rédaction/Redacción: Dr. Andreas Bomba Cembalo/Harpsichord/Clavecin/Clave: nach/after/d’après/según Pascal Taskin (Paris 1769) von/by/de Keith Hill (Manchester, Michigan/USA 1998) Stimmung: aus einer Publikation von 1780 unter dem Titel »Stimm-Regeln des berühmten Mr. Händel« (cf. Owen Jorgensen, Tuning, 1991) Tuning: a temperament published in 1780 as »Rules for tuning by the celebrated Mr. Handel« Concerto, Fantasia & Fugue (cf. Owen Jorgensen, Tuning 1991) Accord: tiré d’une publication de 1780 parue sous le titre «Règles d’accord du célèbre M. Händel» (cf. Owen Jorgensen, Tuning, 1991) Afinación: según una publicación de 1780 titulada »Reglas de afinación del afamado Mr. Händel« (cf. Owen Jorgensen, Tuning, 1991) Werke für Tasteninstrumente aus den Weimarer Jahren Deutsche Übersetzung: Bettina Zander Keyboard Works from the Weimar Period Traduction française: Hélène Jani Œuvres pour clavier de la période de Weimar Traducción al español: Carlos Atala Quezada © 1999 by Hänssler Verlag, Germany Obras para instrumentos de teclado del periodo de Weimar ൿ 2000 by Hänssler Verlag, Germany Internationale Bachakademie Stuttgart E-Mail: [email protected] Internet: http://www.bachakademie.de Robert Hill Cembalo/Harpischord/Clavecin/Clave 2 MM4120-2 07.07.2004 12:03 Uhr Seite 4 Chromatische Fantasie und Fuge d-Moll BWV 903 12:19 »Chromatic« Fantasia and Fugue D Minor/Fantaisie »chromatique« et fugue en ré mineur/ Fantasía cromática y fuga en re menor Fantasia1 1 7:19 Fuga2 2 5:00 Fantasia a-Moll/A Minor/la mineur/la menor BWV 9223 6:08 Suite a-Moll/A Minor/la mineur/la menor BWV 818a 14:19 Prélude4 3 1:54 Allemande5 4 3:37 Courante6 5 1:41 Sarabande7 6 3:19 Menuet8 7 1:13 Gigue9 8 2:35 Fantasie und Fuge a-Moll BWV 904 9:17 Fantasia and Fugue A Minor/Fantaisie et fugue la mineur/Fantasía y fuga en la menor Fantasie 10 3:34 Fuge 11 5:43 Präludium und Fuge a-Moll BWV 894 10:06 Prelude and Fugue A Minor/Prélude et fugue en la mineur/Preludio y fuga en la menor Präludium12 5:35 Fuge 13 4:31 Total Time: 52:27 Robert Hill 4 5 MM4120-2 07.07.2004 12:03 Uhr Seite 6 DEUTSCH Robert Hill zum Beispiel der Suiten a-Moll BWV 807, g-Moll Wenn aber die Fantasie eine spätere Komposition Original und Transkription zunächst umgekehrt er- Im Konzertstil: Werke für Tasteninstrumente BWV 808, F-Dur BWV 809 und e-Moll BWV 810 ist, kann es gut sein, dass die Fuge ursprünglich als scheint!). Es bedarf großer Anstrengungen, im Gei- aus den Weimarer Jahren (s. Edition Bachakademie Vol. 113). BWV 818 ist in unabhängige Komposition existiert hat. Die Struk- ste BWV 894 von BWV 1044 zu trennen, so eng mehreren Versionen überliefert – mit und ohne das tur einer Doppelfuge mit einem passus duriusculus sind die beiden Werke miteinander verknüpft. Falls Der entscheidende Wendepunkt in Johann Sebast- Präludium, möglicherweise Ausdruck für Bachs (chromatisch absteigendes Motiv) als zweitem The- Bach vor der Komposition des fünften Brandenbur- ian Bachs Komponistenleben trat wohl ein, als er im Empfindung gegenüber den ansonsten bescheidenen ma verleiht der Fuge eine archaische Strenge, die gischen