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The Crucifixion: Stainer's Invention of the Anglican Passion
The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras. -
Classical Series 1 2019/2020
classical series 2019/2020 season 1 classical series 2019/2020 Meet us at de Doelen! Bang in the middle of Rotterdam’s vibrant city centre and at a stone’s throw from the magnificent Central Station, you find concert hall de Doelen. A perfect architectural example of the Dutch post-war reconstruction era, as well as a veritable people’s palace, featuring international programming and festivals. Built in the sixties, its spacious state- of-the-art auditoria and foyers continue to make it look and feel like a timelessly modern and dynamic location indeed. De Doelen is home to the Rotterdam Philharmonic Orchestra, with the very young and talented conductor Lahav Shani at its helm. But that is not all! With over 600 concerts held annually, our programming is delightfully varied, ranging from true crowd-pullers to concerts catering to connoisseurs, and from children’s concerts to performances of world music, jazz and hip-hop. What’s more, de Doelen is the beating heart of renowned cultural festivals such as the IFFR, Poetry International, Rotterdam Unlimited, HipHopHouse’s Make A Scene and RPhO’s Gergiev Festival. Check this brochure for this season’s programme. You will hopefully be as thrilled as we are with what’s on offer. Meet us at de Doelen and enjoy! Janneke Staarink, director & de Doelen team Janneke Staarink © Sanne Donders classical series 3 contents classical series 2019/2020 season preface 3 Pierre-Laurent Aimard © Marco Borggreve Grupo Ruta de la Esclavitud © Claire Xavier classical series 6 - 29 suggestions per subject 30 chronological overview 32 piano great baroque ordering information 36 From classics to cross-overs: the versatility of the This series features great themes and signature baroque floor plans 38 piano takes centre stage. -
Dismantling the Time: a Theoretical and Practical Basis for Sinusoidal Deconstruction
Dismantling the time: a theoretical and practical basis for sinusoidal deconstruction Ángel Arranz Master Thesis Institute of Sonology Royal Conservatory of The Hague 2008 Music gives soul to the universe, wings to the thought, flying to the imagination, charm to the sadness, bliss and life to everything. (Plato) Aeterna Renovatio 2 Abstract “The basic purpose of this project is to build an auto-conductive non-harmonic musical system with nine instrumental parts and/or a live electronics field. One of the main properties is dispensability: any of the parts may be omitted without damage in the macrostructure. As the absence of some parts as the combinatorial variability of them do not affect the musical efficacy of the composition. Such a system will be possible thanks to the observation of some compositional conductive models of the past (Flemish polyphony) and some more present, as Xenakis’s stochastic music. Fundamentally, this task is made by means of ‘seeds’, minimal elemental shapes, which create the macro and micro levels of the work. In the first level of the composition, the macroform level, the seeds are implemented in a computer-assisted composition environment using the AC Toolbox program, where a graphics-based grammar is set on a discourse that is drawn in a unique stochastic gesture and later deconstructed. In the second level of composition, the microform level, the seed’s data are used as a controller of electronic gestures implemented in the Max/MSP program. The principal purpose of this level will be to enlarge the compositional domain and give an opportunity of extension to the physical possibilities of instruments, driving it towards the micro-sounds and other parallel temporal processes and having their own self-sufficient process inside the work”. -
