DOCSLIB.ORG

Paul Wranitzky

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Paul Wranitzky PAUL WRANITZKY ymphony in minor “a empesta” SCORE edited by www.Wranitzky.com Daniel Bernhardsson PAUL WRANITZKY (1756-1808) Symphony in D minor – “La Tempesta” Paul Wranitzky composed a significant number of symphonies during the last decade of the 18th century, making him one of the leading symphonists in Vienna, if not Europe. As a result of his respected post as director of the Imperial Court theater orchestras, Wranitzky had one of Europe’s finest orchestras at his disposal and, of course, a ready audience. He was also a favored composer of Empress Marie Therese, and wrote many works for the private use of her and her family. The symphony in D minor, “La Tempesta”, is among the symphonies that were neither published in print, nor widely circulated. The catalogue of the Viennese music copyist Traeg lists a symphony in D minor, which very likely could be this symphony. Incomplete manuscript parts survive in Hamburg and Modena. In Florence, we recently discovered that the incidental music to the play “Die Rache” (1795) contains the three movements of the symphony - but slightly altered, in another order and together with additional music. Readily available symphonic works were often used for the stage, and neither source of the symphony contains any hint to the compositional date. Therefore it is not possible to know which version came first, but it does tell us when the music was composed at the latest. Quickly noticeable is the large orchestra, which includes split viola parts, two bassoons, timpani and a gran tympano, or large bass drum. This drum is not heard until the final movement, but is undeniably an essential part of Wranitzky’s musical depiction of a storm. The composer left detailed instructions for this part, which shows the care that Wranitzky took in managing all aspects of the thunder that fuels this tempest. Wranitzky’s tempest encompasses the entire final movement and takes roughly 10 minutes to perform. A compendium of storm-like gestures, such as rapid scales, tremolos, and diminished chords, these devices are set loosely within the confines of sonata form. Ultimately, the storm subsides, as evidenced in the rejoicing D-major coda section. Introduction James A. Ackerman Edition & Introduction Daniel Bernhardsson Sources kindly provided by Biblioteca Estense, Modena and Staats- und Universitätsbibliothek Carl von Ossietzky, Hamburg. Private, non-commercial use of this edition is welcomed and encouraged. We kindly ask that we receive notification of all performances of this edition. Please contact The Wranitzky Project for details about featuring this edition in a commercial performance or recording. This edition is not to be reproduced or distributed in any form, without the expressed written consent of The Wranitzky Project. This edition is available for download at www.Wranitzky.com. © The Wranitzky Project 2008 Sinfonie in D minor - "La Tempesta" Paul Wranitzky (1756-1808) Vivace M M M M 5 5 5 5 5 5 5 5 5 5E 5 5 5 Flute 1 5 5 5 5 5 5 5 5 5 5 G = 4 4 40 0 f M M 5 5 5 5 5 Oboes 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 E 5 5 5 5 G = 4 5 5 5 5 5 4 40 0 f 5 5 5 5 5 M M M M ' 5 E 5 5 5 5 Bassoons 5 5 5 5 5 = 5 5 5 5 54 4 M M 40 0 2 f 5 5 5 5 5 5 5 5 5 5 in F Horns 1 5 5 5 5 5 5 5 5 5 5 G =05 5 5 5 5 4 5 5 5 5 5 4 40 0 f 5 5 5 5 5 in D Trumpets 54? G = 5 5 5 5 5 405 5 5 5 5 4 00 2 f 5 5 5 5 5 5 5 5 5 5 0 Timpani 1 = 5 5 5 5 54 0 5 5 5 5 54 5 4? 0 0 2 f 3 5 5 5 5 Violin I 1 5 5 5 5 5 5 5 5 5 5E 5M 5M 5 5 5 5 G 4 5 5 5 5 5 4 4? = 4= f 5 5! 5E 5 5 5 5 5 f f Violin II 3 M M M G 4 5 5 5 5 5 4 B M B M B M 554 = 5 = 5 f 5! 5E 5 5 5 5 5 p 5! 5E 5 fp5 5 5! 5E 5 f 5 5 5 (div.) 5 5 Viola I&II = 5 5 5 5 5 4 5 5 5 5 5 4 5 5 5 5 B M 5 4 5 5 5 5 5 5 5 5 5 5 B B B B f 5 5 5 5 5 M p B B B B rf p rf 5 5 5 B 5E 5 5M 5M 5 Vc. Violoncello 5 5 5 5 5 & Basso = 5 5 5 5 54 4 5 M 4 '' 2 f p 7 M M M M 5 5 5 5 5 5 5 5 5 5E 5 5 5 Fl. 1 5 5 5 5 5 5 5 5 5 5 G 0 0 4 4 4 f [ M M ] 5 5 5 5 5 5 5 5 5 Ob. 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 E 5 E 5 5 5 5 G 0 0 4 5 5 5 5 5 4 4 f 5 5 5 5 5 M M ' Bsn. 5 5 5 5 5 ' 5 5 5 5 5 005 5 5 5 54 4 4 2 f 5 5 5 5 5 5 5 5 5 5 Hn. 1 5 5 5 5 5 5 5 5 5 5 G 0005 5 5 5 5 4 5 5 5 5 5 4 4 f 5 5 5 5 5 Tpt. 54? G 005 5 5 5 5 405 5 5 5 5 4 2 f 5 5 5 5 5 5 5 5 5 5 0 Timp. 1 005 5 5 5 54 0 5 5 5 5 54 5 4? 2 f M M 5 5 B 5 3 Vln. I 1 5 5 5 5 5 5 5 5 5 5 5 5 5 5E 5M 5M 5 G = 4 5 5 5 5 5 4 4 p f 5 5! 5E 5 5 5 5 5 3 Vln. II ? = 4 4 B M B M B M 54 G B 5 5 5 5 5 5 5 5 5 5 5 B B B 5 pB f 5 5! 5E Vla. ? B E 5 5 5 5 5 4 5 5 5 5 5 B M B M B M 5 4 B 5 4 5 5 5 5 5 4 B 5 p f 5 5 5 5 5 M M M Tutti M M Vc. 5 5 5 B 5E 5 5 5 5 & B. 4? 5 5 5 5 5 4 5 B 5 4 5 5 5 5 54 5 M 4 2 f Copyright © 2008 Daniel Bernhardsson 2 13 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Fl. 1 0 0 00 5 5 G f [ ] M M M ' ' ' Ob. 5 5 5 5 ' G = E 5 ! 5 E 5 4 ' 5 4? 0 E ' p M M M f E 5 5 E 5 5 a2 5 5 5 5 5 : 5 Bsn. 5 ! 5 5 5 5 5 5 5 5 5 5 0= 400 5 2 p f Hn. 1 5 5 5 5 5 5 5 5 5 5 5 5 G 4? 4? 0 0 4 4 5 5 f 5 5 5 5 5 5 5 5 5 5 Tpt. 5 5 5 5 5 G 00005 5 5 5 5 4 5 5 5 5 5 4 2 f 5 5 5 5 5 Timp. 1 00005 5 5 5 54 5 5 5 5 5 4 2 f 5 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 Vln. I 1 5 5 5 5 5 B 5 5 5 5 G ? = 4= 4 5E 4 5 5 5 5 5 : 5 5 5 5 5 fp f p f B B Vln. II 5 4 4 B B BE B B G 5 5 5 5 B 5 5 M M pBE 5 fp 5 pBE 5 fp 5 p 5E M f M M M Vla. B 5 B 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 B 5 4 B 5 4 '' 5 4 5 4 5 5 5 5 5 E 5 5 5 5 5 5 5 p p f Tutti Vc. 5 5 5 5 5 5 5 5 5 5E 5 5 5E 5 Vc. '' ' 5 5 5 & B. 4 5 4 2 p f 19 B ' 5 5 5E 5 Fl. 1 B G 4? 4 0 5 Ob. ' ' 5 5 5 5 G E ' 4? 4 0 5 5 5 Bsn. 5 5 5 5 5 5 5 5 : 5 5 5 5 5 5 5 5 4? 4 0 2 5 5 5 5 Hn. 1 5 5 5 5 5 5 5 5 5 5 5 5 5 G 4 4 4? 4 5 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 Tpt.