Konzerts die Idee eines Konzerts mit einem Juni 1713 auf Antonio Vivaldis Opus 3 stieß, die Dimensionen dieser Suite, die, mit Ausnahme der sich vom fließenden Charakter der Fantasie deutlich Solo-Tastenspieler hatte, war BWV 894 möglicher- Konzerte der Sammlung »Estro Armonico«. Bis da- Gigue, weniger umfangreich sind als die der Eng- abhebt. Gleichzeitig weist die Fuge am Ende der weise eine Art »Generalprobe«, jedenfalls so weit es DEUTSCH hin hatten die italienischen Konzerte von Tomaso lischen Suiten. Bachs anhaltendes Interesse an dieser zweiten Hälfte eine bemerkenswerte dramatische die Integration von für das Tasteninstrument spezi- Albinoni, Giuseppe Torelli und anderen Komponi- Suite ist daran zu erkennen, daß sie gemeinsam mit Steigerung auf und vermittelt so ihren Proportionen fischen Elementen in das Konzert betrifft. sten wichtige Anstöße für die Entwicklung des deut- den so genannten Französischen Suiten BWV 812- ein Gewicht, das sie zum ebenbürtigen Partner der schen Konzerts von Bach und Georg Philipp Tele- 817 (Vol. 114) überliefert wurde. Dem Stil nach Fantasie werden läßt. Insbesondere die hervorstechenden Elemente der mann geliefert. Es fehlte diesen Modellen jedoch die stammt das Menuett in BWV 818a aus den Leip- Kadenz in BWV 894/I scheinen die Möglichkeiten vollkommene Integrität der Vivaldischen Konzerte ziger Jahren und ist vielleicht die letzte Änderung Präludium und Fuge a-Moll BWV 894 ermög- für die Form eines charakteristischen Konzerts für aus Opus 3. In ihnen sind die harmonische Archi- von vielen, die Bach an der Struktur der Suite vor- lichen uns vielleicht den deutlichsten Einblick in die Tasteninstrument vorwegzunehmen, wie es Bach tektur, die thematische Struktur aus Ritornello-Epi- nahm. Art und Weise, wie Bach – in den Jahren nach seiner später im ersten Satz von BWV 1050 verwirklichte. soden sowie eine Nebeneinanderstellung von Tutti- Vivaldi-Apotheose – das italienische »Concerto« Die Fuge in BWV 894 zeigt uns eine Seite Bachs, und Solo-Kräften in einer Art koordiniert, die der Es kann gut sein, daß Fantasie und Fuge a-Moll sich zu eigen machte. Das Präludium scheint in je- die an Besessenheit grenzt: das Thema entfaltet sich Form des Allegro im Konzert ein klares Profil und BWV 904 ebenfalls in mehreren Phasen entstanden der Hinsicht nichts anderes als die Transkription ei- in einer ungewöhnlich strengen und homogenen eine eindringliche rhetorische Energie verleiht. Von sind. In der Fantasie wird die übliche Trennung zwi- nes Konzert-Allegro-Satzes zu sein, obwohl es ein- Weise, die motorischen Sechzehntel sind unerbitt- diesem Zeitpunkt an ist kaum ein Satz in Bachs Mu- schen den Tutti- und Soloabschnitten durch die Ho- deutig eine Originalkomposition für Solo-Cembalo lich, während ein Gegensatz zwischen den Tutti- sik zu finden, der nicht auf diese entscheidende Be- mogenität der Textur verwischt, so daß die Über- war. Geht man davon aus, daß BWV 894 aus der und Solopassagen nur durch den Vergleich mit der gegnung mit Vivaldis Konzertidee Bezug nimmt. gänge von Tutti nach Solo eher subtil erfolgen und