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'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
Oct 12 to 18.Txt
CLASSIC CHOICES PLAYLIST Oct. 12 - 18, 2020 PLAY DATE: Mon, 10/12/2020 6:02 AM Antonio Vivaldi Concerto for violin, 2 flutes, 2 oboes & 6:13 AM Wolfgang Amadeus Mozart Symphony No. 27 6:29 AM Arcangelo Corelli Concerto Grosso No. 6 6:44 AM Johann Nepomuk Hummel Gesellschafts Rondo 7:02 AM Michel Richard Delalande Suite No. 12 7:16 AM Muzio Clementi Piano Sonata 7:33 AM Mademoiselle Duval Suite from the Ballet "Les Génies" 7:46 AM Georg (Jiri Antonin) Benda Sinfonia No. 9 8:02 AM Johann David Heinichen Concerto for fl,ob,vln,clo,theorbo,st,bc 8:12 AM Franz Joseph Haydn String Quartet 8:31 AM Joan Valent Quatre Estacions a Mallorca 9:05 AM Ralph Vaughan Williams Symphony No. 3 9:41 AM Robert Schumann Fantasiestucke 9:52 AM Ralph Vaughan Williams Silent Noon 10:00 AM Wolfgang Amadeus Mozart LA CLEMENZA DI TITO: Overture 10:06 AM Wolfgang Amadeus Mozart Violin Sonata No. 27 10:24 AM Wolfgang Amadeus Mozart Flute & Harp Concerto (mvmt 2) 10:34 AM Wolfgang Amadeus Mozart Divertimento No. 1 10:49 AM Wolfgang Amadeus Mozart Sonata for 2 pianos 11:01 AM Mark Volker Young Prometheus 11:39 AM Georg Philipp Telemann Paris Quartet No. 2:TWV 43: a 3 12:00 PM Ludwig Van Beethoven Wellington's Victory (Battle Symphony) 12:14 PM Ludwig Van Beethoven Piano Sonata No. 6 12:28 PM Johann Strauss, Jr. Wine, Women & Song 12:40 PM John Ireland Piano Trio No. 2 12:54 PM Michael Kamen CRUSOE: Marooned 1:02 PM Mark O'Connor Trio No. -
Heartland of German History
Travel DesTinaTion saxony-anhalT HEARTLAND OF GERMAN HISTORY The sky paThs MAGICAL MOMENTS OF THE MILLENNIA UNESCo WORLD HERITAGE AS FAR AS THE EYE CAN SEE www.saxony-anhalt-tourism.eu 6 good reasons to visit Saxony-Anhalt! for fans of Romanesque art and Romance for treasure hunters naumburg Cathedral The nebra sky Disk for lateral thinkers for strollers luther sites in lutherstadt Wittenberg Garden kingdom Dessau-Wörlitz for knights of the pedal for lovers of fresh air elbe Cycle route Bode Gorge in the harz mountains The Luisium park in www.saxony-anhalt-tourism.eu the Garden Kingdom Dessau-Wörlitz Heartland of German History 1 contents Saxony-Anhalt concise 6 Fascination Middle Ages: “Romanesque Road” The Nabra Original venues of medieval life Sky Disk 31 A romantic journey with the Harz 7 Pomp and Myth narrow-gauge railway is a must for everyone. Showpieces of the Romanesque Road 10 “Mona Lisa” of Saxony-Anhalt walks “Sky Path” INForMaTive Saxony-Anhalt’s contribution to the history of innovation of mankind holiday destination saxony- anhalt. Find out what’s on 14 Treasures of garden art offer here. On the way to paradise - Garden Dreams Saxony-Anhalt Of course, these aren’t the only interesting towns and destinations in Saxony-Anhalt! It’s worth taking a look 18 Baroque music is Central German at www.saxony-anhalt-tourism.eu. 8 800 years of music history is worth lending an ear to We would be happy to help you with any questions or requests regarding Until the discovery of planning your trip. Just call, fax or the Nebra Sky Disk in 22 On the road in the land of Luther send an e-mail and we will be ready to the south of Saxony- provide any assistance you need. -
Bach-Werke-Verzeichnis
Bach-Werke-Verzeichnis All BWV (All data), numerical order Print: 25 January, 1997 To be BWV Title Subtitle & Notes Strength placed after 1 Wie schön leuchtet der Morgenstern Kantate am Fest Mariae Verkündigung (Festo annuntiationis Soli: S, T, B. Chor: S, A, T, B. Instr.: Corno I, II; Ob. da Mariae) caccia I, II; Viol. conc. I, II; Viol. rip. I, II; Vla.; Cont. 2 Ach Gott, von Himmel sieh darein Kantate am zweiten Sonntag nach Trinitatis (Dominica 2 post Soli: A, T, B. Chor: S, A, T, B. Instr.: Tromb. I - IV; Ob. I, II; Trinitatis) Viol. I, II; Vla.; Cont. 3 Ach Gott, wie manches Herzeleid Kantate am zweiten Sonntag nach Epiphanias (Dominica 2 Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Corno; Tromb.; Ob. post Epiphanias) d'amore I, II; Viol. I, II; Vla.; Cont. 4 Christ lag in Todes Banden Kantate am Osterfest (Feria Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Cornetto; Tromb. I, II, III; Viol. I, II; Vla. I, II; Cont. 5 Wo soll ich fliehen hin Kantate am 19. Sonntag nach Trinitatis (Dominica 19 post Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Tromba da tirarsi; Trinitatis) Ob. I, II; Viol. I, II; Vla.; Vcl. (Vcl. picc.?); Cont. 6 Bleib bei uns, denn es will Abend werden Kantate am zweiten Osterfesttag (Feria 2 Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Ob. I, II; Ob. da caccia; Viol. I, II; Vla.; Vcl. picc. (Viola pomposa); Cont. 7 Christ unser Herr zum Jordan kam Kantate am Fest Johannis des Taüfers (Festo S. -