Load more

Recommended publications
  • Mozart's Die Zauberflöte: a Kingdom of Notes and Numbers
    MOZART’S DIE ZAUBERFLÖTE: A KINGDOM OF NOTES AND NUMBERS by Daemon Garafallo A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Daemon Garafallo ii ACKNOWLEDGMENTS The author wishes to express his thanks to his committee members for their guidance, especially to his thesis advisor, Dr. Ken Keaton, for helping the author through a difficult time these past few years, and to Dr. Sandra McClain for going above and beyond in her dual role of committee member and academic advisor and for doing an excellent job at both. He also would like to acknowledge Dr. James Cunningham for his help and guidance throughout his degree. iv ABSTRACT Author: Daemon Garafallo Title: Mozart’s Die Zauberflöte: A Kingdom of Notes and Numbers Institution: Florida Atlantic University Thesis Advisor: Dr. Ken Keaton Degree: Master of Arts Year: 2016 Wolfgang Amadeus Mozart composed Die Zauberflöte in the last year of his life. It was intended in part to glorify Freemasonry as a new Emperor, more hostile to the Masons, took his office. After a brief survey of his life and works, this paper shows how Mozart used number symbolism in the opera, and will equip the reader with an understanding of this as practiced by the Freemasons. Further, it will show how Mozart associated the characters of the opera with specific musical tones. It will expose a deeper understanding of the question of meaning in word and text in his opera.
    [Show full text]
  • Concerto for Violoncello and Orchestra, Op
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2009-11-24 Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition Sharon Meilstrup Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Music Commons BYU ScholarsArchive Citation Meilstrup, Sharon, "Concerto for Violoncello and Orchestra, Op. 27 by Paul Wranitzky: A Critical Edition" (2009). Theses and Dissertations. 2309. https://scholarsarchive.byu.edu/etd/2309 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. CONCERTO FOR VIOLONCELLO AND ORCHESTRA, OP. 27 BY PAUL WRANITZKY: A CRITICAL EDITION by Sharon Meilstrup A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts School of Music Brigham Young University December 2009 Copyright © 2009 Sharon Meilstrup All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Sharon Meilstrup This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. ____________________________ _________________________________ Date E. Harrison Powley, Chair ____________________________ _________________________________ Date Steven
    [Show full text]
  • Arthur Foote (1853-1937)
    Old Becoming New: Little Known “Gems” of the String Orchestra Repertoire Sandra Dackow, Clinician Looking for “new” and exciting compositions for your string orchestra? Led by renowned arranger and educator Sandra Dackow, teachers will have the opportunity to hear and learn about the forgotten historical gems of the standard string repertoire. Perfect for concert, festival and competition performances; explore or revisit selections that have been “lost” in the mix of the vast history of string literature. Exhilarate students and audiences alike with these old, yet “new” pieces of music history! Bring your instruments to participate in the reading orchestra! Presented by www.lucksmusic.com (800) 348-8749 2018 TODA Conference Johann Pachelbel (1653-1706) Gigue (from Canon and Gigue) #01494 • Grade III+ (Upper Intermediate or Intermediate) We all know the Canon in D, but how many have experienced the very short Gigue, with which it is paired? Written for the same three violins and bass line as the Canon, the Gigue is a great palate cleanser after the endless repetitions of the Canon progression. Imitative, but not canonic, it is a joyful little dance with an active bass line that’s fun for everyone. The third violin part does not require notes on the E string, and therefore could be played by violas reading treble clef. Very short (two Baroque halves, each repeated), each half builds to a rhythmic climax, showcasing the brilliance which an upper intermediate group can achieve. Learn More about Pachelbel German composer and organist, Johann Pachelbel is best known for his Canon in D. He composed a large body of both sacred and secular music, including works for organ.
    [Show full text]
  • 574255 Itunes Wranitzky
    Paul WRANITZKY (1756–1808) Orchestral Works • 2 Symphonies ‘La Tempesta’ • Op. 16, No. 2 • Op. 33, No. 3 Czech Chamber Philharmonic Orchestra Pardubice Marek Štilec Paul Wranitzky (1756–1808) Simon, the titular carpenter, is fitting new windows at ‘the weather wanes’. When the storm indeed finally dies Orchestral Works • 2 the home of the rich widow Frau von Sternwald. away, a bird-like flute solo coaxes the main theme out into Intercepting a delivery of his wife’s famous Krapfen (filled the sun. Rejoicing in the restoration of good weather, the Paul Wranitzky (Pavel Vranický) was born in the southern Wranitzky lead the orchestra in the society’s profitable doughnuts) to the local doctor, Simon is shocked to full orchestra launches into an exuberant coda. Moravian village of Neureisch (today Nová Říše, Czech performances of The Creation . Wranitzky’s high regard as discover she has baked love notes into the sweets. Frau Republic) were he received his first musical training at the an orchestra leader is further attested by Beethoven von Sternwald is furious, as she and the doctor are to be Symphony in A major, Op. 16, No. 2 (pub. 1792) local Premonstratensian monastery. After studies in requesting Wranitzky to premiere his First Symphony in married. Drama ensues. Jihlava and Olomouc, he moved to Vienna in 1776 to 1800. The Overture starts with a forte unison figure before The set of three Sinfonies à grand orchestre, Op. 16 was study theology at the university, where he also became The imperial court favoured Wranitzky with settling into an energetic piano theme containing rising published in 1792.
    [Show full text]
  • The House Composers of the Theater Auf Der Wieden in the Time of Mozart (1789-91)1
    The House Composers of the Theater auf der Wieden in the Time of Mozart (1789-91)1 DAVID J. BUCH Some of the most important theatrical music in Europe was produced at the Theater auf der Wieden in suburban Vienna in the years 1789 to 1801. Beginning with the immensely popular Die zween Anton oder der dumme Gärtner aus dem Gebirge in July 1789, Emanuel Schikaneder produced one successful singspiel after another. The most successful of these were quickly staged in other European venues, both in the original German and in translation.2 Yet, until recently, we have known only a single opera from that period, Mozart’s Die Zauberflöte. Because scholars have not studied this repertory,3 a myth of singularity for Mozart’s singspiel has dominated the secondary literature. But Mozart’s opera was in fact the fourth in a series of fairy-tale singspiels based on texts associated with Christoph Martin Wieland. And the music of Mozart’s singspiel is firmly rooted in a unique style developed at the theater by a group of talented composers who interacted with Mozart, both learning from the master and influencing him in turn. Another myth about this theater has also persisted in modern literature, namely, that the music was of an inferior quality and that the performances were rather crude. While there is one derisive review of a performance at the Theater auf der Wieden by a north German commentator in 1793,4 most contemporary reviews were positive, noting a high standard of musical performance. In his unpublished autobiography, Ignaz von Seyfried recalled performances of operas in the early 1790s by Mozart, Süßmayr, Hoffmeister etc., writing that they were performed with rare skill (ungemein artig).
    [Show full text]
  • Durham E-Theses
    Durham E-Theses The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre Batley, E. M. How to cite: Batley, E. M. (1965) The work of Emanuel Schikaneder and the tradition of the old Viennese popular theatre, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9998/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 120 EHIAMJEL SCHISMEDER IN VIEMA (1789-^1812) 121 MUSIC IN THE FKEaHAUSTHBATER AMD THE THEATER AN DER WIEN ERRATA p. 129.; St)r 'Two hundred' read 'two hundred', etCoo. Po 152. For *R>rty-.four* read 'forty-four*. Po 204. For 'durchgestrleljenen* read *durchgetrle'benen* 122(a) lo ESc po 72. 2,. ibido ppo 1^6-151. Das Freihaustheater. y 3o ' cf.9 pp, 57-119- 4. cfo, rjTA. 179^. p.
    [Show full text]
  • Beethoven's Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Haydn's Concert in the Kleiner Redoutensaal, December
    Beethoven’s Expanding Orchestral Horizons, 1795-1800 Theodore Albrecht Once Beethoven had tasted his initial success before the Viennese Tonkünstler-Societät’s public (as opposed to salon concerts of the nobility) on March 29-30, 1795, he began planning an Akademie of his own. For a typical potpourri program, he would need a new concerto, a symphony, plus works by other composers, and at least one or two vocal works. Even though he would need to get further use from his Piano Concerto in B-flat, he already had a Concerto in C Major in the works. He was also sketching a Symphony, likewise in C major. He worked on it, periodically, through 1795 and 1796, but it never progressed very far.1 Haydn’s Concert in the Kleiner Redoutensaal, December 18, 1795 Beethoven’s next public appearance playing his Concerto in B-flat was at a concert given by Joseph Haydn, primarily to introduce three of the six Symphonies (recently composed in London) to Viennese audiences on December 18, 1795. The concert took place in the Kleiner Redoutensaal, the smaller of the Imperial Ballrooms, often used for chamber music performances. The identity of the orchestra was not specified,2 but given the location---that is, not in the Burgtheater itself---and Griesinger’s mention that the Kärntnertor Theater’s orchestra under Wranitzky had performed Haydn symphonies,3 it is possible that this ensemble was in fact the orchestra employed. If so, Beethoven would probably again have had a positive experience in making music with Wranitzky. 1Beethoven did not use bound sketchbooks before the so-called “Grasnick 1 Sketchbook,” begun in the middle of 1798.