zweiten Hälfte der Weimarer Jahre stammt (1713- abschließenden Fuge von BWV 1044 erkennbar ist. über kein klares Profil verfügen. Im Ritornell selbst 1717), mag das Präludium die Geburtsstunde des Dieser ausgesprochen motorische Charakter findet Die meisten Werke auf dieser CD haben in irgend- wird der italienisch beeinflußte Ursprung als Kon- Solokonzerts für Tasteninstrumente dokumentieren. sich in zwei anderen, eng mit BWV 894/II verwand- einer Weise mit dem italienischen Concerto zu tun. zertsatz heruntergespielt und läßt eher auf eine kon- In Bachs Oeuvre ist es jedenfalls der einzige eindeu- ten Sätzen wieder: wie die Fuge a-Moll BWV 944/II Das Präludium der Suite a-Moll BWV 818a stellt servative deutsche oder sogar französische Ensem- tige Vorläufer des ersten Satzes des fünften Branden- (Vol. 102) beruht BWV 894/II auf einem Allegro- höchstwahrscheinlich eine Verarbeitung des italieni- blestruktur schließen (wie etwa im mittleren Ab- burgischen Konzerts BWV 1050 (vgl. Vol. 126). Die Satz aus einem Violinkonzert von Torelli in d-Moll, schen Konzertprinzips v o r Bachs Begegnung mit schnitt des Pièce d’Orgue BWV 572, Vol. 90). An- Bedeutung von BWV 894 ist wohl durch seine enge das Bach für Cembalo nach h-Moll transkribierte Vivaldi dar. Dieser Satz, ein Konzert-Allegro in Mi- gesichts der Tatsache, dass alle Quellen von BWV Beziehung zu dem dreisätzigen Konzert a-Moll (BWV 979, Vol. 111). Eine weitere, allerdings etwas niaturausgabe, nimmt – wie, auf ihre Weise, die an- 904 ziemlich spät datieren, ist eine Entstehung des BWV 1044 (Vol. 130) aus den 1730er Jahren in den losere Beziehung besteht zu der Orgelfuge a-Moll deren Sätze der Suite BWV 818 auch – die äußerst Stücks in Leipzig nicht nur denkbar, sondern, im Hintergrund getreten: Der erste und der dritte Satz BWV 543/II (Vol. 90). umfangreichen, konzertartigen Einleitungssätze ei- Hinblick auch auf die differenzierte Formung der von BWV 1044 sind nämlich Transkriptionen von niger der sogenannten Englischen Suiten vorweg, so Konzertelemente, sogar ziemlich wahrscheinlich. BWV 894/I und II (obwohl die Beziehung zwischen 6 7 MM4120-2 07.07.2004 12:03 Uhr Seite 8 DEUTSCH Die Fantasie a-Moll BWV 922 wurde lange Zeit die Chromatische Fantasie und Fuge d-Moll Robert Hill (erschienen bei hänssler classic), den »Goldberg-Varia- als zweifelhaft angesehen, da ihr ungestümer, impro- BWV 903. Die große Anzahl von Abschriften aus tionen« sowie ausgewählten Cembalosuiten, ebenfalls Fortepianist, Cembalist und Dirigent, ist seit 1990 visatorischer und beinahe antikontrapunktischer dem 18. Jahrhundert legt Zeugnis ab von ihrer Be- von Bach. Auf dem Fortepiano sind u.a. das Gesamt- Professor für historische Tasteninstrumente und histo- Charakter so auffällig weit von Bachs gewohntem liebtheit unter den Klavierspielern. Die Eignung werk von Franz Schubert für Violine und Fortepiano rische Aufführungspraxis an der Staatlichen Hoch- Stil entfernt liegt. Selbst die »Fuga« innerhalb der dieses Werks zur Begeisterung einer breiten Öffent- mit Anton Steck erschienen, sowie Duowerke von Fer- schule für Musik Freiburg.
