Historical Trumpet Discography Is a Continuation of Asst

Total Page:16

File Type:pdf, Size:1020Kb

Historical Trumpet Discography Is a Continuation of Asst Online article from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet HIS TORICAL TRUMPET DISCOGRAPHY EDITED BY JOSEPH BOWMAN October 2009 • Online article The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. http://www.trumpetguild.org Please retain this cover sheet with printed document. HIS TORICAL TRUMPET DISCOGRAPHY EDITED BY JOSEPH BOWMAN Acknowledgements dol University College of Music under the instruction of This Historical Trumpet Discography is a continuation of Asst. Prof. Dr. Joseph Bowman. The Editor wishes to thank information gathered by a previous (unaccredited) Arizona the members of that class, for their many contributions: State University (USA) Trumpet Repertoire Class. The Surachet Chanoksakul, Wisit Chitrangsan, Pamornpan author, or authors, of that older version were not known, but Komolpamorn, Lalita Nithisupa, Sompop Puengpreeda, the editor is grateful for their efforts, which laid the founda - Patcharee Preechaloesjarung, Kittisak Pundumrongkul tion for this update. The editor and contributors make no Layout and Formatting: Pamornpan Komolpamorn and claims at being all inclusive regarding this discography, but Kittima Molee are presenting all the information available during the period of their research (June 2007 – February 2008). Discography Citation Format The wonderful trumpet resource by Alvin Lowrey, the Title of Piece International Trumpet Discography (Camden House, 1991), Title of Recording continues to be a trumpet player’s main resource for discog - Trumpet Performer raphy information before 1990. This project does not intend Recording Label and Identification Number (if avail - to list recordings of all literature available, but rather focuses able) on the major composers and important time periods in the development of the trumpet. This update attempts to use the Example: major resources currently available online, to obtain any and all titles available related to a specific composer and time Sonata No. 8 period. Baroque Music for Trumpet This discography update was researched as the major proj - Robert Nagel ect of the 2007 – 2009 trumpet repertoire class at the Mahi - Mentor Music Records, LP-101 Table of Contents Chapter VIII: Georg Philipp Telemann (1681 – 1767) . 40 Chapter I: Girolamo Fantini (1600 – 1675) . 3 Chapter IX: Rococo Trumpet Music . 46 Michael Haydn (1737 – 1806) . 46 Chapter II: The Bologna School . 5 Leopold Mozart (1719 – 1787) . 47 Giuseppe Alberti (1664 – 1730) . 5 Johann Baptist Georg Neruda (1707 – 1780) . 49 Giuseppe Aldrobandini (1665 – 1707) . 5 Franz Xaver Richter (1709 – 1789) . 50 Giovanni Bononcini (1670 – 1747) . 5 Maurizio Cazzati (1616 – 1678) . 6 Chapter X: Henry Purcell (1659 – 1695) . 50 Arcangelo Corelli (1653 – 1713) . 6 Petronio Franceschini (1651 – 1680) . 7 Chapter XI: Georg Frederic Handel (1685 – 1759) . 52 Domenico Gabrielli (1651 – 1690) . 8 Andrea Grossi (late 17th century) . 9 Chapter XII: Franz Joseph Haydn (1750 – 1819) . 56 Giuseppe Jacchini (1663 – 1727) . 9 Giovanni Legrenzi (1626 – 1690) . 10 Chapter XIII: Johann Nepomuk Hummel (1750 – 1819) . 60 Giacomo Perti (1661 – 1756) . 10 Francesco Manfredini (1684 – 1762) . 10 Alessandro Stradella (1639 – 1682) . 11 Chapter XIV: Keyed Bugle Works . 63 Giuseppe Torelli (1658 – 1709) . 