Haydn, Mozart & Friends
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1 Eighteenth-Century Music in a Twenty-First Century Conservatory of Music Or Using Haydn to Make the Familiar Exciting by Mary
1 Morrow, Mary Sue. “Eighteenth-Century Music in a Twenty-First Century Conservatory of Music, or Using Haydn to Make the Familiar Exciting.” HAYDN: Online Journal of the Haydn Society of North America 6.1 (Spring 2016), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2016. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Eighteenth-Century Music in a Twenty-First Century Conservatory of Music or Using Haydn to Make the Familiar Exciting by Mary Sue Morrow University of Cincinnati College-Conservatory of Music I. Introduction Teaching the history of eighteenth-century music in a conservatory can be challenging. Aside from the handful of music history and music theory students, your classes are populated mostly by performers, conductors, and composers who do not always find the study of music history interesting or even necessary. Moreover, when you step in front of a graduate-level class at the College-Conservatory of Music at the University of Cincinnati, everybody in the class is going to know all about the music of the eighteenth century: they’ve played Bach fugues and sung in Handel choruses; they’ve sung Mozart arias and played Haydn string quartets or early Beethoven sonatas. They have also been taught to revere these names as the century’s musical geniuses, but quite a number of them will admit that they are not very interested in eighteenth-century music, particularly the music from the late eighteenth-century: It is too ordinary and unexciting; it all sounds alike; it is mostly useful for teaching purposes (definitely the fate of Haydn’s keyboard sonatas and, to a degree, his string quartets). -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
Amadeus by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 the 411 Major Sponsor: 3 A/S/L & Vocab the Mary Ranken Jordan & Ettie A
2009—2010 SEASON AMADEUS by Peter Shaffer Directed by Paul Mason Barnes CONTENTS 2 The 411 Major Sponsor: 3 A/S/L & Vocab The Mary Ranken Jordan & Ettie A. Jordan 4 FYI Charitable Foundation 5 HTH 6 F2F 9 B4U 12 IRL 13 RBTL 14 SWDYT? At The Rep, we know MIHYAP: Top Ten Ways to that life moves Stay Connected at The Rep fast—okay, really 10. TBA Ushers will seat your school or class as a group, fast. But we also so even if you are dying to mingle with the group from the know that some all girls school that just walked in the door, stick with your things are worth friends until you have been shown your section in the theatre. slowing down for. We believe that live theatre is one of those pit stops worth making and are excited that you 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- are going to stop by for a show. To help you get the most immature urge to whisper, giggle like a grade schooler or yell bang for your buck, we have put together WU? @ THE at this time and during any other blackouts in the show. REP—an IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. 8. SED Before the performance begins, turn off all cell You’ll find character descriptions (A/S/L), a plot summary phones, pagers, beepers and watch alarms. -
Complete Dissertation
LOOKING BACK, LISTENING FORWARD: A NEW TRANSCRIPTION OF LEOŠ JANÁČEK’S SUITE FOR STRINGS FOR DOUBLE WIND QUINTET IN THE HARMONIEMUSIK TRADITION A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Bradley Jay Miedema In Partial Fulfillment for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music June 2014 Fargo, North Dakota North Dakota State University Graduate School Title Looking Back, Listening Forward: A New Transcription of Leoš Janáček’s Suite for Strings for Double Wind Quintet in the Harmoniemusik Tradition By Bradley Jay Miedema The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Warren Olfert Chair Dr. Robert Groves Dr. Jo Ann Miller Dr. Sherri Nordstrom Stastny Approved: June 27, 2014 Dr. John Miller Date Department Chair ABSTRACT The Harmoniemusik tradition has provided the wind chamber repertoire with a tremendous wealth of literature. Spanning the late eighteenth and early nineteenth centuries, these transcriptions of large-scale works had a formative influence on the creative activity of subsequent composers. Most notable are the transcriptions of operas. Some include more than twenty movements and capture much of the drama and intensity of the stage versions. While the Viennese wind octet with pairs of oboes, clarinets, bassoons and horns became the standard instrumentation for the properly defined Harmonie, many pieces were also arranged and composed for ensembles ranging from six to ten players. Composers such as Haydn (1732-1809), Stamitz (1745-1801), Mozart (1756-1791), Krommer (1759-1831), Beethoven (1770-1827) and Mendelssohn (1809- 1847) contributed works to the Harmoniemusik genre. -
Classical Opera Ian Page (Conductor)
ZAIDE CLASSICAL OPERA IAN PAGE (CONDUCTOR) 7586_CO_Zaide_BOOKLET_FINAL.indd 1 13/06/2016 10:15 WOLFGANG AMADEUS MOZART (1756 - 1791) ZAIDE, K.344 Libretto by Johann Andreas Schachtner (1731 - 1795) ZAIDE SOPHIE BEVAN soprano Performance material: New Mozart Edition (NMA) By kind permission of Bärenreiter-Verlag GOMATZ ALLAN CLAYTON tenor Kassel · Basel · London · New York · Praha Recorded at the Church of St. Augustine, Kilburn, London, UK from 10 to 13 March 2016 ALLAZIM JACQUES IMBRAILO baritone Produced and engineered by Andrew Mellor Assistant engineer: Claire Hay SULTAN SOLIMAN STUART JACKSON tenor Post-production by Andrew Mellor and Claire Hay Design by gmtoucari.com Cover image by Debbie Coates OSMIN DARREN JEFFERY bass-baritone Photographs by Benjamin Ealovega German language coaches: Johanna Mayr and Rahel Wagner VORSINGER JONATHAN McGOVERN baritone Harpsichord technician: Malcolm Greenhalgh ZARAM DARREN JEFFERY Orchestra playing on period instruments at A = 430 Hz We are extremely grateful to George and Efthalia Koukis for supporting this recording. SKLAVEN PETER AISHER, ROBIN BAILEY, We are also grateful to the following people for their generous support: Kate Bingham and Jesse Norman, Sir Vernon and Lady SIMON CHALFORD GILKES, Ellis, John Warrillow and Pamela Parker, Kevin Lavery, Pearce and Beaujolais Rood, John Chiene and Carol Ferguson, and all ED HUGHES, STUART LAING, the other individuals who supported this project. NICK MORTON, DOMINIC WALSH Special thanks to: Mark Braithwaite, Anna Curzon, Geoff Dann, Chris Moulton, Verena Silcher, Alice Bellini, Léa Hanrot, Simon Wall and TallWall Media. THE ORCHESTRA OF CLASSICAL OPERA Leader: Bjarte Eike IAN PAGE conductor 2 MOZART / ZAIDE MOZART / ZAIDE 3 zaide7586_CO_Zaide_BOOKLET_FINAL.indd booklet FINALEsther.indd 2 2-3 09/06/2016 15:58:54 zaide booklet FINALEsther.indd 3 09/06/201613/06/2016 15:58:54 10:15 ZAIDE, K.344 ACT ONE Page 1 [Overture – Entr’acte from Thamos, König in Ägypten, K.345] 3’23 32 2 No. -
Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera. -
A Performance Edition of the Opera Kaspar Der Fagottist by Wenzel Müller
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819) Susan Nita Barber Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Barber, Susan Nita, "A performance edition of the opera Kaspar der Fagottist by Wenzel Müller (1767-1835), as arranged for Harmonie by Georg Druschetzky (1745-1819)" (2003). LSU Doctoral Dissertations. 2272. https://digitalcommons.lsu.edu/gradschool_dissertations/2272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A PERFORMANCE EDITION OF THE OPERA, KASPAR DER FAGOTTIST BY WENZEL MÜLLER (1767-1835), AS ARRANGED FOR HARMONIE BY GEORG DRUSCHETZKY (1745-1819) Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts By Susan Nita Barber B.M., State University of New York at Potsdam, 1988 M.M., The Juilliard School, 1990 May 2003 „ Copyright 2002 Susan N. Barber All rights reserved ii ACKNOWLEDGMENTS I would like to express my thanks to my husband, family, friends and colleagues for their support throughout the time that I have been engaged in my research and writing for this degree. -
