Bärenreiter the Programme New Publications Sheet Music 2/2010
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BACH IS BACK in BERLIN: the Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics
BACH IS BACK IN BERLIN: The Return of the Sing-Akademie Archive from Ukraine in the Context of Displaced Cultural Treasures and Restitution Politics Patricia Kennedy Grimsted Harvard Ukrainian Research Institute The National Council for Eurasian and East European Research 910 17th Street, N.W. Suite 300 Washington, D.C. 20006 TITLE VIII PROGRAM Project Information* Contractor: Harvard University Principal Investigator: Patricia Kennedy Grimsted Council Contract Number: 816-03g Date: June 9, 2003 Copyright Information Individual researchers retain the copyright on their work products derived from research funded through a contract or grant from the National Council for Eurasian and East European Research (NCEEER). However, the NCEEER and the United States Government have the right to duplicate and disseminate, in written and electronic form, reports submitted to NCEEER to fulfill Contract or Grant Agreements either (a) for NCEEER’s own internal use, or (b) for use by the United States Government, and as follows: (1) for further dissemination to domestic, international, and foreign governments, entities and/or individuals to serve official United States Government purposes or (2) for dissemination in accordance with the Freedom of Information Act or other law or policy of the United States Government granting the public access to documents held by the United States Government. Neither NCEEER nor the United States Government nor any recipient of this Report may use it for commercial sale. * The work leading to this report was supported in part by contract or grant funds provided by the National Council for Eurasian and East European Research, funds which were made available by the U.S. -
Submitted to the Faculty of the Jacobs School of Music in Partial Fulfillment of the Requirements for the Degree, Doctor of Music, Indiana University December, 2015
A HANDBOOK FOR INTRODUCING UNDERGRADUATES TO THE ORGAN AND ITS LITERATURE BY PATRICK EUGENE POPE Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University December, 2015 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Katherine Strand, Research Director __________________________________ Christopher Young, Chairperson __________________________________ Mary Ann Hart __________________________________ Marilyn Keiser September 17, 2015 ii Copyright © 2015 Patrick E. Pope iii ACKNOWLEDGEMENTS The writer wishes to acknowledge his organ teachers and professors, whose instruction led to a discerned need for this handbook and its creation: Donnie Beddingfield (1994-1998); William Bates (1998-2002); Marilyn Keiser (2002-2004); Todd Wilson (2008- 2009); and Christopher Young (2009-present). Their love and passion for teaching, performing, and researching has kindled the writer’s interest in the organ, its music, and its literature. The writer is a better musician because of their wisdom and encouragement. The writer wishes to thank the Reverend Kevin Brown, rector, and the parish of Holy Comforter Episcopal Church, Charlotte, North Carolina for their encouragement during the final stages of the doctoral degree. The writer wishes to thank the members of his doctoral research committee and other faculty for their guidance and professional support: Katherine Strand, research director; Christopher Young, chairperson; Janette Fishell; Marilyn Keiser; Mary Ann Hart; and Bruce Neswick. In particular, the writer is grateful to Professor Young for his insightful and energizing classroom teaching in a four-semester organ literature survey at Indiana University, in which the writer was privileged to take part during master’s and doctoral coursework. -
Jahresbericht 2017