THE PASSION of MUSICK Dorothee Oberlinger – ENSEMBLE 1700 Vittorio Ghielmi – IL SUONAR PARLANTE
THE PASSION OF MUSICK dorothee oberlinger – ENSEMBLE 1700 vittorio ghielmi – IL SUONAR PARLANTE – G0100031694135 – Recording: April 10 –14, 2014; Köln Deutschlandfunk Kammermusiksaal Executive Producer: Dr. Christiane Lehnigk Recording Producer: Peter Laenger, TRITONUS Musikproduktion GmbH, Stuttgart Recording Engineer: Christoph Rieseberg Text Booklet: Dorothee Oberlinger & Helga Heyder-Späth English Translation: Stewart Spencer Photos and Art Direction: Johannes Ritter With Support from the DKB Stiftung für gesellschaftliches Engagement A coproduction with Deutschlandfunk G0100031694135 P+C 2014 Deutschlandradio / Sony Music Entertainment 1 the duke of norfolk (paul’s steeple) 3’17 9 parson’s farewell 1’51 From: “The Division Violin” (London, 1685), mixed with Variations Tune from “The English Dancing Master” (1651) from “The Division Flute” (London, 1706) and improvised Variations with Variations by Jacob van Eyck (c1590–1657) 4 recorders, bagpipe, 4 viols, harp, virginal, bhodrán soprano recorder (DO), 3 viols (VG, RP, CC), harp 2 adson’s masque 1’40 10 the irish ho-hoane 5’44 John Adson (c1587–1640), from “Courtly Masquing Ayres” (1621) Vittorio Ghielmi (2012), after a traditional Irish Tune in 4 recorders, 4 viols, harp, virginal “Fitzwilliam Virginal Book” (c1610–1625) bass and soprano recorder (DO), 3 viols (VG, RP, CC) 3 lord galway’s lamentation 1’23 Turlough O´Carolan (1670–1738) 11 the pashion of musick 4’20 harp Captain Tobias Hume (1569–1645) bass recorder (DO), 3 viols (RP,VG, CC) 4 cupararee or gray’s inn 3’05 pro. by -
Ricercar Consort
Bach en Hoogdagen Ricercar Consort . Philippe Pierlot Weckmann, Bach vrijdag 12 maart 2004 Bach en Hoogdagen . Seizoen 2003-2004 Klaus Mertens bas . Bob van Asperen klavecimbel en orgel J. S. Bach, Böhm vrijdag 19 september 2003 Amsterdam Baroque Orchestra . Ton Koopman Bach dinsdag 30 september 2003 Koor en Orkest Collegium Vocale . Philippe Herreweghe Bach zondag 30 november 2003 Collegium Vocale . Ricercar Consort Oltremontano . Philippe Pierlot Praetorius dinsdag 16 december 2003 Koor en Orkest Collegium Vocale . Philippe Herreweghe Bach maandag 1 maart 2004 Ricercar Consort . Philippe Pierlot Weckmann, Bach vrijdag 12 maart 2004 Ricercar Consort . Philippe Pierlot Anna Maria Friman sopraan . Carlos Mena altus Jan Van Elsacker tenor . Stephan MacLeod bas begin concert 20.00 uur Conjuratio pauze omstreeks 20.50 uur einde omstreeks 21.50 uur Matthias Weckmann (1619-1674) inleiding door Dirk Moelants . 19.15 uur . Vergaderzaal Zion spricht: Der Herr hat mich verlassen teksten programmaboekje Dirk Moelants coördinatie programmaboekje deSingel druk programmaboekje Fotogravure Godefroit Anonymus (ca. 1664) Det är nog gelieve uw GSM uit te schakelen! Matthias Weckmann Kommet her zu mir Weine nicht pauze Matthias Weckmann Wie liegt die Stadt so wüste Johann Sebastian Bach (1685-1750) Foyer deSingel Nach dir, Herr, verlanget mich, BWV150 enkel open bij avondvoorstellingen in Rode en/of Blauwe Zaal open vanaf 18.40 uur kleine koude of warme gerechten te bestellen vóór 19.20 uur broodjes tot net vóór aanvang van de voorstellingen en tijdens pauzes -
GÖTEBORG INTERNATIONAL ORGAN ACADEMY 13–15 September 2012
GÖTEBORG INTERNATIONAL ORGAN ACADEMY 13–15 sEPTEMBER 2012 The North German Chorale Fantasias and Georg Böhm’s Organ Works 1 TABLE OF CONTENTS VÄLKOMMEN! WELCOME! Informationcover inside 2 Göteborg har utvecklats från en hamn- och in- At the beginning of the twenty-first century, Welcome 3 dustristad till ett regionalt centrum för näringsliv, Göteborg has undergone a metamorphosis from its Göteborg International Organ Academy 2012 4 utbildning, forskning och kultur. Göteborgs Sym- historical position as a harbor city and an industrial The Göteborg International Organ Academy 5 foniker