Load more

Recommended publications
  • Release Sheet
    November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig
    [Show full text]
  • HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
    HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • Western Culture Has Roots in Ancient
    29 15. Know the structure of the da capo aria (including keys). Statement: The one described on p. 383 is called a five- Chapter 17 part da capo aria. It's also possible to have just an ABA Italy and Germany in the type, too. Late Seventeenth Century 16. (382) What is a serenata? Composer? 1. (379) How did Italy and Germany differ from other Semidramatic piece for several singers with small orchestra; countries? So what? Alessandro Stradella They had a number of sovereign states; no center for musical activity so there were many places 17. (383) Describe church music styles and composer cited. Old Palestrina style with the newer concerted styles; Maurizio 2. What were the various influences? Cazzati In Italy, it was native music and its evolution; in Germany it was Italian and French styles 18. (384) Bologna was also important for what else? Instrumental ensemble music (often played in church) 3. (380) Where did most of the major developments in Italy take place? 19. What did organ composers write? The north Ricercares, toccatas, variation canzonas, chant settings 4. Where are the major centers of opera? Who are the 20. What are characteristics of the oratorio? composers? Italian text, had verse instead of poetry, in two sections Venice, Naples, Florence, Milan; Giovanni Legrenzi at Ferrara and Alessandro Scarlatti at Rome and Naples 21. Name the violin makers. Nicolò Amati, Antonio Stradivari, Giuseppe Bartolomeo 5. What attracted audiences the most? Guarneri Star singer and arias 22. Describe the sonata before 1650. Composer? 6. How many arias in an opera before 1670? After? Small sections differing in theme, texture, mood, character, 24; 60 and sometimes meter and tempo; Biagio Marini 7.
    [Show full text]
  • AHLMAN-DMA-TREATISE.Pdf (14.62Mb)
    Copyright by Christopher Stephen Ahlman 2011 The Treatise Committee for Christopher Stephen Ahlman Certifies that this is the approved version of the following treatise: The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 Committee: Luisa Nardini, Supervisor Gerre E. Hancock, Co-Supervisor Judith E. Hancock Guido Olivieri A. D. Renner Cinzia Russi The Compositional Nature and Performance Practice of the Grave of Johann Sebastian Bach’s Toccata in C, BWV 564 by Christopher Stephen Ahlman, B.A.; M.Div.; M.S.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2011 Dedication This work is dedicated to my wife and son, who have endured so much during our time in Austin. I am enormously grateful to them for their love, support, and patience, even in the midst of an unfairly challenging time. Acknowledgements I acknowledge and thank the members of my doctoral Treatise committee for their support and willingness to work with me on my chosen topic, especially Dr. Luisa Nardini, Supervisor, and Prof. Gerre E. Hancock, Co-Supervisor. I also express gratitude to all those who have contributed to my musical education in many and various ways, particularly piano instructors Mr. Stephen W. Hoelter, Ms. Jeanelle A. Mooney, and Ms. Tamara Riley Wyman; organ instructors Dr. Craig J. Cramer, Prof. Gerre E. Hancock, Prof. Judith E. Hancock, Ms. Carol Jarman, Mr.
    [Show full text]