JAHRESBERICHT 2017 BACHS ERbe – EiN AUFTRAG FÜR DIE ZUKUNFT Unser herzlicher Dank gilt allen Förderern, Sponsoren und Partnern des Bachfestes 2017 sowie des Meisterkurses 2017 in Leipzig. • arcona LIVING BACH14 Leipzig • Hochschule für Technik, Wirtschaft • nextbike GmbH • Bärenreiter-Verlag und Kultur Leipzig (HTWK) • PROMENADEN Hauptbahnhof Leipzig Karl Vötterle GmbH & Co. KG • HypoVereinsbank – Member of • Sächsisches Staatsministerium für • Die Beauftragte der Bundesregierung UniCredit Wissenschaft und Kunst (SMWK) für Kultur und Medien • Institut Français • Seaside Park Hotel Leipzig • BMW Niederlassung Leipzig • Leipzig Hotel Alliance • Sparkasse Leipzig • Christa Bach-Marschall-Stiftung • Leipzig Tourismus und • Stadt Leipzig • Deutschlandradio Kultur Marketing GmbH • Stiftung Chorherren zu St. Thomae • DIE ZEIT • Leipziger Verkehrsbetriebe • Ströer Deutsche Städte • Evangelisch-Lutherische Landes- GmbH (LVB) Medien GmbH kirche Sachsens • Leipziger Volkszeitung • TOTAL Raffinerie • fairgourmet GmbH • MDR Kultur Mitteldeutschland GmbH • GENUIN Classics • Mitteldeutsche Barockmusik in • Turkish Airlines Inc. • Goethe-Institut e. V. Sachsen, Sachsen-Anhalt und • Vereinigung der Freunde des • Hochschule für Musik und Theater Thüringen e. V. Bach-Archivs Leipzig e. V. „Felix Mendelssohn Bartholdy“ • Musikschule Leipzig Leipzig (HMT) „Johann Sebastian Bach“ JAHRESBERICHT 2017 BACHS ERbe – EIN AUFTRAG FÜR DIE ZUKUNFT INHALT 1. GRUSSWORT 4 2. VORWORT 6 3. BACH-ARCHIV LEIPZIG – AUFGABEN UND ZIELE 9 4. DAS INKLUSIVE BACH-MUSEUM 12 5. AN BACH VERERBEn – NACHLASSSPENDEN FÜR DAS BACH-ARCHIV 16 6. TÄTIGKEITSBERICHTE UND PROJEKTE 19 6.1. Forschungsinstitut 19 6.2. Bibliothek 25 6.3. Museum 34 6.4. Bachfest Leipzig 46 6.5. Meisterkurs 51 6.6. Kommunikation und Vermittlung 52 7. KOOPERATIONEN 57 7.1. Das Bach-Archiv – Institut an der Universität Leipzig 57 7.2. Kooperation mit der Hochschule für Musik und Theater 58 „Felix Mendelssohn Bartholdy“ Leipzig (HMT) 7.3. -
Bärenreiter Organ Music
>|NAJNAEPAN KNC=JIQOE? .,-.+.,-/ 1 CONTENTS Organ Music Solo Voice and Organ ...............30 Index by Collections and Series ...........4–13 Books............................................... 31 Edition Numbers ....................... 34 Composers ....................................14 Contemporary Music Index by Jazz .............................................. 29 A Selection ..............................32 Composers / Collections .........35 Transcriptions for Organ .........29 Photo: Edition Paavo Blåfi eld ABBREVIATIONS AND KEY TO FIGURES Ed. Editor Contents Ger German text Review Eng English text Content valid as of May 2012. Bärenreiter-Verlag Fr French text Errors excepted and delivery terms Karl Vötterle GmbH & Co. KG Lat Latin text subject to change without notice. International Department BA Bärenreiter Edition P.O. Box 10 03 29 H Bärenreiter Praha Cover design with a photograph D-34003 Kassel · Germany SM Süddeutscher Musikverlag by Edition Paavo Blåfi eld. Series E-Mail: paavo@blofi eld.de www.baerenreiter.com a.o. and others www.blofi eld.de E-Mail: [email protected] Printed in Germany 3/1206/10 · SPA 238 2 Discover Bärenreiter … www.baerenreiter.com Improved Functionality Simple navigation enables quick orientation Clear presentation Improved Search Facility Comprehensive product information User-friendly searches by means of keywords Product recommendations Focus A new area where current themes are presented in detail … the new website3 ORGAN Collections and Series Enjoy the Organ Ave Maria, gratia plena Ave-Maria settings The new series of easily playable pieces for solo voice and organ (Lat) BA 8250 page 30 Enjoy the Organ I contains a collection of stylistically varied Bärenreiter Organ Albums pieces for amateur organists Collections of organ pieces which are equally suitable for page 6-7 use in church services and in concerts. -
Dissertation Body
Summary of Three Dissertation Recitals by Leo R. Singer A dissertation submitted in partial fulfillment Of the requirements for the degree of Doctor of Musical Arts (Music Performance) in the University of Michigan 2020 Doctoral Committee: Professor Richard Aaron, Chair Professor Colleen Conway Assistant Professor Joseph Gascho Professor Andrew Jennings Professor James Joyce Leo R. Singer [email protected] ORCID iD: 0000-0002-2741-1104 © Leo R. Singer 2020 ACKNOWLEDGMENTS This dissertation was made possible by the incredible faculty at the University of Michigan. Each course presented new information and ways of thinking, which in turn inspired the programming and performing choices for these three dissertation recitals. I would like to thank all the collaborators who worked tirelessly to make these performances special. I also must express my sincere and utmost gratitude to Professor Richard Aaron for his years of guidance, mentorship and inspiration. Lastly, I would like to thank my parents, Scott and Rochelle, my sister, Julie, the rest