Fairfield County Chorale Repertoire
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All Strings Considered a Subjective List of Classical Works
All Strings Considered A Subjective List of Classical Works & Recordings All Recordings are available from the Lake Oswego Public Library These are my faves, your mileage may vary. Bill Baars, Director Composer / Title Performer(s) Comments Middle Ages and Renaissance Sequentia We carry a lot of plainsong and chant; HILDEGARD OF BINGEN recordings by the Anonymous 4 are also Antiphons highly recommended. Various, Renaissance vocal and King’s Consort, Folger Consort instrumental collections. or Baltimore Consort Baroque Era Biondi/Europa Galante or Vivaldi wrote several hundred concerti; try VIVALDI Loveday/Marriner. the concerti for multiple instruments, and The Four Seasons the Mandolin concerti. Also, Corelli's op. 6 and Tartini (my fave is his op.96). HANDEL Asch/Scholars Baroque For more Baroque vocal, Bach’s cantatas - Messiah Ensemble, Shaw/Atlanta start with 80 & 140, and his Bach B Minor Symphony Orch. or Mass with John Gardiner conducting. And for Jacobs/Freiberg Baroque fun, Bach's “Coffee” cantata. orch. HANDEL Lamon/Tafelmusik For an encore, Handel's “Music for the Royal Water Music Suites Fireworks.” J.S. BACH Akademie für Alte Musik Also, the Suites for Orchestra; the Violin and Brandenburg Concertos Berlin or Koopman, Pinnock, Harpsicord Concerti are delightful, too. or Tafelmusik J.S. BACH Walter Gerwig More lute - anything by Paul O'Dette, Ronn Works for Lute McFarlane & Jakob Lindberg. Also interesting, the Lute-Harpsichord. J.S. BACH Bylsma on period cellos, Cello Suites Fournier on a modern instrument; Casals' recording was the standard Classical Era DuPre/Barenboim/ECO & HAYDN Barbirolli/LSO Cello Concerti HAYDN Fischer, Davis or Kuijiken "London" Symphonies (93-101) HAYDN Mosaiques or Kodaly quartets Or start with opus 9, and take it from there. -
November 15, 1959 776Th Concert
NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No. -
Brahms and the Changing Piano
The Aesthetics of Textural Ambiguity: Brahms and the Changing Piano Augustus Arnone The thought beneath so slight a film Is more distinctly seen As laces just reveal the surge Or Mists the Apennine -Emily Dickinson Introduction In recent years, a number of performance practice scholars writing on Brahms's piano music have commented on the prominence of low-lying melodic lines, thickly-written accompaniments, and often dense saturation of the lower register.! For such writers these textural features constitute proof that Brahms could not have intended performance on the modern piano. Firms such as Steinway, Bechstein, and Chickering were manufacturing pianos by the early 1860s, roughly the midpoint of Brahms's life, that already exhibited most of the important design innovations that distinguish modern pianos from earlier ones, and these firms enjoyed enormous success across Europe.2 Performance practice scholars have argued that the increased power and sustain of these pianos create irreparable problems of balance and clarity in much of Brahms's music, implying that he was writing for the lighter and more transparent instruments that predate the modern piano, many of which were still manufactured up until the end of the century. The view that low-lying melodies and densely packed textures in the lower register present an undesirable muddiness on the modern piano was already being elaborated towards the end of the nineteenth century. During the last decades of Brahms's life, several treatises appeared elucidating the fundamental principles of what they proclaimed to be the "modern school of pianoforte playing." Three treatises in particular, those by Hans Schmitt (1893), Aleksandr Nikitich Bukhovtsev (1897), and Adolph Christiani (c. -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
Download PDF Booklet