  • Monday Feb 18 Matinee: Claudine Gomez
    BAROQUE & BEYOND 2008 PROGRAMS MONDAY FEB 18 MATINEE: NUANCES, INFLECTIONS & FANCY o La Romanesca A. Valente (Napoli, 1575) o Canzona Quarta G. Frescobaldi (1583-1643) La Frescobalda o La Volta W. Byrd (1542-1623) Wolseys Wilde o A new ground H. Purcell (1659-1695) Ground Suite VI: Prelude, Almand, Hornpipe o Preludio y Fuga XV (del Clavecín Bien Temperado II) J.S. Bach (1685-1750) 3 Minuetos (del libro para W.F. Bach) o Sonata K 87 D. Scarlatti (1685-1757) o La Régente A. Forqueray (1671-1745) La Portugaise o Chaconne J. Duphly (1715-1789) Médée Claudine Gómez-Vuistaz, clavecín MONDAY FEB 18 EVENING: THE NOBEL CELLO The evolution of the baroque cello in the music of Italy Barrett Sills, cello and Sebastian Knebel, harpsichord TUESDAY FEB 19 MATINEE: THE ART OF BAROQUE DANCE An exploration of baroque dance in the cello music of J.S. Bach Barrett Sills, cello and Yvonne Kendall, musicologist TUESDAY FEB 19 EVENING: VOICE AND VIOLS AT THE ROYAL COURTS La Milaneze Louis de Caix d’Hervelois (1670-1760) Prelude Nicolas Vallet (1583-1642) Come again John Dowland (1563-1626) Flow my tears Les Pantalons Nicolas Valle t(1583-1642) If my complaints John Dowland (1563-1626) Aria amorosa Nicola Matteis (fl. 1670-1698) Greensleeves traditional English Chaconne Louis Couperin (1626-1661) Music for a While Henry Purcell (1659-1695) Oh let me weep I attempt from Love’s sickness Prelude John Wilson (1595-1674) Fairest Isle Henry Purcell (1659-1695) L’Affligee et Tombeau Johann Jacob Froberger (1616-1667) Ah how sweet Henry Purcell (1659-1695) La Minaudiere
    [Show full text]
  • Mar 1 to 7.Txt
    CLASSIC CHOICES PLAYLIST March 1 - 7, 2021 PLAY DATE: Mon, 3/1/2021 6:02 AM Antonio Vivaldi Concerto No. 7 for violin and cello 6:11 AM Padre Antonio Soler Concierto No. 6 for two obbligato organs 6:25 AM Thomas Simpson Pasameza 6:29 AM Giuseppe Tartini Violin Sonata 6:42 AM Franz Joseph Haydn Symphony No. 10 7:02 AM Johann Georg Pisendel Sonata 7:13 AM Franz Joseph Haydn Andante with Variations HOB XVII:6 7:31 AM Christoph Graupner Concerto for Bassoon,2 violins,viola and 7:43 AM Johann Christian Bach Viola Concerto 8:02 AM Johann Sebastian Bach Partita No. 3 8:15 AM Léo Delibes Coppelia: Excerpts 8:34 AM Gaspar Cassado Sonatine pour Piano et Violoncelle, 1924 9:05 AM Frédéric Chopin Piano Concerto No. 2 9:38 AM Jean Françaix Quartet for English Horn and Strings 9:55 AM Frédéric Chopin Waltz No. 6 10:00 AM Mid-day Classic Choices - TBA 2:00 PM Clara Schumann Notturno (1838) 2:07 PM Benjamin Britten Simple Symphony 2:26 PM Francois Devienne Bassoon Quartet 2:48 PM Antonio Vivaldi Flute Concerto Op 10/3 "The Goldfinch" 3:03 PM Emelie Mayer Piano Trio 3:35 PM Friedrich Kuhlau Concertino for Two Horns and Orchestra 4:01 PM Mario Castelnuovo-Tedesco Guitar Concerto No. 1 4:23 PM Ferenc Erkel Fantasy duo on Hungarian Airs for violin 4:41 PM Thomas Augustine Arne Organ Concerto No. 2 4:54 PM Robert Lowry How Can I Keep from Singing? 5:01 PM Gustav Holst First Suite for Wind Ensemble 5:13 PM Paul Ben-Haim Sonatina 5:26 PM José Nono Symphony 5:40 PM Georg Philipp Telemann Concerto for Trumpet and Violin 5:54 PM Sir Andrew Lloyd Webber Evita: Don't Cry for Me, Argentina 6:00 PM All Request Hour with Adam Fine 7:00 PM Exploring Music with Bill McGlaughlin 8:00 PM Weeknight Concerts 10:00 PM Performance Today PLAY DATE: Tue, 03/02/2021 6:02 AM Chevalier de Saint-Georges Symphony 6:17 AM Johann Sebastian Bach Sonata No.