    [Show full text]
  • 574227 Itunes Wranitzky
    Paul WRANITZKY (1756–1808) Orchestral Works • 1 Overtures Symphony in C major Symphony in B flat major Czech Chamber Philharmonic Orchestra Pardubice Marek Štilec Paul Wranitzky (1756–1808) travellers are staying overnight. Complications ensue Symphony in B flat major, Op. 33, No. 1 Orchestral Works • 1 when pursuing family members catch up and a thought- (pub. 1798) to-be-dead husband unexpectedly returns. Paul Wranitzky (Pavel Vranický) was born in the southern lead the orchestra in the society’s profitable performances The Overture opens with a brief Poco adagio introduction The set of Drei grosse Sinfonien, Op. 33 was published in Moravian village of Neureisch (today Nová Říše, Czech of The Creation . Wranitzky’s high regard as an orchestra which leads into a sonata-form Presto assai . The opening 1798 with a dedication to Baron Peter von Braun, Republic) were he received his first musical training at the leader is further attested by Beethoven requesting statement alternates forte orchestral chords with a piano manager of the Viennese court theatres. They bear the local Premonstratensian monastery. After studies in Wranitzky to premiere his First Symphony in 1800. rising five-note scale. This motif, together with its descending hallmarks of Wranitzky’s mature symphonic style. The Jihlava and Olomouc, he moved to Vienna in 1776 to The imperial court favoured Wranitzky with counterpart, becomes the basis for the secondary theme as expanded orchestration is masterful with highly study theology at the university, where he also became commissions. He became a favourite composer of the well as much of the development section. independent wind writing, often treating the winds as a director of music at the theological seminary.
    [Show full text]
  • Full Journal
    A Multidisciplinary Latter-day Saint Journal STUDIES BYUVol. 43 • No. 3 • 2004 Preface 4 Paul E. Kerry, Guest Editor A Chronology of Mozart and His Times 9 Hans-Wilhelm Kelling INTRODUCTORY ESSAYS Mormons, Opera, and Mozart 23 Gideon O. Burton A Magic Summer with The Magic Flute 30 Kaye Terry Hanson A Performer’s Reflections on Die Zauberflöte 36 Lawrence P. Vincent THEMES Toward an Anthropology of Apotheosis in Mozart’s Magic Flute: A Demonstration of the Artistic Universality and Vitality of Certain “Peculiar” Latter-day Saint Doctrines 43 Alan F. Keele From Arcadia to Elysium in The Magic Flute and Weimar Classicism: The Plan of Salvation and Eighteenth-Century Views of Moral Progression 84 John B. Fowles “Initiates of Isis Now, Come, Enter into the Temple!”: Masonic and Enlightenment Thought in The Magic Flute 104 Paul E. Kerry European Views of Egyptian Magic and Mystery: A Cultural Context for The Magic Flute 137 Kerry Muhlestein Notes on the Egyptian Motifs in Mozart’s Magic Flute 149 John Gee CHARACTERS Sarastro’s Repentance: One Dramaturg’s Advice on The Magic Flute 162 Michael Evenden Monostatos, the Moor 170 David P. Crandall The Queen of the Night: A Mother Betrayed 180 Victoria A. Webb Die Zauberflöte: What’s in a Title? 189 Harrison Powley RECEPTION Mann und Weib, and Baby Makes Two: Gender and Family in Johann Wolfgang von Goethe’s Sequel to The Magic Flute 206 Robert B. McFarland An Allegory of Eden: Marc Chagall’s Magic Flute Poster 218 Philipp B. Malzl Adaptation, Enactment, and Ingmar Bergman’s Magic Flute 229 Dean Duncan Diese Aufnahme ist bezaubernd schön: Deutsche Grammophon’s 1964 Recording of The Magic Flute 251 Aaron Dalton BACK COVER IMAGE Set Design for the Final Scene in The Magic Flute Michael Lyon 270 © Bildarchiv Preußischer Kulturbesitz.