Views, However the Hamburg Council Refused to Release Him from His Obligations
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Sinfonia in D, GWV 511: A Critical Edition Randall D. Haynes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC SINFONIA IN D, GWV 511: A CRITICAL EDITION By RANDALL D. HAYNES A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2009 The members of the committee approve the treatise of Randall D. Haynes defended on October 26, 2009. __________________________________ Bryan Goff Professor Directing Treatise __________________________________ Charles Brewer University Representative __________________________________ John Drew Committee Member __________________________________ Christopher Moore Committee Member The Graduate School has verified and approved the above-named committee members. ii To my entire family, because your support, love, encouragement, dedication and prayer is what got us all through this journey! iii ACKNOWLEDGEMENTS I would like to thank my committee for their unending support and dedication to getting me through this degree. Your knowledge, encouragement, criticism and guidance is most gratefully appreciated. Special thanks are extended to Bryan Goff for his tireless efforts in the preparation of this manuscript. Thank you to Dr. Evan Jones and Mrs. Kari Zamora for your suggestions and ideas regarding the theoretical aspects of this work. Thank you to all of my professors at the University of Cincinnati College- Conservatory of Music, Wright State University, the University of Florida and The Florida State University. You have all been inspirational to me, not only as a musician, but as a person as well. -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering. -
Introduction
INTRODUCTION The three concertos for violoncello of Carl Philipp plates 2 and 4).4 As the letter states, the same ripieno parts Emanuel Bach represent his only surviving works for the were to be used for all three versions of the Concerto in A instrument.1 Composed over a four-year period, the con- Minor, while the same ripieno parts were to be used for the certos make a distinctive contribution to the violoncello violoncello and keyboard versions of the Concerto in B-flat literature. Each is listed in the “Nachlaß-Verzeichnis” Major; only the Concerto in A Major had to be copied out (NV 1790, p. 31): the Concerto in A Minor (no. 27) was in full three times.5 In the present edition these concertos composed in Berlin in 1750, the Concerto in B-flat Major are presented as nine separate works. (no. 29) in Berlin in 1751, and the Concerto in A Major (no. 30) in Potsdam in 1753. NV 1790, however, lists the Genesis works as concertos for keyboard, describing each in the same words: “Clavier, 2 Violinen, Bratsche und Baß; ist A manuscript of cadenzas for Bach’s concertos, B-Bc, 5871 auch für das Violoncell und die Flöte gesezt” (Keyboard, MSM, presents further evidence concerning the genesis 2 violins, viola and bass; it is also set for violoncello and of the three concertos. Cadenza no. 18 is labeled “Cadenz flute). zum ersten all.o des Violonc. conc. aus dem A. moll. N.o 27,” Only one autograph manuscript survives, D-B, Mus. while the following cadenza, no. -
Selected Recent Performances by Ensemble Gaudior
Selected Recent Performances by Ensemble Gaudior Concerto in B-flat major (Darmstadt, Mus. ms. 1033/86) Georg Philipp Telemann for 3 oboes, 3 violins, and basso continuo (1681–1767) Sonata in F minor (from Der Getreue Musikmeister) Telemann for recorder and basso continuo Sonata in G minor (from Musique de table, Part 3) Telemann for oboe and basso continuo Trio Sonata in C minor (from Essercizii musici) Telemann for recorder, oboe, and basso continuo Sonata in E minor (from Essercizii musici) Telemann for viola da gamba and basso continuo Sonata in D major (from Der Getreue Musikmeister) Telemann for cello and basso continuo Concerto in B-flat (Dresden, Ms. Mus. 2392-O-20) Telemann for 2 recorders, 2 oboes, strings, and basso continuo Sonata No. 3 in