12 Giovanni Viviani (1638 – 1692) . 15 Chapter XV: Cornet Solo Works . 63 Chapter III: Alessandro Scarlatti (1660 – 1725) . 16 Chapter XVI: Russian Neo-Romantic Trumpet Works . 64 Chapter IV: Antonio Vivaldi (1678 – 1741) . 18 Chapter XVII: French Trumpet Works . 66 Chapter V: Johann Sebastian Bach (1685 – 1750) . 21 Chapter XVIII: 20th Century Trumpet Sonatas . 69 Chapter VI: Johann Melchior Molter (1696 – 1765) . 36 Chapter XIX: Selected Recital Works . 74 Chapter VII: Johann Wilhelm Hertel (1727 – 1789) . 38 Chapter XX: Selected Contemporary Solo Works . 78 2 ITG Journal Online Article / October 2009 © 2009 International Trumpet Guild Chapter I: Fantini L’lmperiale Music from the Italian Baroque John Wallace Girolamo Fantini (1600 – 1675) Nimbus, NI-5079 Balletto detto il Ghisilieri, Brando detto il Baglioni, Brando L’imperiale ditto it Ruceila, Courrente detta la Schinchinelli, Sonata Trompetenmusik des ital. Barock detta la Renuccini John Wallace Jonathan Impett—Clarion Ensemble BMG, Aris 880 431-909 Jonathan Impett Amon Ra, CD-SAR 30 L’lmperiale Musik in europaischen Stadten u.Residenzen Balleto detto il Lunati, Balletto detti la Squilletti, Brando detto Edward Tarr Brass Ensemble I’Albizi, Corrente belle Staccoli, Sonata Imperiale I, EMI, 637-252 238-2 Sonata Imperiale II, Sonata a due detta del Gucciardi - ni,Saltarello detto del Naldi, Sonatas No. 1 –8 L’Imperiale Venedig-Festlich Kirchenmusik in San Marco Sonatas for Trumpet and Organ: Toccatas Edward Tarr and others Gabriele Cassone EMI, 037-45 579 Nuova Era, 6832 Prima entrata imperiale, Sonata Imperiale II: Intrada, Battalia Balleto detto il Lunati, Sonata No. 8 Baroque Battle Music for Trumpet La Tromba Sacre Ingino Conforzi Adolf Scherbaum Arts Music 47666-8 SACD Deutsche Grammophon, 136 558 SLPEM Prima Imperiale Balletto detto lo Squilletti, Brando del l’Albizi, Saltarello detto Italian Trumpet Spectacular del Naldi, Sonata a due Tromba detta del Gucciardini John Wallace Italian Baroque Trumpet Music Nimbus, NI-1405 Stephen Keavy and Crispian Steele-Perkins Hyperion, CDA 66255 Prima Sonata di Tromba, Sonata No. 2, Sonata No. 8 Trompette et Orgue. Vol. II Balletto detto lo Squilletti, Capriccio detto del Carducci, Capric - Maurice André cio detto del Gondi, Capricci detto il Caleppi, Capriccio Artistique, RC 350 detto il Visconti, Corrente detta dello Staccoli, Saltarello detto del Naldi, Sarabanda detto del Zozzi Primo Sonata di Tromba, Entrata imperial Concerto per Tromba e Organo Die ltalienische Trompete Angelo Riggione Edward Carroll Eco, 595C FSM/Pantheon, PD 10 729 Caprice, Courante, Sonata in C Prima Sonata di Tromba, Sonata No. 2, Sonata No. 5, Sonata Dix-septieme siecle italien au Bec-Hellouin No. 6, Sonata No. 7, Sonata No. 8 Michael Morisset Jean-Louis Chatel Grand Orgue, MBM 790.510 Jean-Louis Chatel Radio Canada international (CBC), RCI 406 Chiamata di capriccio, No. 3, Chiamata di capriccio, No.6 Prima Sonata in C, Sonata No. 6 Music for Trumpet and Orchestra, Vol. 5 Old and New Music for Trumpet and Keyboard Roger Voisin Anthony Plog Kapp, KS-3384 Crystal, S364 Fanfare Prima Sonata di Tromba, Sonata No. 2, Sonata No. 7 Una Stravaganza dei Medici Baroque Masterpieces for Trumpet and Organ—Vol. III Taverner Consort Edward Tarr EMI, 567-747 998-2 Nonesuch, H-71356 Five Dances Ricercata no 9 “Detta del Castiglioni” The Baroque Trumpet and Organ Soaring—The Music of Italy Fred Saunter Thomas Freas Crystal, S 700 Clarino, CI-CV101 © 2009 International Trumpet Guild October 2009 / ITG Journal Online Article 3 Sonata a due Trombe detta del Gucciardini Sonata No.1 – No.8 The Baroque Trumpet Eight Sonatas for Trumpet and Organ Robert Delmotte and Albert Adriano Miroslav Kejmar Nonesuch, H-71002 Opus, 9111 1515 Sonata a due Trombe detta del Gucciardini, Brando ditto il Sonata Nos.1, 2, 3, 5, 6, 8 Bianchi, Cappriccio detto del Carducci, Capriccio detto Trompette et Orgue del Gondi Marc Ullrich Alte Blasmusik. Arion, ARN 36.501 Walter Holy and Edward Tarr Soli Deo Gloria, SDG 610801 Sonata No.2 “Detta del Gucciardini”, Sonata No.3 “Detta del Niccolini” Sonata a due Trombe detta dei Gucciardini, Brando detto il Italian Baroque Trumpet Music Bianchi, Cappriccio detto del Carducci, Capriccio detto Stephen Keavy and Crispian Steele-Perkins del Gondi Helios, CDH55192 The Golden Age of Wind Music Walter Holy and Edward Tarr Sonata No.3 “Detta del Niccolini, Sonata No.8 “detta del Nero” Vanguard, VCS-10046 The Art of the Baroque Trumpet Vol. 2 Niklas Eklund Sonata a due Trombe detta del Gucciardini, Balletto Detto la Naxos (USA), 8.553593 Squilletti, Brando Detto L’albizi, Saltarello Detto Del Naldi Sonata Imperiale No.3, Sonata No.5 “Del Niccolini”, Sonata Italian Baroque Trumpet Music No.8 “detta Del Nero” Stephen Keavy and Crispian
Recommended publications
  • Release Sheet
    November 17, 2017 November 17, 2017 TALES OF TWO CITIES The Leipzig-Damascus Coffee House “powerful” “flawless” — The Globe and Mail — Musical Toronto Tafelmusik’s stunning multimedia concert Tales of Two Cities: The Leipzig-Damascus Coffee House is now available as a CD soundtrack and DVD that was filmed before a live audience at the Aga Khan Museum’s auditorium in Toronto. Inspired by the colourful, opulent world of 18th-century Saxon and Syrian coffee houses, Tales of Two Cities is performed entirely from memory by Tafelmusik Baroque Orchestra, ensemble Trio Arabica — Maryem Tollar, voice and qanun; Demetri Petsalakis, oud; and Naghmeh Farahmand, percussion — with narrator Alon Nashman. Described as an “enterprising concept … [that] blends elements that are entertaining, educational, musically rewarding and visually arresting” (Huffington Post Canada), Tales of Two Cities received rapturous critical acclaim at its May 2016 Toronto premiere and was named Best Concert of 2016 by the Spanish classical music magazine Codalario.com. DVD extras include subtitles in Arabic, a video on the restoration of the Dresden Damascus Room, behind-the-scenes footage from rehearsals, and a nine-camera split screen video of the orchestra performing Bach’s Sinfonia after BWV 248 in a new arrangement by Tafelmusik. TALES OF TWO CITIES The Leipzig-Damascus Coffee House DVD (Total Duration 1:37:15) CHAPTERS LISTING Chapter 1: Opening credits/Overture 5:41 Chapter 2: Coffee travels from the Middle East to Venice and Paris 15:57 Chapter 3: Coffee comes to Leipzig
    [Show full text]
  • Download Article
