Alessandro Scarlatti
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6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 Harpsichord
Valerio Losito Baroque violin 6 VIOLIN SONATAS Federico Del Sordo FRANKFURT 1715 harpsichord Telemann GEORG PHILIPP TELEMANN (1681–1767) Six Sonatas for Solo Violin, 1715 6 Sonatas ‘Frankfurt 1715’ for solo violin and harpsichord “My Lord, I am not without fear in dedicating these sonatas to Your Highness. It is, Sire, that without mentioning the vivacity of your sublime mind, you also have such certain taste in this fine art, which is the only one with the advantage of begin eternal, Sonata No.1 in G minor TWV41:g1 Sonata No.4 in G TWV41:G1 though it is very hard to create in a work worthy of your approbation. My Lord, I 1. Adagio 1’43 13. Largo 1’12 flatter myself that with this gift of the first pieces that I have had published you will 2. Allegro 2‘45 14. Allegro 2’18 find acceptable my intention of recognizing in some way the favour with which you 3. Adagio 1’08 15. Adagio 2’48 have hitherto honoured me. If, my Lord, my work is thus fortunate enough to meet 4. Vivace 3’03 16. Allegro 2’30 with your pleasure, then I am assured of the support of all connoisseurs, because no one can hope to achieve such understanding as yours. The beauty of the Concertos Sonata No.2 in D TWV41:D1 Sonata No.5 in A minor TWV41:a1 that you yourself have written at such a young age is admired by all those who have 5. Allemanda, Largo 3’52 17. Allemanda, Largo 2’37 seen them, and this is a guarantee for me in my aim. -
1 Francesco Geminiani
Francesco Geminiani: Opera Omnia Volume 5. 6 Sonatas Op. 5 (versions for cello and basso continuo H. 103-108; for violin and basso continuo H. 109-114). Christopher Hogwood, editor. Ut Orpheus Edizioni, 2010 (112 pp. clothbound). “Although Geminiani (1687‐1762) was held to be the equal of Corelli in his own day—and indeed thought by some to be superior to his contemporary Handel in instrumental composition—his considerable output of music and didactic writings has only been available in piecemeal fashion, much of it never reissued since his lifetime except in facsimile, and thus largely inaccessible to modern performers. This lack of material designed for practical performance has concealed the enormous originality he showed both in writing and re‐writing his own music, and that of Corelli. Francesco Geminiani Opera Omnia rectifies this omission with the first uniform and accurate scholarly edition of all versions of his music and writings in a form that allows pertinent comparison and reevaluation.” So opens the general preface to this first volume (of seventeen) in Ut Orpheus’ complete Geminiani Edition, and a more felicitous introduction it would be difficult to imagine. For a composer of such importance, particularly one whose limited output stands well within the logistical and economic constraints of the music publishing industry, his neglect has been astonishing. Until the period instrument movement got going in the past several decades, this was also true of Geminiani’s representation on recordings‐‐a fact that resulted in a particularly amusing episode from my own personal wanderings through the sometimes strange world of classical music collecting and appreciation. -
STRAVINSKY's NEO-CLASSICISM and HIS WRITING for the VIOLIN in SUITE ITALIENNE and DUO CONCERTANT by ©2016 Olivia Needham Subm
STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT By ©2016 Olivia Needham Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________________ Chairperson: Paul Laird ________________________________________ Véronique Mathieu ________________________________________ Bryan Haaheim ________________________________________ Philip Kramp ________________________________________ Jerel Hilding Date Defended: 04/15/2016 The Dissertation Committee for Olivia Needham certifies that this is the approved version of the following dissertation: STRAVINSKY’S NEO-CLASSICISM AND HIS WRITING FOR THE VIOLIN IN SUITE ITALIENNE AND DUO CONCERTANT ________________________________________ Chairperson: Paul Laird Date Approved: 04/15/2016 ii ABSTRACT This document is about Stravinsky and his violin writing during his neoclassical period, 1920-1951. Stravinsky is one of the most important neo-classical composers of the twentieth century. The purpose of this document is to examine how Stravinsky upholds his neoclassical aesthetic in his violin writing through his two pieces, Suite italienne and Duo Concertant. In these works, Stravinsky’s use of neoclassicism is revealed in two opposite ways. In Suite Italienne, Stravinsky based the composition upon actual music from the eighteenth century. In Duo Concertant, Stravinsky followed the stylistic features of the eighteenth century without parodying actual music from that era. Important types of violin writing are described in these two works by Stravinsky, which are then compared with examples of eighteenth-century violin writing. iii Igor Stravinsky (1882-1971) was born in Oranienbaum (now Lomonosov) in Russia near St. -