är, sen ett antal år, Sveriges nationalorkes- center into a regional center for business, educa- Academy programme 2012 6-7 ter, vid älven står vårt vackra operahus, på många tion, research and culture. For some years, the Concert programmes and Vespers 8-12 scener i staden pågår intensiva teateraktiviteter, Göteborg Symphony Orchestra has also been the Master-classes 13 Göteborgs Filmfestival och bokmässan är händelser National Orchestra of Sweden. The beautiful Göte- GOArt library and instruments on display 13 av internationell betydelse och högskolevärlden borg Opera stands on the banks of the Göta River. Biographies 13-19 kan inte bara uppvisa forskningsfält av internatio- The city’s many stages support an active theater Organ specifications 19-22 nell betydelse utan ger också betydande bidrag till scene. The annual Film Festival and Book Fair are Artisten, Bjurum organ 19 kulturlivet i form av konst, formgivning, musik, international events, and Göteborg’s universities Artisten, Gustavsson & Kjersgaard organ 20 teater, internationella vetenskapsfestivalen, osv. not only support research of international signifi- Haga Church, Brombaugh organ 20-21 cance, but also make important contributions to Örgryte New Church, Willis organ 21-22 Kulturlivet bygger också broar till andra delar the city’s cultural life, in the areas of art, music, Concerts and Vespers 23 av Europa. -
Spring 2014 Newsletter
Australian Viola da Gamba Society Newsletter Spring 2014 www.avdgs.org.au www.facebook.com/groups/161476953911759 WELCOME! keen to repeat the event but at present there are no firm plans for the next consort weekend, so watch A warm welcome to all members of the Australian this space! Viola da Gamba Society to the Spring 2014 edition of the newsletter. Thanks to contributors to this edition. — Rhona Lever Apologies for the lateness of this edition, which has been delayed by John’s travels in Europe! —John Weretka and Rhona Lever CHRISTCHURCH CONSORT WEEKEND Over Queen’s Birthday weekend eighteen viol players met in Christchurch to enjoy playing consorts. This was the second event co-ordinated by Aart Brusse, and Christchurch players located a good venue and excellent caterers. The weather delivered crisp frosts followed by lovely clear sunny days so visitors en- joyed some earthquake tourism in Christchurch under favourable conditions. The aim was to play some of the five- and six-part Participants at the Christchurch Consort Weekend repertoire by great composers such as Gibbons, Lawes, Jenkins and Ward. Rhona Lever organised the music and the groups and the expert tutor was Polly Sussex. Music was available to practise beforehand, as it was too difficult for most players to sightread. For most of the time we played in three groups but we also made two bigger groups to do Purcell’s sev- en-part In Nomine. Some of the more difficult pieces were most successful when we played altogether in one group. Players came from Dunedin, Wellington, Auckland and Melbourne to join seven players from Christ- church, and all enjoyed very much the opportunity to play this repertoire. -
Rules for the Viola Da Gamba Competition 2020
Rules for the Viola da gamba Competition 2020 Art. I The competition is open to viola da gamba players of any nationality, born in 1993 or afterwards. Art. II a) Programme for the first round Video recording uploaded on a private channel (i.e. youtube, vimeo, etc.), indicating on the application form the link, with place and date of the recording. The recording must be integral (not edited or cut within the pieces. Cuts are possible only between pieces or between movements) and not be more than one year old. The repertoire presented is free, with a duration between 10 and 15 minutes and must include: Christopher Simpson, Division in E minor (Penultimate of the collection “The division violist” 1659) b) Programme for