THE CALL INTRODUCING THE NEXT GENERATION OF CLASSICAL SINGERS Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau piano our future, now Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick THE CALL Martha Jones Laurence Kilsby Angharad Lyddon Madison Nonoa Alex Otterburn Dominic Sedgwick Malcolm Martineau THE CALL FRANZ SCHUBERT (1797-1828) 1 Fischerweise (Franz von Schlechta) f 2’53 2 Im Frühling (Ernst Schulze) a 4’32 ROBERT SCHUMANN (1810-1856) 3 Mein schöner Stern (Friedrich Rückert) d 2’39 JOHANNES BRAHMS (1833-1897) 4 An eine Äolsharfe (Eduard Mörike) f 3’52 ROBERT SCHUMANN 5 Aufträge (Christian L’Egru) b 2’30 GABRIEL FAURÉ (1845-1924) 6 Le papillon et la fleur (Victor Marie Hugo) e 2’08 CLAUDE ACHILLE DEBUSSY (1862-1918) 7 La flûte de Pan (Pierre-Félix Louis) b 2’45 REYNALDO HAHN (1874-1947) 8 L’heure exquise (Paul Verlaine) c 2’27 CLAUDE ACHILLE DEBUSSY 9 C’est l’extase (Paul Verlaine) a 2’54 FRANCIS POULENC (1899-1963) Deux poèmes de Louis Aragon (Louis Aragon) d 10 i C 2’44 11 ii Fêtes galantes 0’57 GABRIEL FAURÉ 12 Notre amour (Armand Silvestre) e 1’58 MEIRION WILLIAMS (1901-1976) 13 Gwynfyd (Crwys) c 3’25 HERBERT HOWELLS (1892-1983) 14 King David (Walter de la Mare) b 4’51 RALPH VAUGHAN WILLIAMS (1872-1958) 15 The Call (George Herbert) f 2’12 16 Silent Noon (Dante Gabriel Rossetti) c 4’03 BENJAMIN BRITTEN (1913-1976) 17 The Choirmaster’s Burial (Thomas Hardy) d 4’08 IVOR GURNEY (1890-1937) 18 Sleep (John Fletcher) e 2’55 BENJAMIN -
HANDEL: Coronation Anthems Winner of the Gramophone Award for Cor16066 Best Baroque Vocal Album 2009
CORO CORO HANDEL: Coronation Anthems Winner of the Gramophone Award for cor16066 Best Baroque Vocal Album 2009 “Overall, this disc ranks as The Sixteen’s most exciting achievement in its impressive Handel discography.” HANDEL gramophone Choruses HANDEL: Dixit Dominus cor16076 STEFFANI: Stabat Mater The Sixteen adds to its stunning Handel collection with a new recording of Dixit Dominus set alongside a little-known treasure – Agostino Steffani’s Stabat Mater. THE HANDEL COLLECTION cor16080 Eight of The Sixteen’s celebrated Handel recordings in one stylish boxed set. The Sixteen To find out more about CORO and to buy CDs visit HARRY CHRISTOPHERS www.thesixteen.com cor16180 He is quite simply the master of chorus and on this compilation there is much rejoicing. Right from the outset, a chorus of Philistines revel in Awake the trumpet’s lofty sound to celebrate Dagon’s festival in Samson; the Israelites triumph in their victory over Goliath with great pageantry in How excellent Thy name from Saul and we can all feel the exuberance of I will sing unto the Lord from Israel in Egypt. There are, of course, two Handel oratorios where the choruses dominate – Messiah and Israel in Egypt – and we have given you a taster of pure majesty in the Amen chorus from Messiah as well as the Photograph: Marco Borggreve Marco Photograph: dramatic ferocity of He smote all the first-born of Egypt from Israel in Egypt. Handel is all about drama; even though he forsook opera for oratorio, his innate sense of the theatrical did not leave him. Just listen to the poignancy of the opening of Act 2 from Acis and Galatea where the chorus pronounce the gloomy prospect of the lovers and the impending appearance of the monster Polyphemus; and the torment which the Israelites create in O God, behold our sore distress when Jephtha commands them to “invoke the holy name of Israel’s God”– it’s surely one of his greatest fugal choruses. -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
Brahms Symphony 2 Gardiner