The Sonatas Opus 4 1739
Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) Rudolf Rasch The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) Please refer to this document in the following way: Rudolf Rasch, The Thirty-One Works of Francesco Geminiani: Work Eight: The Violin Sonatas Opus 4 (1739) https://geminiani.sites.uu.nl For remarks, suggestions, additions and corrections: [email protected] © Rudolf Rasch, Utrecht/Houten, 2019 24 December 2020 1 Rudolf Rasch: The Thirty-One Works of Francesco Geminiani Work Eight: The Violin Sonatas Opus 4 (1739) WORK EIGHT THE VIOLIN SONATAS OP. 4 (1739) CONTENTS The Violin Sonatas Op. 4 (1739) ....................................................................................................................... 3 The Sonatas ..................................................................................................................................................... 11 Notation ........................................................................................................................................................... 18 Engraving and Printing .................................................................................................................................... 24 The British Edition (1739) ............................................................................................................................... 30 The French Issue (1740) ................................................................................................................................. -
The Program E E
W the program E E 24 K june RISING STAR SERIES 4 y a d s Daria Rabotkina, piano e u T 8 PM “FLOW MY TEARES” (1600) John Dowland (1563-1626)/arr. Daria Rabotkina SONATA IN E MAJOR, K. 162 (1756-57) Domenico Scarlatti (1685-1757) Andante—Allegro—Andante—Allegro SELECTIONS FROM ORDRE 18ÈME DE CLAVECIN IN F MAJOR (1722) François Couperin (1668-1733) ITALIAN CONCERTO, BWV 971 ( ca . 1735) Johann Sebastian Bach (1685-1750) [without tempo designation] Andante Presto :: intermission :: SONATINE (1903-05) Maurice Ravel (1875-1937) Modéré Mouvement de menuet Animé SONATA NO. 3 IN A MINOR FOR PIANO, OP. 28 (1917) Sergei Prokofiev (1891-1953) Allegro tempestoso—Moderato—Allegro tempestoso—Moderato—Più lento—Più animato—Allegro I—Poco più mosso FANTASY SUITE AFTER BIZET’S CARMEN , 1ST MOVEMENT Sergei Rabotkin (b. 1953) This concert is made possible in part through the generosity of Pat Petrou. Ms. Rabotkina is a winner of the Concert Artists Guild International Competition and is represented by Concert Artists Guild. concertartists.org 33RD SEASON | ROCKPORT MUSIC :: 51 “FLOW MY TEARES” John Dowland (b. London, 1563; d. London, February 20, 1626)/arr. Daria Rabotkina Composed 1600 Non otthees program In addition to wide-ranging “traditional” piano repertoire, Daria Rabotkina has acquired a substantial store of piano works borrowed and adapted from far-flung places in the music by world, including her own concert arrangement* of ragtime legend “Luckey” Roberts’s “Pork Sandra Hyslop and Beans.” As the opening offering on this evening’s concert—in contrast to the fantasy on Bizet’s stormy opera Carmen with which she closes—Ms. -
The Lute's Influence on Seventeenth-Century Harpsichord
Audrey S. Rutt 12 April 2017 A BLEND OF TRADITIONS: THE LUTE’S INFLUENCE ON SEVENTEENTH-CENTURY HARPSICHORD REPERTOIRE The Harpsichord ◦ Mechanically, a hybrid instrument ◦ Like the organ: ◦ chromatic keyboard with one pitch per key ◦ well-suited for polyphony and accompaniment ◦ Like the lute: ◦ plucked string instrument ◦ must account for quick sound decay by forms of arpeggiation ◦ Existent by the fifteenth century ◦ Not widely manufactured until the sixteenth century The Organ’s Influence ◦ The early harpsichord style was not distinct from the organ’s ◦ Pieces not designated specifically for either keyboard instrument ◦ Early works were simply transcriptions of vocal or ensemble pieces ◦ Obras de musica para tecla, arpa, y vihuela (Antonio Cabezón, 1510-1566) ◦ vocal transciptions arranged generally for polyphonic string instruments ◦ The broadness of this collection could include the harp, the Spanish vihuela, and the keyboard ◦ suggests that “the stringed keyboard instruments had not developed enough of a basic style to warrant independent compositions of their own” ◦ Early harpsichord composers were also organists, so idioms of the organ tradition were assumed The Organ Tradition ◦ For many centuries, the primary keyboard instrument ◦ Robertsbridge Codex (1320) is first example of newly-composed repertoire but follows vocal tradition closely ◦ Development of a true organ style ◦ Conrad Paumann (1410-1473), Paul Hofhaimer (1459-1537), Andrea Gabrieli (1533-1585) ◦ Fundamentum organisandi ◦ used florid, rhythmically varying upper -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
Week 5 FINAL
Thursday, July 11, at Slosberg Auditorium, Brandeis University, Waltham, MA Friday, July 12, at Olin Auditorium, Bard College, Annandale-on-Hudson, NY Saturday, July 13, at Daniel Arts Center, Bard College at Simon’s Rock, Great Barrington, MA MUSIC FROM THE LIBRARY OF THOMAS JEFFERSON and Selected Readings Sharon Baker, soprano Daniel Stepner, baroque violin Michael Sponseller, harpsichord Three compositions from Francesco Geminiani The Art of Playing on the Violin (1687-1762) No. 9 Andante moderato No. 10 Allegro moderato No. 11 Allegro vivace Three songs Francis Hopkinson Beneath a weeping willow’s shade (1737-1791) The Trav’ler benighted and lost My generous heart disdains Pièces de clavecin, 1759 Claude-Bénigne Balbastre La de Caze (1724-1799) La d’Héricourt La Bellaud Two songs Mrs. (Maria) Cosway Mormora il fiumicello (1760-1838) Ogni dolce Three Songs Henry Purcell Sweeter than roses (from Orpheus Brittanicus) (1659-1695) From rosy bow'rs (from Orpheus Brittanicus) Evening Hymn (from Harmonia sacra) Intermission Four songs: Thomas Arne Where the bee sucks (1710-1778) The complaint Cloe generous as Fair Love and wine in alliance Sonata in D Minor, Op. 14, No. 4 Johann Schobert for keyboard with the accompaniment of a violin (ca.1720-1767) Allegro assai -- Andante -- Presto Three arias: The Turtle thus the plaintive crying John Gay (from The Beggar’s Opera) (1685-1732) Batti, batti W.A. Mozart (from Don Giovanni, K.527) (1756-1791) Kommt ein schlanker Bursch gegangen C.M. von Weber (from Der Freischütz, J.277) (1786-1826) PROGRAM NOTES The very fact that one of this country’s founding fathers (another will be mentioned anon) cultivated such a keen interest in the music we love is a fascinating element in itself. -
Classic Choices April 6 - 12
CLASSIC CHOICES APRIL 6 - 12 PLAY DATE : Sun, 04/12/2020 6:07 AM Antonio Vivaldi Violin Concerto No. 3 6:15 AM Georg Christoph Wagenseil Concerto for Harp, Two Violins and Cello 6:31 AM Guillaume de Machaut De toutes flours (Of all flowers) 6:39 AM Jean-Philippe Rameau Gavotte and 6 Doubles 6:47 AM Ludwig Van Beethoven Consecration of the House Overture 7:07 AM Louis-Nicolas Clerambault Trio Sonata 7:18 AM Wolfgang Amadeus Mozart Divertimento for Winds 7:31 AM John Hebden Concerto No. 2 7:40 AM Jan Vaclav Vorisek Sonata quasi una fantasia 8:07 AM Alessandro Marcello Oboe Concerto 8:19 AM Franz Joseph Haydn Symphony No. 70 8:38 AM Darius Milhaud Carnaval D'Aix Op 83b 9:11 AM Richard Strauss Der Rosenkavalier: Concert Suite 9:34 AM Max Reger Flute Serenade 9:55 AM Harold Arlen Last Night When We Were Young 10:08 AM Wolfgang Amadeus Mozart Exsultate, Jubilate (Motet) 10:25 AM Wolfgang Amadeus Mozart Symphony No. 3 10:35 AM Wolfgang Amadeus Mozart Piano Concerto No. 10 (for two pianos) 11:02 AM Johannes Brahms Symphony No. 4 11:47 AM William Lawes Fantasia Suite No. 2 12:08 PM John Ireland Rhapsody 12:17 PM Heitor Villa-Lobos Amazonas (Symphonic Poem) 12:30 PM Allen Vizzutti Celebration 12:41 PM Johann Strauss, Jr. Traumbild I, symphonic poem 12:55 PM Nino Rota Romeo & Juliet and La Strada Love 12:59 PM Max Bruch Symphony No. 1 1:29 PM Pr. Louis Ferdinand of Prussia Octet 2:08 PM Muzio Clementi Symphony No. -
Programme Note ANETA MARKUSZEWSKA