the second round (semi-final) The candidate will present a freely chosen programme with a duration between 30 and 40 minutes, that must include one of the following pieces: Johann Sebastian Bach, Sonata für Viola da gamba und Cembalo D–Dur BWV 1028, 4th movement Johann Sebastian Bach, Sonata für Viola da gamba und Cembalo G–moll BWV 1029, 3rd movement Antoine Forqueray, La Forqueray, from “Pièces de viole avec la basse continuë” (1747) Antoine Forqueray, La Guignon, from “Pièces de viole avec la basse continuë” (1747) Antoine Forqueray, Jupiter, from “Pièces de viole avec la basse continuë” (1747) The programme can include a modern or contemporary piece, a transcription from the repertoire of other instruments or a free improvisation, but this kind of pieces can be altogether max 8 minutes of the duration available for the semi-final. -
Polyphonic Harmony in Three of Ferruccio Busoni's Orchestral Elegies
POLYPHONIC HARMONY IN THREE OF FERRUCCIO BUSONI’S ORCHESTRAL ELEGIES Colin Davis, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Timothy L. Jackson, Major Professor Hendrik Schulze, Committee Member Stephen Slottow, Committee Member Frank Heidlberger, Committee Member and Chair of the Department of Music History, Theory, and Ethnomusicology Benjamin Brand, Directory of Graduate Studies for the College of Music James Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Davis, Colin. Polyphonic Harmony in Three of Ferruccio Busoni’s Orchestral Elegies. Doctor of Philosophy (Musicology - Music Theory), May 2015, 225 pp., 82 musical examples, bibliography, 91 titles. This dissertation focuses on three of Busoni’s late orchestral works known as “orchestral elegies”: Berceuse élégiaque (Elegie no. 1, 1909), Gesang vom Reigen der Geister (Elegie no. 4, 1915), and Sarabande (Elegie no. 5, 1918-19). The study seeks to provide a better understanding of Busoni’s late style as a crucial bridge from late nineteenth-century chromaticism in the works of Liszt, Wagner, and others to the post-tonal languages of the twentieth century. At the heart of this study lies a particular concept that forms the basis of many characteristic features of Busoni’s late style, namely the concept of polyphonic harmony, or harmony as a cumulative result of independent melodic lines. This concept is also related to a technique of orchestration in which the collective harmony is sounded in such a way that the individual voices are distinct. In the highly personal tonal language of Busoni’s late works, passages often consist of a web of motives weaved throughout the voices at the surface level of the music. -
Dietrich Buxtehude Sacred Cantatas
Dietrich Buxtehude Sacred Cantatas Collegium AD MOSAM, Huub Ehlen 1. Jesu meines Lebens Leben (BuxWV 62) 06:31 2. Befiehl dem Engel, daß er komm (BuxWV 10) 05:08 3. Fürwahr, er trug unsere Krankheit (BuxWV 31) 10:13 4. Gott, hilf mir (BuxWV 34) 14:32 5. Der Herr ist mit mir (BuxWV 15) 07:09 6. Herzlich lieb hab ich dich, o Herr (BuxWV 41) 18:17 TOTAL 61:51 Collegium AD MOSAM Huub Ehlen Soloists: Soprano 1 Hannah Morrison (1, 2, 3, 4, 5, 6) Soprano 2 Hayat Chaoui (1, 3, 4, 6) Alto Hanna Kopra (1, 2, 3, 4, 5, 6) Tenor Immo Schröder (1, 2, 3, 4, 5, 6) Basses Michiel Meijer (1, 3, 4, 6) Benoît Giaux (2, 4, 5, 6) Choir: Soprano 1 Beppie Boode Soprano 2 Anita Koolen Alto Mireille Hoogenberk-Rooijmans Tenors Jan Berkers, Hans Timmermans Basses Jo Louppen, Wim Reijnders Orchestra: Trumpets Anna Freeman, Ralph Henssen (6) Violins Andreas Hempel, Heidi Erberich (1, 2, 3, 4, 5, 6) Violas Arjen de Graaf, Marie Haag (1, 4, 6) Gambas Maaike Boekholt, Christian Zincke (3) Violone Hendrik-Jan Wolfert (1, 2, 3, 4, 5, 6) Theorbo Michael Dücker (1, 2, 3, 4, 5, 6) Organ Tineke Steenbrink (1, 2, 3, 4, 5, 6) 3 Dietrich Buxtehude – Sacred Cantatas Dietrich (Diederik) Buxtehude (Oldesloe 1637 – Lübeck 1707) came from a respectable Danish family of organists. He must have received his initial musical training from his father Johannes, for 30 years organist at the Saint Olau Church in Helsingor. After his study in Copenhagen – we know very little of his musical education – he should, by tradition, have succeeded his father in Helsingor, but it seems the young man had greater ambition. -