of my family, and all of my friends for their unwavering support throughout the many ups and downs during my years of education. !ii TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv RECITALS I. MUSIC FROM FRANCE 1 RECITAL 1 PROGRAM 1 RECITAL 1 PROGRAM NOTES 2 BIBLIOGRAPHY 8 II. MUSIC FROM GERMANY AND AUSTRIA 10 RECITAL 2 PROGRAM 10 RECITAL 2 PROGRAM NOTES 12 BIBLIOGRAPHY 26 III. MUSIC FROM AMERICA 28 RECITAL 3 PROGRAM 28 RECITAL 3 PROGRAM NOTES 29 BIBLIOGRAPHY 37 !iii ABSTRACT In each of the three dissertation cello recitals, music from a different nation is featured. The first is music from France, the second from Germany and Austria, and the third from America. -
Louis Vierne's Pièces De Fantaisie, Opp. 51, 53, 54, and 55
LOUIS VIERNE’S PIÈCES DE FANTAISIE, OPP. 51, 53, 54, AND 55: INFLUENCE FROM CLAUDE DEBUSSY AND STANDARD NINETEENTH-CENTURY PRACTICES Hyun Kyung Lee, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Jesse Eschbach, Major Professor Charles Brown, Related Field Professor Steve Harlos, Committee Member Justin Lavacek, Committee Member Benjamin Brand, Director of Graduate Studies of the College of Music Warren Henry, Dean of the College of Music Costas Tsatsoulis, Dean of the Toulouse Graduate School Lee, Hyun Kyung. Louis Vierne’s Pièces de Fantaisie, Opp. 51, 53, 54, and 55: Influence from Claude Debussy and Standard Nineteenth-Century Practices. Doctor of Musical Arts (Performance), May 2016, 47 pp., 2 tables, 43 musical examples, references, 23 titles. The purpose of this research is to document how Claude Debussy’s compositional style was used in Louis Vierne’s organ music in the early twentieth century. In addition, this research seeks standard nineteenth-century practices in Vierne’s music. Vierne lived at the same time as Debussy, who largely influenced his music. Nevertheless, his practices were varied on the basis of Vierne’s own musical ideas and development, which were influenced by established nineteenth-century practices. This research focuses on the music of Louis Vierne’s Pièces de fantaisie, Opp. 51, 53, 54, and 55 (1926-1927). In order to examine Debussy’s practices and standard nineteenth-century practices, this project will concentrate on a stylistic analysis that demonstrates innovations in melody, harmony, and mode compared to the existing musical styles. -
In This August, 2019 Issue the Dean's Column
Website: http://detroitago.org/ Visit Us on Facebook In This August, 2019 Issue The Dean’s Column Members News & Events (“The List”) Chapter News & Events For Sale The Dean’s Column I really can’t believe how summer has slipped away. Hoping it’s been a good summer for everyone and an opportunity for us to re-charge the batteries for the coming fall and Advent season. In the midst of choirs starting up again, preparation for special Advent and Christmas music, don’t forget about AGO programming. Andrew Herbruck, our Sub-Dean, has been working very hard this summer to put a schedule together for the coming year. And it is packed with great events. You will not want to miss any of them. In addition to the usual events including Epiphany banquet, organ crawl, installation of officers, scholarship auditions and scholarship/membership recital, there are two exciting recitals in the fall, a lecture/recital on music of Vierne and the list goes on and on. A special thank you to Andrew for his hard work on this endeavor. Speaking of installation of officers, this evening promises to be a delightful one. Wednesday, October 23 will be our annual installation of officers and board members for the new year. The evening includes a dinner sponsored by the host church, St. Paul’s UMC in Rochester and a recital by Johan Vexo, organist at Notre Dame/Paris. You will not want to miss this evening of good fellowship, friendship, sharing stories with colleagues and beautiful music. So please, if you have not done so, mark your calendars now for October 23 and save that date. -
WALTER GRAY Violoncello JOSEPH ADAM Piano
