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Haydn London Symphony
Portrait of Franz Joseph Haydn by Thomas Hardy, 1791 WHAT MAKES IT GREAT?® HAYDN LONDON SYMPHONY 20 CONCERT PROGRAM Louis Babin Friday, February 10, 2017 Retrouvailles: Sesquie for Canada’s 150th* 7:30pm (TSO PREMIÈRE/TSO CO-COMMISSION) Rob Kapilow Rob Kapilow What Makes It Great?® conductor & host Haydn London Symphony Gary Kulesha* conductor Intermission Franz Joseph Haydn Symphony No. 104 in D Major “London” I. Adagio – Allegro II. Andante III. Menuet: Allegro IV. Allegro spiritoso Audience Q&A with Rob Kapilow and Orchestra Please note that Louis Babin’s Retrouvailles is being recorded for online release at TSO.CA/CanadaMosaic. Tonight’s What Makes It Great?® program is all about listening. Paying attention. Noticing all the fantastic things in great music that race by at lightning speed, note by note, and measure by measure. Listening to a piece of music from the composer’s point of view—from the inside out. During the first half of the concert, we will look at selected passages from Franz Joseph Haydn’s Symphony No. 104 (“London”) and I will do everything in my power to get you inside the piece to Rob Kapilow hear what makes it tick and what makes it great. Then, after intermission, we will conductor perform the piece in its entirety, and you will hopefully listen to it with a whole & host new pair of ears. I am thrilled to be sharing this great music with you tonight. All you have to do is listen. 21 For a program note to Louis Babin’s Retrouvailles: Sesquie THE DETAILS for Canada’s 150th, please turn to pg. -
Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
8.573726 Ries Booklet.Pdf
573726 bk Ries EU.qxp_573726 bk Ries EU 28/03/2018 11:31 Page 2 Ferdinand Ries (1784–1838) Stefan Stroissnig Cello Sonatas The Austrian pianist Stefan Stroissnig (b. 1985), studied in Vienna and at Ferdinand Ries was baptised in Bonn on 28 November cello concerto. Ries’s dedication of these two works to the Royal College of Music in London. His concert activity as a soloist 1784. Today his name is rarely mentioned without a Bernhard Romberg, from whom he also received cello has taken him around the world and to the most important concert reference to Ludwig van Beethoven (1770–1827), even if lessons, might have been an attempt to use the famous houses in Europe. He is recognised for his interpretations of works by it is likely that it was only after his arrival in Vienna on 29 name to gain attention. Ries had done the same in the Schubert and for 20th- and 21st-century repertoire. He has performed December 1802 that Ries had significant contact with dedication of his Piano Sonatas, Op. 1 to Beethoven, where works by Olivier Messiaen, Friedrich Cerha, Claude Vivier, Morton Beethoven. Ries’ father, Franz Anton Ries (1755–1846) he claimed to be Beethoven’s ‘sole student’ and ‘friend’. Feldman, Ernst Krenek as well as piano concertos by John Cage and was the archbishopric concertmaster and one of However, Ries and Romberg ended up performing Pascal Dusapin. He is a regular guest at many prominent festivals, and Beethoven’s teachers, before Beethoven left for Vienna in the Cello Sonatas, Op. 20 and Op. -
„Ich Für Meinen Theil Liebe Von Herzen Den Peters… Aber Der Verleger Soll Mich in Ruhe Laßen.“
Westfälische Wilhelms-Universität Münster Institut für Musikwissenschaft und Musikpädagogik Musikwissenschaftliches Seminar Examensmodul Bachelorarbeit Erstprüfer: Dr. Peter Schmitz Zweitprüfer: Prof. Dr. Jürgen Heidrich „Ich für meinen theil liebe von Herzen den Peters… Aber der Verleger soll mich in ruhe laßen.“ Edition der Briefe des Cellisten und Komponisten Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1815–1827) Maike Thiemann 2-Fach Bachelor Musikwissenschaft/ Germanistik Inhaltsverzeichnis 1. Einleitung ...................................................................................................... 3 2. Briefe von Bernhard Romberg an seinen Verleger Carl Friedrich Peters (1816 - 1827) .................................................................................................... 11 3. Schlussbetrachtung ................................................................................. 163 4. Register ......................................................................................................169 4.1 Personenregister…………………………………………………………….169 4.2 Auszug Stammbaum Familie Romberg/ Familie Peters ........................ 179 4.3 Werkregister ......................................................................................... 180 4.4 Währungen ........................................................................................... 183 4.5 Quellenverzeichnis ................................................................................ 185 5. Anhang ..................................................................................................... -