    [Show full text]
  • Program Presents
    Bard College Music Program presents BARD BAROQUE ENSEMBLE Renée Anne Louprette, Director Streamed on Saturday, December 5, 2020 at 7:00 PM Pre-Recorded at Bard College PROGRAM Apothéose de Lulli François Couperin (1668-1733) I. Lulli aux Champs-Élisés, concertant avec les Ombres liriques II. Air pour les Mêmes III. Vol de Mercure aux Champs-Élisés, pour averter qu’Apollon y va descendre VII. Enlèvement de Lulli au Parnasse Preludium and Lachrymae Pavan John Dowland (1563-1626) Matt Macari, lute Nine Fantasias Thomas Morley Edited by Nathalie Dolmetsch, arranged by Dávid Bánóczi-Ruof (1557-1602) 1. Il Doloroso 3. La Rondinella 2. La Girandola French Chansons and Dances Edited and arranged by Werner Danckert C’est un joli Chasseur (folksong from La Bresse) Rossignolet au Bois (folksong from Wallonia, Belgium) Les trois Princesses au Pommier doux (folksong from Franche-Comté) Au Bord de la Rivière (source unknown) Chant d’Été (folksong from Wallis, Switzerland) Megan Halm, Lily Moerschel, Grace Molinaro, cellos Concertino per Camera à Violino e Violoncello, Op. 4, No. 2 Giuseppe Torelli (1658-1709) I. Introduzione II. Ballo III. Corrente Dávid Bánóczi-Ruof, violin; Nick Scheel, cello Duo for Violin and Viola in in G Major, K. 423 Wolfgang Amadeus Mozart (1756-1791) I. Allegro Ella Menees, violin; Narain Darakananda, viola Pièces de Clavecin en Concerts, Troisième Concert Jean-Philippe Rameau Edited and arranged by Renée Anne Louprette after the 1896 (1683-1764) arrangement of “Concerts transcrit en sextuor” by Camille Saint-Saëns I. La La
    [Show full text]
  • TERRA SANCTA ORGAN FESTIVAL Program of the Autumn Season of Concerts 2015 Custodia Terræ DATE PLACE ORGANISTS & MUSICIANS Sanctæ 22 August PISA – Basilica Di S
    TERRA SANCTA ORGAN FESTIVAL Program of the Autumn Season of Concerts 2015 Custodia Terræ DATE PLACE ORGANISTS & MUSICIANS Sanctæ 22 August PISA – Basilica di S. Piero a Grado – 7.00 pm Antonio Galanti (ITA) TERRA SANCTA Blessing For The New Organ On Mount Nevo (Jordan) Andrea Lagi (ITA), Trumpet Autumn Season 2015 “Prelude” H.E. Giovanni Paolo Benotto, Metropolitan Archbishop in Pisa HOLY LAND in H.E. Mons Maroun Lahham, Patriarcal Vicar in Jordan INTERNATIONAL Italy Don Antoni Pyzar, Parrish Priest of the Basilica HEILIG-LAND Nicola Puccini (Italy), organ builder TERRE SAINTE 18 September AMMAN – Terra Sancta College – 7.30 pm Mako Kusagaya (JAP) Fountain of Love Choir TERRA SANTA Toaama Jbara (JOR), Conductor ORGAN 25 September EMMAUS EL QUBEIBEH – Terra Sancta Monastery – 4 pm Gunther Martin Goettsche (GER) TIERRA SANTA Heidrun Goettsche (GER), Soprano ΤΕΡΡΑ ΣΑΝΤΑ 27 September RHODES – St. Francis Church– 8.30 pm Matthias Giesen (AUT) FESTIVAL September 18, 2015 ﺍﻷﺭﺽ ﺍﻟﻤﻘﺪﺳﺔ (September - RHODES – Church of St. Francis and of Our Lady of Victory Chris Paraskevopoulos (GRC 27 ארץ הקודש October Organ & Music Festival Rhodes Artistic Director/Organist 4 3 October LARNACA – Church of St. Mary of Graces – 7.30 pm Christophe Guida (FRA) Melanie Harrison (GBR) 6 October JAFFA (TEL AVIV) – Church of St. Peter – 7 pm Peter Latona (USA) AMMAN ﻋﻤﺎ ﻥOctober NAZARETH – Basilica of the Annunciation – 6 pm Peter Latona (USA) Terra Santa College 7 ﺷﺎﺭﻉ ﺃﺣﻤﺪ ﺷﻮﻗﻲ (October JERUSALEM – Church of St. Saviour – 6 pm Peter Latona (USA 8 26 ﺷﺎﺭﻉ ﺃﺣﻤﺪ ﺷﻮﻗﻲ October BETHLEHEM – Church of St. Catherine – 6 pm Peter Latona (USA) Ahmad Shawqi St 26 9 ﺣﻔﻞ ﺍﻷﺭﻏﻦ PIPE ORGAN CONCERT 13 October JAFFA (TEL AVIV) – Church of St.
    [Show full text]
  • Syllabus for MUS 205—History and Literature of Music I 4 Credit Hours Fall 2011
    Syllabus for MUS 205—History and Literature of Music I 4 Credit Hours Fall 2011 I. COURSE DESCRIPTION A study of the history of Western music in Europe and America from antiquity through the eighteenth century. II. COURSE GOALS The student in the history and literature of music course will gain knowledge in the history of Western musical styles that will be integrated with and evaluated by selected readings, critical listening, music score analyses, independent research, and class discussion. III. STUDENT LEARNING OUTCOMES FOR THIS COURSE A. Objectives As a result of successfully completing this course, the student will be able to do the following: 1. Correlate and contrast the general style trends in the history of Western music from antiquity to 1750. 2. Identify and describe style traits of representative works and composers in each historical era. 3. Synthesize style, genres, and composers with their cultural contexts. 4. Connect the multi-cultural influences on composers and their music. 5. Articulate results of listening and score analysis of selected works. 6. Discuss the materials and procedures of research in music history. 7. Apply research skills in a documented format. B. Objectives for Students in Teacher Preparation Programs The teacher candidate will know the following: 1. How to integrate and evaluate musical styles in a historical context. 2. How to correlate and contrast the general trends in the history of Western music from antiquity to the present. 3. How to identify and describe style traits of representative works and composers in each historical era. 4. How to synthesize styles and genres with cultural contexts.
    [Show full text]
  • Camerata Musica of the D.D.R
    THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Camerata Musica of the D.D.R. ZELJKO STRAKA, Conductor MONDAY EVENING, FEBRUARY 8, 1988, AT 8:00 RACKHAM AUDITORIUM, ANN ARBOR, MICHIGAN PROGRAM Concerto Grosso in D major, Op. 6, No. 1 ........................... CORELLI Allegro Allegro, largo, allegro Allegro Concerto in D minor for Oboe, String Orchestra, and Continue ... A. MARCELLO Andante e spiccato Adagio Presto DIETER WAGNER, Oboist Concerto in G major for Viola and String Orchestra ................ TELEMANN Larghetto Adagio Allegro Allegro KARL-HEINZ DOMMUS, Violist INTERMISSION Concerto in D major for Two Violins, Two Cellos, String Orchestra, and Continue, RV 564 .......................... VIVALDI Allegro Largo Allegro WOLF-DIETER BATZDORF and BODO PRCZESDZING, Violinists MATHIAS PFAENDER and MANFRED HERZOG, Cellists Sinfonia for Trumpet, String Orchestra, and Continue ................ TORELLI MATHIAS SCHMUTZLER, Trumpeter Ancient Airs and Dances, Suite III, Op. 40 ........................... RESPIGHI Italiana Siciliana Aire di Corte Passacaglia Halls Cough Tablets, courtesy of Warner-Lambert Company, are available in the lobby. Thirtieth Concert of the 109th Season Twenty-fifth Annual Chamber Arts Series PROGRAM NOTES Concerto Grosso in D major, Op. 6, No. 1 ................ ARCANGELO CORELLI (1653-1713) Violinist, teacher, and founder of the classical school of violin playing, Arcangelo Corelli published relatively little as a composer, but his works are both absorbing in their own right and significant in musical history. With the violin replacing the viol as the principal string instru­ ment, Corelli was acknowledged as its master, and musicians came from all over Europe to study with him. His sets of violin sonatas laid the foundation for all solo violin playing, and the twelve Concerti grossi published as his Opus 6 set a new fashion in instrumental music that quickly spread throughout Europe.
    [Show full text]