X ST. JAMES CATHEDRAL X SEATTLE X 27 OCTOBER 2020 X 7:00 PM X WALTER GRAY violoncello JOSEPH ADAM piano Five Elegies for solo violoncello (1985) Bern H. Herbolsheimer Lento, un poco rubato; semplice 1948–2016 Lento, un poco rubato; appassionato Allegro; ostinato Mesto; cantabile Andante; tranquillo Sonata in F Major, op. 99 Johannes Brahms Allegro vivace 1833–1897 Adagio affettuoso Allegro passionato Allegro molto BERN HERBOLSHEIMER received recognition throughout the United States and Europe for over 500 works ranging from ballet to symphonic, operatic, chamber and choral works. His numerous major commissions and premieres included ballets for the Frankfurt Ballet, the Atlanta Ballet, the Pacific Northwest Ballet, and the Eugene Ballet. His first opera, Aria da Capo, won first prize in the National Opera Association's New Opera Com- petition. Mark Me Twain, his second opera, was commissioned and premiered in 1993 by the Nevada Opera for its Silver Anniversary season. “The opera is filled with attractive, dramatic, often eloquent music... it could become an American work of genuine significance.” His Symphony No. 1 was premiered by the Florida Symphony under conductor Kenneth Jean. Other orches- tral music was premiered by the Seattle Symphony, Northwest Symphony Orchestra, and Music Today in New York under the direction of Gerard Schwarz. His vocal and choral works have been performed in Portugal, Spain, Germany, France, Italy, Australia, South America, Canada, Norway, Russia, Hungary, Japan, and throughout the United States. According to the Seattle Weekly, who named him as Best (Classical) Composer in 2005, “no Seat- tle composer has a more assured and polished craft than Herbolsheimer. -
CC 8805 Engl.Indd
1 Commentary Abbreviations and Sigla To proclaim this date as terminus post quem for the conception of the sonata collection a.c. ante correcturam including the revision of the two named movements appears to be premature in light P Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. of the possibility that Bach did not intend to make the sonatas available to his students Bach (shelf number for scores) for copying. It is unlikely that Bach left Vogler a three-part organ work for copying at the Ped Pedal system end of 1729 (BWV 545 with BWV 529/2) when at this point the second movement had St Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Musikabteilung, Mus. Ms. already found its defi nitive designation as the middle movement of the fi fth sonata. A Bach (shelf number for parts) date of around 1731 thus stands out. The time signature 2| in BWV 526/3, seldom-used by Bach, also points to 1731.3 Perhaps the origin of the sonata collection stands in di- In the individual notes, voices are indicated by Roman numerals for the system and, if rect connection with Bach’s appearance as organist in Dresden in September 1731;4 an necessary, Arabic numerals for the individual voices within the system, each in increas- organ concert in the Dresden Sophienkirche on September 14 is evidence.5 ing order (I 2 = fi rst system, second voice). These designations pertain to the notation of the present edition. Origin of the Primary Source Unless otherwise noted, the individual notes are concerned with differences between Although P 271 is a pure copy, corrections and small modifi cations common to Bach the respective primary source and the notation of the present edition. -
Einleitung 2. Fass. Fußnoten.Qxp 11.11.2010 11:27 Seite 1
Einleitung 2. Fass. Fußnoten.qxp 11.11.2010 11:27 Seite 1 7 Einleitung Die beiden Werkgruppen des vorliegenden Bandes nehmen in Bachs Schaffen einen auch innerhalb der Orgelmusik eine gewisse Tradition aufzuweisen, an die Bach besonderen Platz ein. Sie gehören Gattungen an, die am Anfang des 18. Jahrhunderts anknüpfen konnte. Hier ist in erster Linie an die französische Orgeltradition zu den- der instrumentalen Ensemblemusik zugeordnet wurden und der Tastenmusik im ken, in der eine der wichtigsten Formen – das Trio für zwei Manuale und Pedal – auf Grunde fremd waren. Es ist deshalb nicht verwunderlich, dass es sich bei einem wich- dem kammermusikalischen Modell eines langsamen Triosatzes für zwei Violinen und tigen Teil der Stücke um Bearbeitungen handelt: So basieren die Konzerte auf Generalbass beruht. Bachs Kenntnis solcher Sätze ist für die Drucksammlungen von Streicherkonzerten anderer Komponisten, die Sonaten gehen zum Teil auf eigene Boyvin, Du Mage, Grigny und Raison belegt.2 Kammermusikwerke zurück. Weitere verbindende Elemente – natürlich vor dem Innerhalb der mittel- und norddeutschen Orgeltradition vor Bach wurde der Triosatz Hintergrund der Besonderheiten dieser Werkgattungen – sind die Anlage „à 2 Clav. mit obligatem Pedal dagegen fast ausschließlich mit dem choralgebundenen Spiel in e Ped.“ sowie die Dreisätzigkeit. Verbindung gebracht.3 Dabei herrscht jener Satztyp vor, bei dem die Choralmelodie ins Pedal verlegt und als eine Art Generalbasslinie neu interpretiert wird. Choraltrios, Die Sechs Sonaten und einzelne Sonatensätze bei denen die Choralmelodie in einer oder beiden Oberstimmen mehr oder weniger In den sechs Sonaten für Orgel BWV 525–530 verbinden sich verschiedene Merkmale koloriert auftritt und das Pedal eine reine Generalbassfunktion übernimmt, sind viel von Bachs kompositorischem Schaffen der 1720er Jahre. -
Vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 Volumes Urtext for Historically Informed Performance
Cantatas · Masses · Oratorios Bach Passions · Motets vocal Bach CV 40.398/30 KCMY Thevocal Sacred Vocal Music Stuttgart Bach Editions Complete Edition in 23 volumes Urtext for historically informed performance • The complete sacred vocal music by J. S. Bach • Musicologically reliable editions for the practical pursuit of music, taking into account the most current state of Bach research • Informative forewords on the work’s history, reception and performance practice • Complete performance material available: full score, vocal score, choral score, and orchestral parts • carus plus: innovative practice aids for choir singers (carus music, the choir app, Carus Choir Coach, practice CDs) and vocal scores XL in large print for the major choral works available • With English singable texts www.carus-verlag.com/en/composers/bach available from: for study & performance Johann Sebastian Bach: The Sacred Vocal Music Carus has placed great importance on scholarly new editions of the music. But the editions always have the performance in mind. Complete Edition in 23 volumes Schweizer Musikzeitung Edited by Ulrich Leisinger and Uwe Wolf in collaboration with the Bach-Archiv Leipzig With the Bach vocal project, we have published Wherever the source material allowed a reconstruc- • Reader-friendly and handy format Reconstructions Johann Sebastian Bach’s complete sacred vocal tion to be made, and the works were also relevant (like a vocal score) Pieter Dirksen: BWV 1882 music in modern Urtext editions geared towards for practical performance, Bach’s fragmentary Andreas Glöckner / Diethard Hellmann: BWV 2473 historically- informed performance practice. We are surviving vocal works have been included in the • User-friendly order following the Diethard Hellmann: BWV 186a3, 197a3 convinced that the needs of performing musicians Bach vocal publishing project, and some have been Bach Works Catalogue Klaus Hofmann: BWV 80b3, 1391, 1573 are best met by a scholarly authoritative music text, published for the first time in performable versions. -
PRESS RELEASE Performance of the St
As of April 2020 PRESS RELEASE Performance of the St. John Passion in Leipzig's St. Thomas Church With an extraordinary performance of the St. John Passion, the Leipzig Bachfest will be bringing the world together on Good Friday in Johann Sebastian Bach’s church of St. Thomas – and the global Bach community is invited to sing along. In many places it is a tradition – sometimes going back more than 100 years – to perform a Bach Passion during the week before Easter. Many people all over the world regard it as an indispensable ritual to listen to or actually sing Bach’s settings of the story of Jesus’ Passion during Passiontide. This year, it is overshadowed by the Covid-19 pandemic. Hundreds, perhaps thousands of performances of Bach’s Passions worldwide have been cancelled owing to the restrictions on movement. To give the global Bach community a chance to actively participate in a Bach Passion in spite of this, the artistic director of the Leipzig Bachfest had an extraordinary idea: On Good Friday, 10 April, at the hour of Jesus’ death (3pm, CEST), a chamber music version of Johann Sebastian Bach’s famous St. John Passion will be performed at his tomb, and the global Bach community is invited to sing along. Prominent musicians from countries like the US, Canada and Malaysia will perform by video link. The concert will be livestreamed via the Bach Archive’s Facebook channel. Prof. Dr. Michael Maul, Artistic Director of the Leipzig Bachfest is excited: At this year’s Bachfest in June entitled BACH – We are FAMILY!, nearly 50 Bach choirs from all continents were to celebrate the greatest Bach family festival of all time in Leipzig and make music together in all kinds of ways.