The Beliefs and Reality Behind Beethoven's Behavior
Augustana College Augustana Digital Commons Festschrift: Beethoven's Symphony No. 3, Op. 55 Festschriften 2017 Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Olivia M. Weismann Augustana College, Rock Island Illinois Abigail L. Smith Augustana College, Rock Island Illinois Moira R. Dunn Augustana College, Rock Island Illinois Kathryn E. Krajewski Augustana College, Rock Island Illinois Follow this and additional works at: http://digitalcommons.augustana.edu/muscbeethoven Part of the Musicology Commons Augustana Digital Commons Citation Weismann, Olivia M.; Smith, Abigail L.; Dunn, Moira R.; and Krajewski, Kathryn E.. "Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior" (2017). Festschrift: Beethoven's Symphony No. 3, Op. 55. http://digitalcommons.augustana.edu/muscbeethoven/4 This Student Paper is brought to you for free and open access by the Festschriften at Augustana Digital Commons. It has been accepted for inclusion in Festschrift: Beethoven's Symphony No. 3, Op. 55 by an authorized administrator of Augustana Digital Commons. For more information, please contact [email protected]. Benefactors, Bonds, and Beholders: The Beliefs and Reality Behind Beethoven’s Behavior Moira Dunn Kathryn Krajewski Abigail Smith Olivia Weismann Augustana College MUSC 313—Styles and Literature of Music II February 10, 2017 1 Abstract: This paper will explore the relationships which Beethoven had during the years he composed and premiered his Eroica Symphony. Some of the individuals who will be discussed in this paper include Prince Lobkowitz, Ferdinand Ries, and Franz Wegeler. After learning about the nature of these relationships, the reader should begin to realize that Beethoven’s notoriously irrational or ill-tempered behavior was only one facet of his life. -
PDF 139.88KB Rps Abo Salomon Prize 2013
Press Release For release: Friday 10 January 2014 ‘Unsung heroine’ of the City of Birmingham Symphony Orchestra, violinist Catherine Arlidge, a “true advocate of the modern orchestral musician” awarded prestigious RPS/ABO Salomon Prize for orchestral musicians. Catherine Arlidge of the City of Birmingham Symphony Orchestra becomes the first violinist – and only the third ever recipient – of the RPS/ABO Salomon Prize, a prestigious award celebrating the outstanding contribution of orchestral players to the UK’s musical life. The UK boasts many of the world’s finest orchestras, many of which have trophy cabinets bursting with awards in testimony to their brilliance on the concert platform and in the recording studio. Yet, the contribution of individual musicians within an orchestra often goes unnoticed. The Salomon Prize* was created by the Royal Philharmonic Society and Association of British Orchestras in 2011 to celebrate the ‘unsung heroes’ of orchestral life; the orchestral players that make our orchestras great. The award is named after Johann Peter Salomon, violinist and founding member of the Philharmonic Society in 1813. Each year, players in all orchestras across the UK are asked to nominate a colleague who has been ‘an inspiration to their fellow players, fostered greater spirit of teamwork and shown commitment and dedication above and beyond the call of duty’. Catherine Arlidge, Sub Principal of the second violins, who has played with the CBSO for over 20 years, was nominated by her fellow musicians and the CBSO’s management for her creativity, energy and “great skill for motivating and inspiring colleagues and for engaging with her audience”. -
A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’S Clarinet Sonata
Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1968 A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata Kenneth T. Aoki Central Washington University Follow this and additional works at: https://digitalcommons.cwu.edu/etd Part of the Composition Commons, and the Education Commons Recommended Citation Aoki, Kenneth T., "A Brief History of the Sonata with an Analysis and Comparison of a Brahms’ and Hindemith’s Clarinet Sonata" (1968). All Master's Theses. 1077. https://digitalcommons.cwu.edu/etd/1077 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. A BRIEF HISTORY OF THE SONATA WITH AN ANALYSIS AND COMPARISON OF A BRAHMS' AND HINDEMITH'S CLARINET SONATA A Covering Paper Presented to the Faculty of the Department of Music Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Music Education by Kenneth T. Aoki August, 1968 :N01!83 i iuJ :JV133dS q g re. 'H/ £"Ille; arr THE DEPARTMENT OF MUSIC CENTRAL WASHINGTON STATE COLLEGE presents in KENNETH T. AOKI, Clarinet MRS. PATRICIA SMITH, Accompanist PROGRAM Sonata for Clarinet and Piano in B flat Major, Op. 120 No. 2. J. Brahms Allegro amabile Allegro appassionato Andante con moto II Sonatina for Clarinet and Piano .............................................. 8. Heiden Con moto Andante Vivace, ma non troppo Caprice for B flat Clarinet ................................................... -
Quartet Dimensions
concert program ii: Quartet Dimensions JOHANN SEBASTIAN BACH (1685–1750)! July 21 WOLFGANG AMADEUS MOZART (1756–1791) Sunday, July 21, 6:00 p.m., The Center for Performing Arts Fugue in E-flat Major, BWV 876, and Fugue in d minor, BWV 877, from at Menlo-Atherton Das wohltemperierte Klavier; arr. String Quartets nos. 7 and 8, K. 405 JOSEPH HAYDN (1732–1809) PROGRAM OVERVIEW String Quartet in d minor, op. 76, no. 2, Quinten (1796) The string quartet medium, arguably the spinal column of the Allegro chamber music literature, did not exist in Bach’s lifetime. Yet Andante o più tosto allegretto Minuetto: Allegro ma non troppo even here, Bach’s legacy is inescapable. The fugues of his semi- Finale: Vivace assai nal The Well-Tempered Clavier inspired no less a genius than Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; Asbjørn Nørgaard, viola; Mozart, who arranged a set of them for string quartet. The influ- Fredrik Schøyen Sjölin, cello ence of Bach’s architectural mastery permeates the ingenious DMITRY SHOSTAKOVICH (1906–1975) Quinten Quartet of Joseph Haydn, the father of the modern Piano Quintet in g minor, op. 57 (1940) string quartet, and even Dmitry Shostakovich’s Piano Quintet, Prelude composed nearly two hundred years after Bach’s death. The Fugue Scherzo centerpiece of Beethoven’s Opus 132—the Heiliger Dankgesang Intermezzo CONCERT PROGRAMSCONCERT eines Genesenen an die Gottheit (“A Convalescent’s Holy Song Finale PROGRAMSCONCERT of Thanksgiving to the Divinity”)—recalls another Bachian signa- Gilbert Kalish, piano; Danish String Quartet: Frederik Øland, Rune Tonsgaard Sørensen, violins; ture: the Baroque master’s sacred chorales. -
Importance and Pedagogical Value of Three Sonatas for Two Cellos, Op
PLACZEK, ROMAN, D.M.A. Importance and Pedagogical Value of Three Sonatas for Two Cellos, Op. 43 by Bernhard Romberg (2014). Directed by Dr. Alexander Ezerman. 127 pp. The Three Sonatas for Two Cellos, Op. 43 by Bernhard Heinrich Romberg were composed as a progressive performance work. The most widely used copy of the work is a C. F. Peters, Leipzig Edition edited by Friedrich Wilhelm Grützmacher. In this edition, the Sonatas are exhaustively marked with fingerings, alternate fingering, dynamics, dynamic changes, glissandi, bowings, bowstrokes and bow placement, accents, tempo changes, moods, and articulations. The combination of Romberg's melodic and pedagogically thought-through compositions and Grützmacher's expert editorial work results in invaluable pedagogical and performance work. Each subsequent sonata presents bigger challenge for a player while each preceding one also serves as a training tool for successful mastering of the following one. The Opus 43 is a set of individually viable sonatas that can stand independently and still serve as useful learning material. Grützmacher's respect for Romberg's style and his clear vision of pedagogical benefits are reflected in logical sequence of fingering and bowing challenges presented in each Sonata. Precise and complete performance markings serve as an essential guiding tool navigating a player towards a successful performance. If learned and performed as a set, the Three Sonatas for Two Cellos, Op. 43 by Bernard Heinrich Romberg are an excellent progressive performance work of the advanced level. 1 The purpose of this analysis is to revive and highlight the importance of Romberg’s compositions and Grützmacher’s editorial effort and the pedagogical value of a direct teacher-student interaction the Three Sonatas for Two Cellos, Opus 43 represent. -
Copyright by Denise Parr-Scanlin 2005