    [Show full text]
  • Newslet T Er
    6767 7 6 s s 6 s CIETY . O s 7 Ss F 7 . O s Cs R I 6 S . 6 s E U s I 7 G M s 7 s H . SECM 6 T Y s s 6 R E 7 E U s s N T 7 T N NEWSLETTER E s H s - C s s 6 6 7 7 6 6 7 ISSUE NO. 10 APRIL 2007 Snowy Bookends to the Mozart Year Mozart in the Twenty-First Century”), which included several fine talks, among them a cultural analysis of Mozart by Harry White Cliff Eisen and a discussion by Simon Keefe of Mozart’s scoring in the “Paris” For me, the Mozart year was framed by snow. Perhaps this symphony. Three conferences in London and Dublin within the seems trivial. But Salzburg is always attractive in winter—so is space of a week—and this was only the start of a deluge that con- Vienna—and it was winter when Mozart was born and when he tinued throughout the year—constituted more conferences than a died (even if the traditional accounts of stormy weather on the day single person could ever consider attending (or even hear about). Mozart was buried have since proven false). So winter was a sig- No doubt the following list is incomplete, but it is at least rep- nificant part of Mozart’s environment and everyday life: it is easy resentative of the Mozart year conference calendar: “Rethinking to imagine him in Salzburg, reluctantly trudging through the snow, Mozart” (a conference sponsored by the Dutch-Flemish Society across the Domplatz, to attend to his court duties; or to picture him for Music Theory) in Brussels in February; “Mozart aujourd’hui” in Vienna, transporting his piano across town for various public in Louvain-la-Neuve in March, and a conference at Scripps Col- and private engagements.
    [Show full text]
  • The Classical Era, Part 2: 1780–1820
    A-R Online Music Anthology www.armusicanthology.com Content Guide The Classical Era, Part 2: 1780–1820 Nancy November is an Associate Professor in by Nancy November musicology, with research and teaching interests centering on the music of the late eighteenth and early The University of Auckland nineteenth centuries: aesthetics, analysis, and performance history and practices. Recent publications Assigned Readings include essays on the early performance of Beethoven’s Core Survey string quartets, and their performance history in the recording age. She has also published aesthetic and Analytical Perspectives analytical studies of Haydn’s music, considering Composer Biographies contexts of musical melancholy (Eighteenth-Century Music, 2007), the use of register in his string quartets Summary List (Music Analysis, 2008), and conceptions of “voice” in Genres to Understand his early string quartets (Music and Letters, 2008). Recent editions include Paul Wranitzky’s Six Musical Terms to Understand Sextets (2012), a three-volume set of fifteen string Names and Works to Remember quartets by Beethoven’s contemporary Emmanuel Aloys Main Concepts Förster (2016), and Adalbert Gyrowetz’s String Quartets Op. 29 (2017). Her monographs include Beethoven’s Theatrical Quartets: Opp. 59, 74, and 95 (2013), Scores and Recordings (see Names and Works to Remember) Cultivating String Quartets in Beethoven’s Vienna (2017), Beethoven’s String Quartet in C-Sharp Minor, Op. 131 (2021), and Beethoven’s Symphonies Arranged Exercises for the Chamber: Sociability, Reception, and Canon Formation (2021). She is also the editor of the Cambridge Companion to the Eroica Symphony (2020). This workbook is for authorized use only. Unauthorized copying or posting is an infringement of copyright.
    [Show full text]
  • Beethoven:570034Bk Hasse 30/5/10 9:37 PM Page 4
    572160bk Beethoven:570034bk Hasse 30/5/10 9:37 PM Page 4 Arpeggios introduce the fourth variation, with a fifth in D familiar theme was used for the Turkish March in minor leading directly to the sixth, in B flat major. The Beethoven’s The Ruins of Athens two years later. The first seventh version of the theme is marked Molto adagio ed variation is in semiquavers, the second introduces BEETHOVEN espressivo, to be followed by an Allegro vivace apt for syncopation and the third is in 6/8, reverting to duple the flirtation and joking of the borrowed theme. metre in the fourth. Semiquavers mark the fifth variation, Beethoven’s Six Variations in D major, Op. 76, were with the sixth marked Presto and leading to the return of Eroica Variations written in 1809 and dedicated to his friend Franz Oliva, the theme. who had been helpful to him in business matters. The Keith Anderson Piano Variations on Themes by Haibel, Wranitzky, Salieri and Süssmayr Ian Yungwook Yoo In 2007 Ian Yungwook Yoo won first prize in the Second Beethoven Competition in Bonn. His professional career Ian Yungwook Yoo, Piano was first launched when he won by unanimous vote first prize in the Thirteenth Paloma O’Shea Santander International Piano Competition in 1998. Since then he has performed in over twenty countries throughout the world, and released his first commercial recording for the Naxos label, featuring piano transcriptions by Franz Liszt. A prize-winner in other international competitions, including the Richter Competition in Moscow, Vianna da Motta in Portugal, International E-Competition in the United States and the Montreal International Music Competition in Canada, he enjoys a career that has brought collaboration with leading orchestras and conductors in addition to solo recitals.
    [Show full text]