Brahms Symphony 2 Gardiner 1 Johannes Brahms 1833-1897 1 Alto Rhapsody Op.53 (1869) 12:57 Franz Schubert 1797-1828 2 Gesang der Geister über den Wassern D714 (1821) 12:18 3 Gruppe aus dem Tartarus D583 (1817, arr. Brahms 1871) 2:20 4 An Schwager Kronos D369 (1816, arr. Brahms 1871) 2:28 Symphony No.2 in D major Op.73 (1877) 5 I Allegro non troppo 19:42 6 II Adagio non troppo – L’istesso tempo, ma grazioso 9:28 7 III Allegretto grazioso (quasi andantino) – Presto ma non assai – Tempo I 5:06 8 IV Allegro con spirito 9:05 73:59 Nathalie Stutzmann contralto Orchestre Révolutionnaire et Romantique The Monteverdi Choir John Eliot Gardiner Recorded live at the Salle Pleyel, Paris, November 2007 2 Brahms: Roots and memory John Eliot Gardiner To me Brahms’ large-scale music is brimful of vigour, drama and a driving passion. ‘Fuego y cristal’ was how Jorge Luis Borges once described it. How best to release all that fire and crystal, then? One way is to set his symphonies in the context of his own superb and often neglected choral music, and that of the old masters he particularly cherished (Schütz and Bach especially) and of recent heroes of his (Mendelssohn, Schubert and Schumann). This way we are able to gain a new perspective on his symphonic compositions, drawing attention to the intrinsic vocality at the heart of his writing for orchestra. Composing such substantial choral works as the Schicksalslied, the Alto Rhapsody, Nänie and the German Requiem gave Brahms invaluable experience of orchestral writing years before he brought his first symphony to fruition: they were the vessels for some of his most profound thoughts, revealing at times an almost desperate urge to communicate things of import. -
Lent Term 2013 Cover Image Man of Sorrows by Greg Longford, Acrylic on Sandpaper
Clare College , C ambridge Chapel ServiCeS lent term 2013 Cover image Man of Sorrows by Greg Longford, acrylic on sandpaper. Private collection: used by permission. ServiCeS HOLY COMMUNION is celebrated every Sunday morning at 9.30 a.m. – a service with hymns and a homily, followed by breakfast in E3. On 10 February we will be joining members of Trinity Hall for Holy Communion in their Chapel at 9 a.m. and returning to Clare afterwards for breakfast. MORNING PRAYER is said every Monday–Thursday at 8.15 a.m. On Friday, it is said at 8.00 a.m. and is followed by breakfast in Buttery. EVENING PRAYER is said every Monday and Friday at 6.15 p.m. and Wednesday at 5.00 p.m. MIDDAY PRAYER is said every Wednesday at 12.45 p.m. Silence for meditation and private prayer is kept in Chapel every day from noon until 1.00 p.m. Choral ServiCeS Tuesdays Evensong, 6.15 p.m. Wednesdays Compline, 10.00 p.m. on 27 February Thursday Evensong, 6.15 p.m. Sundays Evensong, 6.00 p.m. Members of College are warmly encouraged to wear gowns to Sunday evening services. This service is followed by drinks and supper in Hall, to which all who attend Chapel are warmly invited (subject to places available). Cost: £4.25 members of College; £7 others. SpeCial ServiCeS Sunday 3 February Corporate Communion for The Presentation of Christ in the Temple (or Candlemas), 6.00 p.m. Wednesday 13 February Said Holy Communion (with Imposition of Ashes) for Ash Wednesday, 8.00 a.m. -
Messe E-Moll WAB 27 Zweite Fassung/Second Version 1882
Anton BRUCKNER Messe e-Moll WAB 27 Zweite Fassung/Second version 1882 Coro (SSAATTBB) 2 Oboi, 2 Clarinetti, 2 Fagotti, 4 Corni, 2 Trombe, 3 Tromboni herausgegeben von/edited by Dagmar Glüxam Urtext Partitur/Full score C Carus 27.093 Inhalt / Contents Vorwort 4 Foreword 8 Abbildungen 12 Kyrie (Coro SSAATTBB) 14 Gloria (Coro) 20 Credo (Coro) 32 Sanctus (Coro) 49 Benedictus (Coro SSATTBB) 55 Agnus Dei (Coro SSAATTBB) 63 Kritischer Bericht 73 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 27.093), Klavierauszug (Carus 27.093/03), Klavierauszug XL Großdruck (Carus 27.093/04), Chorpartitur (Carus 27.093/05), komplettes Orchestermaterial (Carus 27.093/19). The following performance material is available: full score (Carus 27.093), vocal score (Carus 27.093/03), vocal score XL in larger print (Carus 27.093/04), choral score (Carus 27.093/05), complete orchestral material (Carus 27.093/19). Carus 27.093 3 Vorwort Als Anton Bruckner (1824–1896) zwischen August und November C-Dur (WAB 31) für vierstimmigen gemischten Chor a cappella 1866 seine Messe in e-Moll (WAB 27) komponierte, konnte er (1. Fassung 1835–1843, 2. Fassung 1891) oder der Windhaager bereits eine langjährige Erfahrung als Kirchenmusiker aufweisen und Messe in C-Dur für Alt, zwei Hörner und Orgel (WAB 25; 1842) auch auf ein überaus umfangreiches kirchenmusikalisches Œuvre können hier etwa die Messe ohne Gloria in d-Moll („Kronstorfer zurückblicken.1 Schon als Kind wurde er durch seinen musikbe- Messe“; WAB 146, 1844) für vierstimmigen gemischten Chor a geisterten Vater und Schullehrer Anton Bruckner (1791–1837) zur cappella oder das Requiem für vierstimmigen Männerchor und Mitwirkung – u. -