Barbarische Schönheit IL SUONAR PARLANTE ORCHESTRA VITTORIO GHIELMI VIOLA DA GAMBA UND LEITUNG
21.09.2016 barbarische schönheit iL sUONAR ParLANTE ORCHESTRA VITTORIO GHIELMi VIOLA DA GAMBA UND LEITUNG SAISOn 2016/2017 abOnneMentkOnzert 1 Mittwoch, 21. september 2016 | 20 Uhr Suite: „barbarische schönheit“ hamburg, Laeiszhalle, Großer saal GeOrG PHILiPP TELeMANN Adagio à la Polonoise – Allegro à la Polonoise iL sUONAR PARLANTE ORCHESTRA (aus: concerto Polonoise tWV 43:b3) VITTORIO GHIELMi VIOLA DA GAMBA und Leitung GRACIELa GIBELLi sOprAN J. P. KIRNBERGER Mazur (arr. Vittorio Ghielmi) DOrOTHEE OBERLINGER BLOCKFLÖTE (1721 – 1783) aLESSANDrO TAMPIERI VIOLINE STANO PaLÙCH VIOLINE GeOrG PHILiPP TELeMANN hanaquoise (aus: suite tWV 55:D3) MARCEL cOMenDANT CYMBALON scaramouche (aus: suite tWV 55:b8) (beide: arr. Vittorio Ghielmi) GeOrG PHILiPP TELeMANN konzert a-Moll für blockflöte, Viola da Gamba, ANTOniO ViVaLDi Recitativo Grave (1681 – 1767) streicher und basso continuo tWV 52:a1 (1678 – 1741) (aus: concerto D-Dur rV 208a „il Grosso Mogul“) Grave – Allegro – Dolce – Allegro ANOnYMUs saltus Polonicus und saltus hungaricus (aus: FRANTIŠek JIRANEK konzert d-Moll für Violine, streicher und sammlung Uhrovec, arr. Ghielmi/Palùch/comendant) (1698 – 1778) basso continuo Allegro – Grave – Recitativo – Allegro GeOrG PHILiPP TELeMANN La Vielle (aus: suite tWV 55:es3 „La Lyra“, arr. Vittorio Ghielmi) JOHANN GOTTLIEB GRAUn konzert a-Moll für Viola da Gamba, streicher und arie „solo per voi tra mille“ (1702 – 1771) basso continuo GWV a:XIII:14 (aus: „Pastorella venga bella“ tWV 20:62) Allegro ma non tanto – Adagio – Allegro Allegro (aus: tWV 42:g12, arr. Vittorio Ghielmi) Pause FRANZ benDa Allegro Scherzando (1709 – 1786) (aus: konzert für cembalo, streicher und b.c.) JOHANN aDOLPh HASSE „L’augelletto“ arie für sopran, Viola da gamba, Allegro scherzando (arr. -
{Dоwnlоаd/Rеаd PDF Bооk} Bach Pdf Free Download
BACH PDF, EPUB, EBOOK Mike Venezia | 30 pages | 31 Aug 2000 | Hachette Children's Group | 9780516263526 | English | London, United Kingdom Johann Sebastian Bach | Biography, Music, & Facts | Britannica Thomas Church and School in Leipzig, Germany. Even though his job in Leipzig kept him very busy, in his spare time, Bach conducted a group of musicians who liked to get together to perform at a local coffee house. During his lifetime, people thought of Bach as just an ordinary working musician. No one really knew much about his music until years after his death, when another composer, Felix Mendelssohn, conducted a performance of Bach's St. Matthew Passion. Bach is now seen as one of the greatest geniuses in music history. He wrote all kinds of music -- for organ and other keyboard instruments, orchestras, choirs, and concertos for many different instrumental combinations. He was a devoutly religious man, and knew tragedy: his first wife died suddenly while he was away on business; 12 of his 20 children died in infancy; one of his sons had severe learning difficulties; and another ran away from home in his teens and died in mysterious circumstances. With employers, who rarely appreciated his talents, he was chippy and argumentative; at a family gathering with a few drinks and a pipe of tobacco, however, he was robustly good-humoured, especially when the Bach clan took turns to improvise rude country songs. Bach's style is baroque, characterised by lots of notes, simple motoric rhythms, and steady shifts of underlying harmony - it was derided by some as 'sewing-machine music'.