Copyright by Denise Parr-Scanlin 2005 The Treatise Committee for Denise Parr-Scanlin Certifies that this is the approved version of the following treatise: Beethoven as Pianist: A View Through the Early Chamber Music Committee: K.M. Knittel, Supervisor Anton Nel, Co-Supervisor Nancy Garrett Robert Mollenauer David Neumeyer David Renner Beethoven as Pianist: A View Through the Early Chamber Music by Denise Parr-Scanlin, B.M., M.F.A. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin December, 2005 Dedication To my mother and first piano teacher, Daisy Elizabeth Liles Parr Acknowledgements I wish to acknowledge the kind assistance of my treatise committee, Dr. Kay Knittel, Dr. Anton Nel, Professor Nancy Garrett, Dr. Robert Mollenauer, Dr. David Neumeyer, and Professor David Renner. I especially thank Dr. Kay Knittel for her expert guidance throughout the project. I also thank Janet Lanier for her assistance with the music examples and my husband, Paul Scanlin, for his constant support and encouragement v Beethoven as Pianist: A View Through the Early Chamber Music Publication No._____________ Denise Parr-Scanlin, D.M.A. The University of Texas at Austin, 2005 Supervisors: K.M. Knittel, Anton Nel Our inability to reconstruct what Ludwig van Beethoven must have sounded like as a pianist is one of the more vexing questions of music history. Unreliable sources and his short performing career, in addition to a lack of virtuoso public pieces, have contributed to this situation. -
Cooper Plays Mozart April 2017
Imogen Cooper Plays Mozart Jane Glover, conductor Imogen Cooper, piano Sunday, April 23, 2017, 7:30 PM North Shore Center for the Performing Arts, Skokie Monday, April 24, 2017, 7:30 PM Harris Theater for Music and Dance, Chicago Ballet Music from Idomeneo, K. 367 Wolfgang Amadeus Mozart (1756-1791) Chaconne—Larghetto—La Chaconne, qui reprend Pas seul: Largo—Allegretto—più Allegro Piano Concerto No. 25 in C Major, K. 503 Mozart Allegro maestoso Andante Allegretto INTERMISSION Symphony No. 101 in D Major (Clock) Franz Joseph Haydn (1732-1809) Adagio—Presto Andante Menuet: Allegretto—Trio Finale: Vivace These performances are generously underwritten by the Elizabeth F. Cheney Foundation. Music of the Baroque Chorus and Orchestra Jane Glover, Music Director Violin 1 Flute Gina DiBello, Mary Stolper, principal concertmaster Alyce Johnson Kevin Case, assistant concertmaster Oboe Kathleen Brauer, Anne Bach, principal assistant Erica Burtner Anderson concertmaster Teresa Fream Clarinet Michael Shelton Steve Cohen, principal Martin Davids Daniel Won Violin 2 Bassoon Sharon Polifrone, William Buchman, principal principal Ann Palen Lewis Kirk Rika Seko Paul Vanderwerf Horn François Henkins Oto Carrillo, principal Samuel Hamzem Viola Elizabeth Hagen, Trumpet principal Barbara Butler, principal Terri Van Valkinburgh Channing Philbrick Claudia Lasareff- Mironoff Timpani Benton Wedge Douglas Waddell Cello Barbara Haffner, principal Judy Stone Matt Agnew Bass Collins Trier, principal Andrew Anderson Biographies Acclaimed British conductor Jane Glover has been Music of the Baroque’s music director since 2002. She made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. -
The Rise and Fall of the Cellist-Composer of the Nineteenth Century
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 The Rise and Fall of the Cellist- Composer of the Nineteenth Century: A Comprehensive Study of the Life and Works of Georg Goltermann Including A Complete Catalog of His Cello Compositions Katherine Ann Geeseman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE RISE AND FALL OF THE CELLIST-COMPOSER OF THE NINETEENTH CENTURY: A COMPREHENSIVE STUDY OF THE LIFE AND WORKS OF GEORG GOLTERMANN INCLUDING A COMPLETE CATALOG OF HIS CELLO COMPOSITIONS By KATHERINE ANN GEESEMAN A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Degree Awarded: Fall Semester, 2011 Katherine Geeeseman defended this treatise on October 20th, 2011. The members of the supervisory committee were: Gregory Sauer Professor Directing Treatise Evan Jones University Representative Alexander Jiménez Committee Member Corinne Stillwell Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my dad iii ACKNOWLEDGEMENTS This treatise would not have been possible without the gracious support of my family, colleagues and professors. I would like to thank Gregory Sauer for his support as a teacher and mentor over our many years working together. I would also like to thank Dr. Alexander Jiménez for his faith, encouragement and guidance. Without the support of these professors and others such as Dr.