Programme note ANETA MARKUSZEWSKA Following the death of John III and a failed attempt by the Sobieski dynasty to retain the crown, Marie Casimire decided to leave the Polish-Lithuanian Commonwealth and make her way to Rome. She arrived in the Eternal City in March 1699, after a journey lasting almost half a year. The official reason for her arrival in the city was the jubilee year 1700, celebrated in the capital of Christianity with great pomp. In the end the Widow-Queen remained in Rome for fifteen years. Marie Casimire soon became known as an esteemed patron of music. Her residence in the Palazzo Zuccari in Trinità de’ Monti (next to the Spanish Steps, which did not yet exist) was a venue for renditions of commemorative cantatas and serenatas celebrating the memory of her distinguished husband, as well as performances of improvised comedies and dance. In 1709 Marie Casimire Sobieski organised in her palace a private opera theatre, where operas to librettos by Carlo Sigismondo Capece with music by the young Domenico Scarlatti were staged until 1714. One of the works presented at the time was the dramma per musica Tolomeo e Alessandro, ovvero la corona disprezzata by Capece-Scarlatti. The opera had its premiere on 17th January 1711. About the performance an anonymous chronicler wrote: ‘On Monday evening in her residence on Trinità de’ Monti, the Queen of Poland opened performances of an opera featuring female singers and good musicians [instrumentalists] which was generally acknowledged as superior to others.’ In a letter to her eldest son Jakub Sobieski, who was staying in Oława, Marie Casimire related that: ‘the whole work was composed in three weeks . -
Two Concertos by Obadiah Shuttleworth
TWO CONCERTOS. Being the first & eleventh SOLOS of ye late Arcangello Corelli as they are made into CONCERTOS by Mr: Obadiah Shuttleworth Ingrav'd by T. Cross London Printed & Sold by Joseph Hare at ye Viol & Flute in Cornhill Edited by Andrew Pink INTRODUCTION AND EDITORIAL COMMENTARY Obadiah Shuttleworth (d.1734) was the son of Thomas Shuttleworth of Spitalfields in London. Thomas was a professional music copyist and harpsichord player. The date of Obadiah's birth is uncertain. The Dictionary of National Biography gives c.1675, the Mormon Genealogical Index gives the date as 'about 1680', while the entry in the New Grove Dictionary of Music (2004) gives his birth date as c.1700. Obadiah was an excellent violinist known to have taken part in the influential public concerts arranged by Thomas Britton (1644–1714) 'the musical small coal man' at his business premises in Clerkenwell between 1685 and 1714, and to where musical professionals and amateurs from all ranks of London society were drawn. Shuttleworth also led concerts that were established from about 1728 at the Swan Tavern, Cornhill. The eighteenth-century musical historian Sir John Hawkins wrote of Shuttleworth that he 'played the violin to such a degree of perfection, as gave him a rank among the first masters of his time'. In 1724, having been organist of St Mary’s Whitechapel, Shuttleworth was made organist of St. Michael's, Cornhill and this was announced in the British Journal of 11 January 1724 - ’London. Mr Obadiah Shuttleworth, Organist of St Mary White-chapel, is chosen Organist of St. -
A Consonance-Based Approach to the Harpsichord Tuning of Domenico Scarlatti John Sankey 1369 Matheson Road, Gloucester, Ontario K1J 8B5, Canada William A
A consonance-based approach to the harpsichord tuning of Domenico Scarlatti John Sankey 1369 Matheson Road, Gloucester, Ontario K1J 8B5, Canada William A. Sethares University of Wisconsin, Madison, Wisconsin 53706-1691 ~Received 16 August 1995; revised 28 October 1996; accepted 29 October 1996! This paper discusses a quantitative method for the study of historical keyboard instrument tunings that is based on a measure of the perceived dissonance of the intervals in a tuning and their frequency of occurrence in the compositions of Domenico Scarlatti ~1685–1757!. We conclude that the total dissonance of a large volume of music is a useful tool for studies of keyboard instrument tuning in a historical musical context, although it is insufficient by itself. Its use provides significant evidence that Scarlatti used French tunings of his period during the composition of his sonatas. Use of total dissonance to optimize a 12-tone tuning for a historical body of music can produce musically valuable results, but must at present be tempered with musical judgment, in particular to prevent overspecialization of the intervals. © 1997 Acoustical Society of America. @S0001-4966~97!03603-5# PACS numbers: 43.75.Bc @WJS# INTRODUCTION particularly uncertain, since he was born and trained in Italy, but spent most of his career in Portugal and Spain, and did Numerous musical scales have been used over the years all of his significant composing while clearly under strong for Western music, with the aim of maximizing the quality of Spanish influence. A method which might infer information sound produced by fixed-pitch 12-note instruments such as concerning his tuning preferences solely from his surviving the harpsichord.