    International Conference on Arts, Design and Contemporary Education (ICADCE 2016) The Concertizing Clarinet in the Music of the 20th- 21st Centuries Yu Zhao Department of Musical Upbringing and Education Institute of Music, Theatre and Choreography Herzen State Pedagogical University of Russia Saint-Petersburg, Russia E-mail: [email protected] Abstract—The article deals with stating the problem of a clarinet concert of the 20-21 centuries (one should note in research in ontology of the genre of Clarinet Concert in 20-21 this regard S. E. Artemyev‟s full-featured thesis considering centuries. The author identifies genre variants of long forms the Concerto for clarinet and orchestra of the 18th century). for solo clarinet with orchestra or instrumental ensemble and proposes further steps in making such a research, as well. II. A SHORT GUIDE IN THE HISTORY OF THE CLARINET Keywords—instrumental concert; concertizing; concerto; CONCERT GENRE concert genres; genre diversity Studies in the executive mastership are connected with a research of the evolution of the genres of instrumental music. I. INTRODUCTION The initial period of genesis and development of clarinet concert is investigated widely. Contemporary music in its various genres has become in many aspects a subject of scrupulous studies in musicology. It is known that the most early is the composition of Our research deals with professional problematics of the Antonio Paganelli indicated by the author as Concerto per instrumental concert genre, viewed more narrowly, namely, Clareto (1733). Possibly, it was written for chalumeau, the connected with clarinet performance. instrument-predecessor of the clarinet itself. But, before this time clarinet was used as one of the concertizing instruments The purpose of this article is to identify the situation in the genre of Concerto Grosso, particularly by J.
    [Show full text]
  • Tuba Syllabus / 2003 Edition
    74058_TAP_SyllabusCovers_ART_Layout 1 2019-12-10 10:56 AM Page 36 Tuba SYLLABUS / 2003 EDITION SHIN SUGINO SHIN Message from the President The mission of The Royal Conservatory—to develop human potential through leadership in music and the arts—is based on the conviction that music and the arts are humanity’s greatest means to achieve personal growth and social cohesion. Since 1886 The Royal Conservatory has realized this mission by developing a structured system consisting of curriculum and assessment that fosters participation in music making and creative expression by millions of people. We believe that the curriculum at the core of our system is the finest in the world today. In order to ensure the quality, relevance, and effectiveness of our curriculum, we engage in an ongoing process of revitalization, which elicits the input of hundreds of leading teachers. The award-winning publications that support the use of the curriculum offer the widest selection of carefully selected and graded materials at all levels. Certificates and Diplomas from The Royal Conservatory of Music attained through examinations represent the gold standard in music education. The strength of the curriculum and assessment structure is reinforced by the distinguished College of Examiners—a group of outstanding musicians and teachers from Canada, the United States, and abroad who have been chosen for their experience, skill, and professionalism. An acclaimed adjudicator certification program, combined with regular evaluation procedures, ensures consistency and an examination experience of the highest quality for candidates. As you pursue your studies or teach others, you become an important partner with The Royal Conservatory in helping all people to open critical windows for reflection, to unleash their creativity, and to make deeper connections with others.
    [Show full text]
  • Heralding a New Enlightenment
    Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners.
    [Show full text]
  • Breathtaking-Program-Notes
    PROGRAM NOTES In the 16th and 17th centuries, the cornetto was fabled for its remarkable ability to imitate the human voice. This concert is a celebration of the affinity of the cornetto and the human voice—an exploration of how they combine, converse, and complement each other, whether responding in the manner of a dialogue, or entwining as two equal partners in a musical texture. The cornetto’s bright timbre, its agility, expressive range, dynamic flexibility, and its affinity for crisp articulation seem to mimic a player speaking through his instrument. Our program, which puts voice and cornetto center stage, is called “breathtaking” because both of them make music with the breath, and because we hope the uncanny imitation will take the listener’s breath away. The Bolognese organist Maurizio Cazzati was an important, though controversial and sometimes polemical, figure in the musical life of his city. When he was appointed to the post of maestro di cappella at the basilica of San Petronio in the 1650s, he undertook a sweeping and brutal reform of the chapel, firing en masse all of the cornettists and trombonists, many of whom had given thirty or forty years of faithful service, and replacing them with violinists and cellists. He was able, however, to attract excellent singers as well as string players to the basilica. His Regina coeli, from a collection of Marian antiphons published in 1667, alternates arioso-like sections with expressive accompanied recitatives, and demonstrates a virtuosity of vocal writing that is nearly instrumental in character. We could almost say that the imitation of the voice by the cornetto and the violin alternates with an imitation of instruments by the voice.
    [Show full text]
  • Assemble Your Own All -Transistor
    ASSEMBLE YOUR OWN BACH PASSIONS AND ORATORIOS ALL -TRANSISTOR Continued front preceding page from works other by Bach- principally Part II, it is as though a ray of sunshine Ycit the Trauerode -and fitted to as many had burst through clouds. Both Fritz portions of a libretto of the St. Mark Wunderlich, tenor, and Franz Crass, bass, Passion that Bach is known ELECTRONIC ORGAN to have used are on the same high level as the ladies. but whose music has been lost. The re- Wunderlich sings both the Evangelist's sult is plausible; some of the music, es- recitatives and the tenor arias with an pecially two big choruses from the Trau- unforced lyricism; in the long phrases 3 NEW MODELS erode, is very fine, and we may have of " Frolle Hirten" ( Part he Recital II) holds $1500 here a small portion of a third Passion Consolette Il $850 his own very well with the obbligato Spinet $550 by Bach. The solo singing is good enough, flute. Crass's voice lacks the brass needed but the two great choruses have been bet- for the trumpet aria in Part I but in ter performed on records in their other every other respect his performance is incarnation. entirely satisfactory. Chorus and orches- .St. A Luke Passion attributed to Bach tra are first -rate. Except for the over - is available on Lyrichord 110 or 7110, prominent sopranos in one chorus ( "Ehre This is the all - three discs. in a performance conducted sei Gott." Part II), the balances are just new, all- transis- by George Barati.
    [Show full text]
  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
    [Show full text]
  • Berlioz's Les Nuits D'été
    Berlioz’s Les nuits d’été - A survey of the discography by Ralph Moore The song cycle Les nuits d'été (Summer Nights) Op. 7 consists of settings by Hector Berlioz of six poems written by his friend Théophile Gautier. Strictly speaking, they do not really constitute a cycle, insofar as they are not linked by any narrative but only loosely connected by their disparate treatment of the themes of love and loss. There is, however, a neat symmetry in their arrangement: two cheerful, optimistic songs looking forward to the future, frame four sombre, introspective songs. Completed in 1841, they were originally for a mezzo-soprano or tenor soloist with a piano accompaniment but having orchestrated "Absence" in 1843 for his lover and future wife, Maria Recio, Berlioz then did the same for the other five in 1856, transposing the second and third songs to lower keys. When this version was published, Berlioz specified different voices for the various songs: mezzo-soprano or tenor for "Villanelle", contralto for "Le spectre de la rose", baritone (or, optionally, contralto or mezzo) for "Sur les lagunes", mezzo or tenor for "Absence", tenor for "Au cimetière", and mezzo or tenor for "L'île inconnue". However, after a long period of neglect, in their resurgence in modern times they have generally become the province of a single singer, usually a mezzo-soprano – although both mezzos and sopranos sometimes tinker with the keys to ensure that the tessitura of individual songs sits in the sweet spot of their voices, and transpositions of every song are now available so that it can be sung in any one of three - or, in the case of “Au cimetière”, four - key options; thus, there is no consistency of keys across the board.
    [Show full text]
  • A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
    MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones.
    [Show full text]
  • Beethoven, Bagels & Banter
    Beethoven, Bagels & Banter SUN / OCT 21 / 11:00 AM Michele Zukovsky Robert deMaine CLARINET CELLO Robert Davidovici Kevin Fitz-Gerald VIOLIN PIANO There will be no intermission. Please join us after the performance for refreshments and a conversation with the performers. PROGRAM Ludwig van Beethoven (1770-1827) Trio in B-flat major, Op. 11 I. Allegro con brio II. Adagio III. Tema: Pria ch’io l’impegno. Allegretto Olivier Messiaen (1908-1992) Quartet for the End of Time (1941) I. Liturgie de cristal (“Crystal liturgy”) II. Vocalise, pour l'Ange qui annonce la fin du Temps (“Vocalise, for the Angel who announces the end of time”) III. Abîme des oiseau (“Abyss of birds”) IV. Intermède (“Interlude”) V. Louange à l'Éternité de Jésus (“Praise to the eternity of Jesus”) VI. Danse de la fureur, pour les sept trompettes (“Dance of fury, for the seven trumpets”) VII. Fouillis d'arcs-en-ciel, pour l'Ange qui annonce la fin du Temps (“Tangle of rainbows, for the Angel who announces the end of time) VIII. Louange à l'Immortalité de Jésus (“Praise to the immortality of Jesus”) This series made possible by a generous gift from Barbara Herman. PERFORMANCES MAGAZINE 20 ABOUT THE ARTISTS MICHELE ZUKOVSKY, clarinet, is an also produced recordings of several the Australian National University. American clarinetist and longest live performances by Zukovsky, The Montréal La Presse said that, serving member of the Los Angeles including the aforementioned Williams “Robert Davidovici is a born violinist Philharmonic Orchestra, serving Clarinet Concerto. Alongside her in the most complete sense of from 1961 at the age of 18 until her busy performing schedule, Zukovsky the word.” In October 2013, he retirement on December 20, 2015.
    [Show full text]
  • The Italian Double Concerto: a Study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy
    The Italian Double Concerto: A study of the Italian Double Concerto for Trumpet at the Basilica of San Petronio in Bologna, Italy a document submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Performance Studies Division – The University of Cincinnati College-Conservatory of Music 2013 by Jason A. Orsen M.M., Kent State University, 2003 B.M., S.U.N.Y Fredonia, 2001 Committee Chair: Dr. Vivian Montgomery Prof. Alan Siebert Dr. Mark Ostoich © 2013 Jason A. Orsen All Rights Reserved 2 Table of Contents Chapter I. Introduction: The Italian Double Concerto………………………………………5 II. The Basilica of San Petronio……………………………………………………11 III. Maestri di Cappella at San Petronio…………………………………………….18 IV. Composers and musicians at San Petronio……………………………………...29 V. Italian Double Concerto…………………………………………………………34 VI. Performance practice issues……………………………………………………..37 Bibliography……………………………………………………………………………………..48 3 Outline I. Introduction: The Italian Double Concerto A. Background of Bologna, Italy B. Italian Baroque II. The Basilica of San Petronio A. Background information on the church B. Explanation of physical dimensions, interior and effect it had on a composer’s style III. Maestri di Cappella at San Petronio A. Maurizio Cazzati B. Giovanni Paolo Colonna C. Giacomo Antonio Perti IV. Composers and musicians at San Petronio A. Giuseppe Torelli B. Petronio Franceschini C. Francesco Onofrio Manfredini V. Italian Double Concerto A. Description of style and use B. Harmonic and compositional tendencies C. Compare and contrast with other double concerti D. Progression and development VI. Performance practice issues A. Ornamentation B. Orchestration 4 I.
    [Show full text]
  • Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
    Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
    [Show full text]