B-flat major Johann Baptist Vanhal for clarinet and piano (1739–1813) Sonata in G major, K. 379 Wolfgang Amadeus Mozart for violin and piano (1756–1791) Sonata in E-flat major Vanhal for viola and piano Trio in E-flat major, K. 498 Mozart for clarinet, viola, and piano Elise Bonhivert, clarinet Alexandra MacCracken, violin and viola Thomas MacCracken, fortepiano (This program also performed at St. Andrew’s Episcopal Church in Burke, Virginia) GERMAN CHAMBER MUSIC of the 17th and 18th centuries Saturday, June 25, 2016, at 8:00 p.m. St. Mark’s Episcopal Church, 301 A Street SE, Washington, D.C. PART OF BAROQUE BONANZA II I. Ensemble Gaudior Sinfonia No. 1 in F major from Sonate da camera (1667) Johann Rosenmüller for 2 violins, 2 violas, and basso continuo (1619–1684) Sonata No. -
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. -
TURANCHIK, THOMAS STEPHEN, D.M.A. a Performance Edition with Piano Reduction and Biographical Overview of the Concerto for Two O
TURANCHIK, THOMAS STEPHEN, D.M.A. A Performance Edition with Piano Reduction and Biographical Overview of the Concerto for Two Oboes in G Major, FWV L G9 by Johann Friedrich Fasch (2016) Directed by Dr. Ashley Barret. 90 pp. This project produces a new performance edition of the Concerto for Two Oboes in G Major, FWV L G9 by Johann Friedrich Fasch, appropriate for developing high school or undergraduate oboists. Also included is an overview of Fasch’s training and stylistic influences, establishing that he utilized compositional elements from the Italianate concerto and late baroque style in combination with the emerging galant style. Although his works were not published during his lifetime, he distributed manuscripts to many of his nearby colleagues employed at other courts. A surviving manuscript of the Concerto for Two Oboes in G Major, FWV L G9 in Dresden was used as the basis for the performance edition. Modern style guides and treatises by Fasch’s contemporaries were consulted to make editorial decisions. The generated edition includes a piano reduction for practical performance by modern students, as well as both edited and non-edited solo parts for reference and instruction in late baroque and transitional style practices. Fasch is an under-utilized composer of oboe repertoire and this edition adds to the available selections for students and educators of oboe. A PERFORMANCE EDITION WITH PIANO REDUCTION AND BIOGRAPHICAL OVERVIEW OF THE CONCERTO FOR TWO OBOES IN G MAJOR, FWV L G9 BY JOHANN FRIEDRICH FASCH by Thomas Stephen Turanchik A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2016 Approved by _______________________________ Committee Chair © 2016 Thomas Stephen Turanchik APPROVAL PAGE This dissertation written by Thomas Stephen Turanchik has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. -
Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019. -
City Research Online
CORE Metadata, citation and similar papers at core.ac.uk Provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Browning, J. ORCID: 0000-0001-7013-7959 (2020). Remaking Classical Music: Cultures of Creativity in Pleasure Garden. Twentieth-Century Music, 17(1), pp. 23-61. doi: 10.1017/s1478572219000355 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/24586/ Link to published version: http://dx.doi.org/10.1017/s1478572219000355 Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] ACCEPTED MANUSCRIPT Remaking Classical Music: Cultures of Creativity in Pleasure Garden Joseph Browning Abstract Taking its theoretical orientation from Ortner’s distinction between ‘power’ and ‘projects’, this article considers the relationship between local artistic projects and the cultures in which they participate. I focus on Pleasure Garden, a collaborative project that spans site-specific installations, concerts and an album. Exploring a wide range of issues at stake in the creative process, including collaboration, gender, aesthetics, colonialism, the work concept, and commodification, I trace how Pleasure Garden’s creators variously reproduced and reworked dominant conventions, while at the same time pursuing their own distinctive commitments. Through this, I argue that Pleasure Garden’s creators negotiated a space that was inside, yet sometimes out of alignment with, what I call the ‘cultures of creativity’ associated with Western art music, the music industries, late capitalism, and neoliberalism.