Download Booklet
Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. -
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. -
Did Mozart Suffer from Gilles De La Tourette Syndrome?ଝ
r e v c o l o m b p s i q u i a t . 2 0 1 7;4 6(2):110–115 www.elsevier.es/rcp Epistemology, philosophy of the mind and bioethics Did Mozart suffer from Gilles de la Tourette syndrome?ଝ a,∗ b Leonardo Palacios-Sánchez , Juan Sebastián Botero-Meneses , c d d Laura Daniela Vergara-Méndez , Natalia Pachón , Arianna Martínez , d Santiago Ramírez a Departamento de Neurología, Universidad del Rosario, Bogotá, Colombia b Grupo de Investigación en Neurociencia (NEUROS), Universidad del Rosario, Bogotá, Colombia c Departamento de Pediatría, Universidad del Rosario, Bogotá, Colombia d Semillero de Investigación en Neurociencia, Bogotá, Colombia a r t i c l e i n f o a b s t r a c t Article history: The personal and private lives of great men and women in history, like writers, painters Received 1 April 2016 and musicians, have been the subject of great interest for many years. A clear example Accepted 4 May 2016 of this is the vast scrutiny is cast over the famous composer, Wolfgang Amadeus Mozart. Available online 3 June 2017 What may have started as curiosity, rapidly evolved into extensive research, as the answers about the musician’s legendary talent may lie in the details of his life (his childhood, his Keywords: relationships, his quirks and his mannerisms). It is usually up to historians, anthropologists or philosophers to delve into the pages of old books, trying to grasp answers and clues. Tourette syndrome Movement disorders However, for some time, physicians have sought their own part in solving the puzzle. -
What Motivates Composers to Compose?
University of New Hampshire University of New Hampshire Scholars' Repository Honors Theses and Capstones Student Scholarship Spring 2014 What Motivates Composers to Compose? Brian Fanning University of New Hampshire - Main Campus Follow this and additional works at: https://scholars.unh.edu/honors Part of the Music Commons Recommended Citation Fanning, Brian, "What Motivates Composers to Compose?" (2014). Honors Theses and Capstones. 160. https://scholars.unh.edu/honors/160 This Senior Honors Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Honors Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Brian Fanning 1 What Motivates Composers to Compose? Composers must be motivated in order to produce music. Although the expression of oneself is at the crux of the content of compositions, the idea of the composition in the first place does not necessarily start with motivation. Composers may be commissioned by others, moved to respond to an event or disaster, or motivated strictly monetarily by their employer (either a corporation or royal court, depending on the era). This paper poses the question: What motivates composers to compose? The thesis will be drawn out in two examples: Paul Hindemith’s late sonatas and Wolfgang Amadeus Mozart’s Oboe Quartet in F. The theory of basic desires to motivation proposed by Steven Reiss will be used to explain each of the composers’ desires to compose. Paul Hindemith (1895–1963) was born in Hanau, Germany which is near Frankfurt. -
Rivera, Doctor of Musical Arts, 2016
ABSTRACT Title of Dissertation: W.A. MOZART’S DIE ZAUBERFLÖTE AN ARRANGEMENT AND PERFORMANCE EDITION FOR WIND INSTRUMENTS AND VOCAL SOLOISTS Anthony Rivera, Doctor of Musical Arts, 2016 Dissertation directed by: Dr. Michael Votta, Jr., School of Music The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble1 to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of 1 The instrumentation model of most current US university band programs is based on the instrumentation of the original 1952 Eastman Wind Ensemble. the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring.