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A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
2. Kammerkonzert „HAYDNS ENTDECKER“ Eine Hommage an Den Komponisten Johann Georg Reutter So 13
Generalmusikdirektor Axel Kober PROGRAMM 2. Kammerkonzert „HAYDNS ENTDECKER“ Eine Hommage an den Komponisten Johann Georg Reutter So 13. Oktober 2019, 19.00 Uhr Philharmonie Mercatorhalle Hana Blažíková Sopran Barockensemble nuovo aspetto Ermöglicht durch Kulturpartner Gefördert vom Duisburger Kammerkonzerte Johann Georg Reutter Sonntag, 13. Oktober 2019, 19.00 Uhr „Soletto al mio caro“, Arie aus „Alcide trasformato in dio“ Philharmonie Mercatorhalle für Sopran, Salterio und Basso continuo (1729) Giuseppe Porsile Andante aus „Il giorno felice“ (1723) Hana Blažíková Sopran Francesco Bartolomeo Conti (1681-1732) „Dei colli nostri", nuovo aspetto: Arie aus „Il trionfo dell’amicizia e dell’amore“ für Sopran, Christian Binde Horn Mandoline, Harfe, Baryton und Basso continuo (1711) Jörg Schultess Horn Helena Zemanová Violine Pause Frauke Pöhl Violine Corina Golomoz Viola Joseph Haydn (1732-1809) / Henri Compan Elisabeth Seitz Salterio „Je ne vous disais point: j’aime“ Johanna Seitz Harfe aus „Le Fat dupé“ für Sopran und Harfe Michael Dücker Laute, Mandolino Ulrike Becker Violoncello, Barytono Johann Georg Reutter „Dura legge a chi t’adora“, Arie aus „Archidamia“ Francesco Savignano Wiener Bass für Sopran, Salterio, Laute und Basso continuo (1727) Luca Quintavalle Cembalo Joseph Haydn Aus: Sinfonie C-Dur „Le Distrait“ Hob. I:60 Programm in der Kammermusikfassung für Harfe, Violine, Viola und Bass von Meingosus Gaelle (1774/1809) Adagio – Finale Johann Georg Reutter (1708-1772) „Dal nostro nuovo aspetto“, „The Inspired Bard“ Hob. XXXIb:25 aus -
Performing Michael Haydn's Requiem in C Minor, MH155
HAYDN: The Online Journal of the Haydn Society of North America Volume 9 Number 2 Fall 2019 Article 4 November 2019 Performing Michael Haydn's Requiem in C minor, MH155 Michael E. Ruhling Rochester Institute of Technology; Music Director, Ensemble Perihipsous Follow this and additional works at: https://remix.berklee.edu/haydn-journal Recommended Citation Ruhling, Michael E. (2019) "Performing Michael Haydn's Requiem in C minor, MH155," HAYDN: The Online Journal of the Haydn Society of North America: Vol. 9 : No. 2 , Article 4. Available at: https://remix.berklee.edu/haydn-journal/vol9/iss2/4 This Article is brought to you for free and open access by Research Media and Information Exchange. It has been accepted for inclusion in HAYDN: The Online Journal of the Haydn Society of North America by an authorized editor of Research Media and Information Exchange. For more information, please contact [email protected]. 1 Ruhling, Michael E.. “Performing Michael Haydn’s Requiem in C minor, MH155.” HAYDN: Online Journal of the Haydn Society of North America 9.2 (Fall 2019), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2019. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Performing Michael Haydn’s Requiem in C minor, MH155 by Michael E. Ruhling Rochester Institute of Technology Music Director, Ensemble Perihipsous I. Introduction: Historical Background and Acknowledgements. Sigismund Graf Schrattenbach, Prince-Archbishop of Salzburg, died 16 December 1771, at the age of 73. Johann Michael Haydn, who had been in the service of the Prince-Archbishop since 1763, serving mainly as concertmaster, received the charge to write a Requiem Mass for the Prince-Archbishop’s funeral service. -
Nineteenth Century Sacred Music: Bruckner and the Rise of the Cäcilien-Verein
Western Washington University Western CEDAR WWU Graduate School Collection WWU Graduate and Undergraduate Scholarship Spring 2020 Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein Nicholas Bygate Western Washington University, [email protected] Follow this and additional works at: https://cedar.wwu.edu/wwuet Part of the Music Commons Recommended Citation Bygate, Nicholas, "Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein" (2020). WWU Graduate School Collection. 955. https://cedar.wwu.edu/wwuet/955 This Masters Thesis is brought to you for free and open access by the WWU Graduate and Undergraduate Scholarship at Western CEDAR. It has been accepted for inclusion in WWU Graduate School Collection by an authorized administrator of Western CEDAR. For more information, please contact [email protected]. Nineteenth Century Sacred Music: Bruckner and the rise of the Cäcilien-Verein By Nicholas Bygate Accepted in Partial Completion of the Requirements for the Degree Master of Music ADVISORY COMMITTEE Chair, Dr. Bertil van Boer Dr. Timothy Fitzpatrick Dr. Ryan Dudenbostel GRADUATE SCHOOL David L. Patrick, Interim Dean Master’s Thesis In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Western Washington University, I grant to Western Washington University the non- exclusive royalty-free right to archive, reproduce, distribute, and display the thesis in any and all forms, including electronic format, via any digital library mechanisms maintained by WWU. I represent and warrant this is my original work and does not infringe or violate any rights of others. I warrant that I have obtained written permissions from the owner of any third party copyrighted material included in these files. -
Anton Bruckner Michael Haydn Motets
Anton Bruckner Michael Haydn Motets MDR LEIPZIG RADIO CHOIR PHILIPP AHMANN MOTETS Anton Bruckner (1824-1896) 1 Graduale: Locus iste, WAB 23 (1869) 3. 07 2 Offertorium: Inveni David, WAB 19 (1868) (with 4 trombones) 2. 42 3 Graduale: Christus factus est, WAB 11 (1884) 5. 39 4 Offertorium: Afferentur regi, WAB 1 (1861) (with 3 trombones) 1. 55 5 Hymnus: Pange lingua, WAB 33 (1868) 5. 02 6 Graduale: Os justi, WAB 30 (1879) 4. 23 7 Motette: Ave Maria, WAB 6 (1861) 3. 33 8 Hymnus: Vexilla regis, WAB 51 (1892) 4. 47 9 Graduale: Virga Jesse, WAB 52 (1885) 4. 12 Johann Michael Haydn (1737-1806) 10 Graduale: Christus factus est (from: In Coena Domini ad Missam), MH 628,2 4. 26 (1796) 11 O vos omnes (from: Responsoria in Sabbato Sancto), MH 278,5 (1778) 2. 39 MDR Leipzig Radio Choir (MDR-Rundfunkchor) 12 Ecce quomodo moritur justus (MH deest) 6. 56 13 Graduale: Christus factus est, MH 38 (1761) 4. 43 Sebastian Krause, Eckart Wiegräbe, Uwe Gebel*, Fernando Günther: trombones 14 Salve Regina (MH deest) 3. 35 * track 2 only 15 Tenebrae factae sunt, MH 162 (1772) 4. 02 Total playing time: 61. 52 conducted by Philipp Ahmann Michael Haydn & Anton Bruckner Similarities do indeed only reveal language Missa solemnis) and vernacular from the Italian baroque and the Viennese themselves at a second glance, but then hymns, in keeping with the intentions of Classics and — last but not least — One may wonder what’s the logic behind all the more emphatically. If we look at the Enlightened liturgical reform during Michael Haydn. -
Analysis and Discussion of Selected Vocal Motets of Anton Bruckner
Analysis and discussion of selected vocal motets of Anton Bruckner Item Type text; Thesis-Reproduction (electronic) Authors Low, Jeffrey Allan, 1950- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 02:28:15 Link to Item http://hdl.handle.net/10150/554667 ANALYSIS AND DISCUSSION OF SELECTED VOCAL MOTETS OF ANTON BRUCKNER ■by Jeffrey Allan Low A Thesis Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of ; MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable with out special permission, provided that accurate acknowlegment of source is made. Requests for permission for extended quo tation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: PREFACE Numerous volumes.have been written on the life $ sym phonies and large-scale sacred works of Anton Bruckner, but ■ very little of an in-depth nature has been written about his small-scale choral works, most of which were written for church services. -
The Cadenza: Performance Practice in Alto Trombone Concerti of the Eighteenth Century
37? /4,A/aid j THE CADENZA: PERFORMANCE PRACTICE IN ALTO TROMBONE CONCERTI OF THE EIGHTEENTH CENTURY DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By David Bruenger, B.A., M.M. Denton, Texas May, 1991 Bruenger, David C., The Cadenza: Performance Practice in Alto Trombone Concerti of the Eighteenth Century. Doctor of Musical Arts, May, 1991, 53 pp., 12 musical examples, bibliography, 35 titles. In the eighteenth century, soloists' virtuosity and musicality were judged perhaps more by their cadenzas than by any other element of and performance. Consequently, much was written about how to design execute good cadenzas. Many of the concerns expressed by eighteenth-century writers are echoed by modern authors who discuss the performance practices of classical concerti. While there are comparatively few classical concerti written for trombone, several works for the alto instrument have become important in the modern repertoire. This paper is intended to help the modern trombonist learn to create appropriate, original cadenzas for classical trombone concerti. Both historical and modern writing, as well as extant classical cadenzas are used as a guide. There is a notable consensus among the eighteenth-century sources on the fundamental elements of a good cadenza. The primary concern is that the cadenza be of appropriate length. Most observers of the concert scene in the classical era complained more about excessive length than about any other aspect of cadenza performance. They felt that the cadenza should be clever, and even surprising , without becoming inappropriate to the movement into which it is introduced. -
Symphonies • 1 Filip Dvořák, Harpsichord Czech
Michael HAYDN Symphonies • 1 Czech Chamber Philharmonic Orchestra Pardubice Patrick Gallois Johann Michael Haydn (1737–1806) a single flute in this graceful work, the horns often used year after its composition. This time, trumpets and timpani Symphonies • 1 most prominently at points of structural emphasis, such as join the ensemble, adding little martial flourishes to the the very opening and close of the Allegro con spirito. The Allegro spiritoso and also serving to punctuate the Although the music-loving Haydn family is now principally professional mutual respect was to develop, however, flute colours the stringsʼ first melody in the Andante Sinfoniaʼs contrapuntal Finale. The second movement remembered for the achievements of Franz Joseph between Leopoldʼs son, Wolfgang Amadeus, and Haydn, sostenuto, contrasted with a prominent rôle for bassoons rondo, Un poco adagio, begins rather more gently, the (1732–1809), among his eleven siblings there were two and there is evidence to suggest that young Mozart not in the movementʼs central section, and an opportunity for brass instruments later introduced to colour its dramatic further professional musicians: Johann Evangelist only actively promoted Haydnʼs music in Vienna, but drew the oboes to shine in the return to the opening material. It middle episode before a return to the chamber-like scoring (1743–1805) and Johann Michael (1737–1806), the latter inspiration and even modelled some of his compositions is the strings, however, which provide the majority of the of the opening. of whom had a significant national and even international upon Haydnʼs works. The stylistic similarities between the drive and thematic material (as in the closing Allegro We conclude with a work in four movements, the reputation as a composer and performer. -
Top-10-Miniature-Masterpieces-1
Episode 5 Miniature Masterpieces Top 10 Miniature Masterpieces These are standalone choral works with, or without an orchestra, that demonstrate the craftsmanship and mastery of the composer, but in 8 minutes or less. This list does not contain excerpts from larger works or any compositions longer than 8 minutes. 1. Ave verum corpus – Wolfgang A. Mozart (1756 – 1791) Wolfgang Amadeus Mozart composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence on Western music is profound. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years". Ave verum corpus – Wolfgang A. Mozart Academy and Chorus of St Martin in the Fields, Sir Neville Marriner 2. Mitten wir im Leben sind – Felix Mendelssohn (1809 – 1847) Jakob Ludwig Felix Mendelssohn Bartholdy was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn's compositions include symphonies, concertos, piano music, organ music and chamber music. His best-known works include the overture and incidental music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, the oratorio St. Paul, the oratorio Elijah, the overture The Hebrides, the Page 1 of 7 mature Violin Concerto and the String Octet. The melody for the Christmas carol "Hark! The Herald Angels Sing" is also his. Mendelssohn's Songs Without Words are his most famous solo piano compositions. Mitten wir im Leben sind - Felix Mendelssohn Chamber Choir of Europe, Nicol Matt, conductor 3. -
Michael Haydn the Atheist? How the St
Michael Haydn the Atheist? How the St. Francis Mass illuminates Bruckner’s God-given symphonic mission by Alonso del Arte Religious devotion can’t be measured numerically, even if we limit the parameters of evidence. But we can take two composers, whose religious devotion or lack thereof is not in doubt, and compare their settings of the Roman Catholic Mass to Haydn’s. On one end, we have Anton Bruckner, who may have had the occasional crisis of faith but whose devotion overall is beyond doubt. On the other end we have Havergal Brian, but to my knowledge he never set the Mass ordinary. For this study, I will be comparing Michael Haydn’s Missa Sancti Francisci Seraphici (hereafter “St. Francis Mass”) to Anton Bruckner’s Mass in F minor. The only recording of the St. Francis Mass that I’m aware of is on the Hungaroton label but at least it’s available as an MP3 download. There are quite a few more recordings of Bruckner’s Mass to choose from. It is well known that the Cecilians objected to the use of musical instruments in church music. But they also had rules for textual repetitions. The Cecilians asserted that the Church forbids all those repetitions that “interrupt the liturgical functions at the altar, or … [that] emphasize words or passages which are of no prominent meaning, or … [that] change the meaning of the text entirely.” The Cecilians faulted composers like Joseph Haydn and Wolfgang Amadeus Mozart “who in the use of the words are guided by the technical structure of the composition rather than by the meaning of the text and the liturgical functions at the altar. -
Usc Thornton Symphony
USCUSC THORNTON THORNTON CONCERT SYMPHONY CHOIR AND CHAMBER SINGERS: BRIGHTER SHORES CONCERT CHOIR CHAMBER SINGERS CRISTIAN GRASES conductor SIMON CARRINGTON guest conductor SAMUEL ORAM accompanist ARAM ARAKELYAN accompanist Wednesday | MARCH 9, 2016 | 7:30 PM ALFRED NEWMAN RECITAL HALL UNIVERSITY OF SOUTHERN CALIFORNIA PROGRAM CONCERT CHOIR TOMÁS LUIS DE VICTORIA O vos omnes (c. 1548 – 1611) JOHANN SEBASTIAN BACH Cantata No. 21 “Ich hatte viel (1685 – 1750) Bekümmernis” I. Sinfonia II. Coro ANTON BRUCKNER Ave Maria, WAB 5 (1824 – 1896) Caroline Cox, Lucie Shelley, soloists FRANZ JOSEPH HAYDN Missa Brevis No. 7 in B-flat major “Kleine (1732 – 1809) Orgelmesse” REV. BY MICHAEL HAYDN II. Gloria (1737 – 1806) Arielle Murphy, Caroline Hales, Allen Pearcy Galeana, Isaac Yamamoto, soloists (without applause) FRANZ SCHUBERT Mass No. 4 in C major, D. 452 (1797 – 1828) IV. Sanctus V. Benedictus Hillary McCullough, soloist (without applause) JOHANN MICHAEL HAYDN “Alleluia” from Timete Dominum (1737 – 1806) Nathaniel Fryml, assistant conductor ERIC WHITACRE little man in a hurry (b. 1970) INTERMISSION CHAMBER SINGERS THOMAS WEELKES Gloria in excelsis Deo (1576 – 1623) HENRY PURCELL O sing unto the Lord (1659 – 1695) Hope Thompson, Antona Yost, Saunder Choi, Daniel Kim, Nathaniel Fryml, soloists C.H.H. PARRY “There is an old belief” (1848– 1918) from Songs of Farewell GILES SWAYNE The Flight of the Swan (b. 1946) Maura Tuffy, Antona Yost, David Rakita, Daniel Kim, soloists TRAD. ARR. DARYL RUNSWICK O Waly, Waly (b. 1946) JUDITH BINGHAM Distant Thunder (b. 1952) (without applause) C.H.H. PARRY “My soul, there is a country” (1848 – 1918) from Songs of Farewell The use of flash cameras, video cameras, and other recording devices is not permitted. -
The Critical Reception of Beethoven's Compositions by His German
The Critical Reception of Beethoven’s Compositions by His German Contemporaries, Op. 86 to Op. 91 Translated and edited by Robin Wallace © 2020 by Robin Wallace All rights reserved. ISBN 978-1-7348948-0-6 Center for Beethoven Research Boston University Contents Foreword 6 Op. 86. Mass in C Major 86.1 Ernst Theodor Amadeus Hoffman. “Review.” 8 Allgemeine musikalische Zeitung 15 (16 and 23 June 1813): 389–97 and 409–14. 86.2 “News. Mannheim. Overview of the Summer Half-Year from April 20 to September 1815.” Allgemeine musikalische Zeitung 17 (15 November 1815): 776. 86.3 “Musical Association in Passau.” 21 Allgemeine musikalische Zeitung 18 (25 September 1816): 673. 86.4 “News. Leipzig.” 22 Allgemeine musikalische Zeitung 19 (21 May 1817): 355. 86.5 “Sacred Music.” 23 Allgemeine musikalische Zeitung mit besonderer Rücksicht auf den österreichischen Kaiserstaat 1 (20 November 1817): 401–2. Op. 87. Trio for Two Oboes and English Horn in C Major 87.1 Allgemeine musikalische Zeitung 11 24 (16 November 1808): col. 108–10. 3 contents Op. 88. Song “Das Glück der Freundschaft” 88.1 “Brief Notices” 26 Allgemeine musikalische Zeitung 6 (13 June 1804): 626. Op. 90. Piano Sonata in E Minor 90.1 “Review.” 27 Allgemeine musikalische Zeitung 18 (24 January 1816): 60–61. 90.2 “Literary Notices.” 29 Allgemeine musikalische Zeitung für den österreichischen Kaiserstaat 3 (30 July 1819): 482–84. Op. 91. Wellingtons Sieg oder die Schlacht bei Vittoria (Wellington’s Victory) 91.1 “Grand Musical Performance.” 30 Wiener allgemeine musikalische Zeitung 1 (15 December 1813): 747–50. 91.2 “Vienna.” 33 Wiener Zeitung no.