Najaarsconcert 2018 2
NAJAARSCONCERT 2018 2 Welkom Beste concertbezoeker, Ik heet u namens de Oratoriumvereniging van harte welkom bij ons najaarsconcert in deze prachtige Martinikerk van Bolsward. Dit concert staat in het teken van Jacob Ludwig Felix Mendelssohn Bartholdy (geboren 3 februari 1809 en overleden op 4 november 1847). Hij was een Duitse componist, pianist, organist en dirigent in de vroeg romantische periode. Mendelssohn schreef symfonieën, concerten, oratoria, pianomuziek en kamermuziek. Hij vierde zijn successen in Duitsland en liet de muziek van Johann Sebastian Bach herleven. Vanmiddag voeren wij twee werken van hem uit: het Lobgesang en Psalm 42. Verder zal onze organist nog een sonate van Mendelssohn spelen. Onze uitvoering vanmiddag is een bijzondere uitvoering. Zoals u ziet zijn het koor, het orkest en de solisten geplaatst op een speciaal voor deze uitvoering gemaakt podium vlak voor het prachtige kerkorgel, dat meewerkt aan de uitvoering. U, als publiek zit nu ook andersom. Wij willen vandaag als koor ervaren hoe deze opstelling bevalt. Mocht dat positief zijn, dan zullen we in de toekomst waarschijnlijk vaker gebruik gaan maken van deze opstelling. In dit concertboekje kunt u verder alle informatie over dit concert lezen. Ook is er een plattegrond opgenomen waarop staat aangegeven waar de toiletten zijn en waar de nooduitgangen zich bevinden. Graag deze plattegrond voor aanvang van het concert goed bekijken. Volgend jaar voeren wij in de week voor Pasen weer tweemaal de Matthäus-Passion uit en in het najaar de volledige uitvoering van de Messiah van Händel. We hopen u dan ook als luisteraar te mogen begroeten. Met vriendelijke groeten, G.J.Ankersmit (voorzitter) Heeft u vandaag genoten van onze uitvoering, dan is het misschien een goed idee om vriend van onze Oratoriumvereniging te worden. -
"Lucca Città Della Musica" Di Sara Matteucci
SARA MATTEUCCI Lions Club Lucca Host CLuccaITTÀ DELLA MUSICA Questo volume è un’espressione del progetto “Lucca città della musica” che il Lions Club Lucca Host sta portando avanti negli ultimi anni al fine di far entrare Lucca fra le città UNESCO creative della musica. Il Comitato Cultura del Lions Club Lucca Host, presieduto da Leonardo Odoguardi e com- posto da Riccardo Benvenuti, Michele Bianchi, Francesco Cipriano, Giuliano Marchetti, Cristiano Meossi, Enrico Ragghianti, Antonio Sargenti, è stato supportato dai presidenti del Club Umberto Stefani, Adalberto Saviozzi, Maria Carla Giambastiani e dai soci Cesare Rocchi, Gualberto Del Roso. Si ringraziano tutti coloro che hanno collaborato alla realizzazione di questa pubblicazione ed in particolare l’autrice del lavoro Sara Matteucci e Manifatture Sigaro Toscano. SARA MATTEUCCI CLuccaITTÀ DELLA MUSICA Lions Club Lucca Host Si ringrazia per il contributo CLuccaITTÀ DELLA MUSICA Referenze fotografiche Foto Ghilardi, Lucca; Foto Arnaldo Fazzi, Archivio Maria Pacini Fazzi Editore © Copyright 2010: Lions Club Lucca Host Cura grafica e impaginazione Gabriele Moriconi per Maria Pacini Fazzi Editore, Lucca www.pacinifazzi.it ISBN 978-88-6550-026-2 Lions Club Lucca Host Negli Scopi del lionismo è previsto di «prendere attivo interesse al bene civico, culturale, sociale e mo- rale della comunità», mentre nel Codice dell’etica lionistica si chiede di «dimostrare con l’eccellenza delle opere e la solerzia del lavoro, la serietà della vocazione al servizio». Questo desiderio di incidere positiva- mente nel tessuto cittadino è stato ed è una vocazione congenita al Lions Club Lucca Host. Dalla sua istituzione nel 1955, esso si è impegnato per la valorizzazione del patrimonio culturale ed artistico di una città dalla lunga storia.