DOCSLIB.ORG

A Prima Vista

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Prima Vista A PRIMA VISTA a survey of reprints and of recent publications 2011/4 BROEKMANS & VAN POPPEL Van Baerlestraat 92-94 Postbus 75228 1070 AE AMSTERDAM sheet music: + 31 (0)20 679 65 75 CDs: + 31 (0)20 675 16 53 / fax: + 31 (0)20 664 67 59 also on INTERNET: www.broekmans.com e-mail: [email protected] 2 CONTENTS A PRIMA VISTA 2011/4 PAGE HEADING 03 PIANO 2-HANDS 09 PIANO 4-HANDS, 2 PIANOS, HARPSICHORD 10 ORGAN 11 KEYBOARD 12 ACCORDION 1 STRING INSTRUMENT WITHOUT ACCOMPANIMENT: 12 VIOLIN SOLO, 14 VIOLA SOLO, CELLO SOLO 15 DOUBLE BASS SOLO 1 STRING INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 15 VIOLIN with accompaniment 16 VIOLIN PLAY ALONG 17 VIOLA with accompaniment, CELLO with accompaniment 18 CELLO PLAY ALONG, DOUBLE BASS with accompaniment, VIOLA DA GAMBA with accompaniment 18 2 AND MORE STRING INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 1 WIND INSTRUMENT WITHOUT ACCOMPANIMENT: 23 PICCOLO SOLO, FLUTE SOLO 24 CLARINET SOLO, SAXOPHONE SOLO, HORN SOLO 1 WIND INSTRUMENT WITH ACCOMPANIMENT, piano unless stated otherwise: 24 PICCOLO with accompaniment 25 FLUTE with accompaniment, FLUTE PLAY ALONG 27 FLUTE PLAY ALONG 28 OBOE with accompaniment, CLARINET with accompaniment 29 CLARINET PLAY ALONG 30 SAXOPHONE with accompaniment 31 SAXOPHONE PLAY ALONG, 32 BASSOON with accompaniment, TRUMPET with accompaniment, TRUMPET PLAY ALONG 33 HORN with accompaniment, TROMBONE with accompaniment 34 TROMBONE PLAY ALONG, EUPHONIUM with accompaniment 2 AND MORE WIND INSTRUMENTS WITH AND WITHOUT ACCOMPANIMENT: 34 2 AND MORE WOODWIND INSTRUMENTS 38 2 AND MORE BRASS INSTRUMENTS, COMBINATIONS OF WOODWIND AND BRASS INSTRUMENTS 39 COMBINATIONS OF WIND AND STRING INSTRUMENTS 40 RECORDER 41 GUITAR 44 UKULELE, MANDOLIN 45 BANJO 46 HARP 47 PERCUSSION, MISCELLANEOUS, 48 SOLO VOICE(S) AND/OR CHOIR WITH INSTRUMENTAL ACCOMPANIMENT 55 SOLO VOICE(S) AND/OR CHOIR WITH ORCHESTRAL ACCOMPANIMENT, UNACCOMPANIED CHOIR 59 OPERA, OPERETTA, MUSICAL, ORATORIA, MASS (SCORES: POCKET-, STUDY-, FULL-, VOCAL-) 59 ORCHESTRA WITH AND WITHOUT INSTRUMENTAL SOLOISTS 61 BOOKS OF MUSICAL INTEREST 65 CDs compilation by Jan A. Hollanders . prices in EURO (€) subject to changes and errors 3 PIANO 2-HANDS: CLASSICAL REPERTOIRE: ALBUM 177867 8 Easy Sonatinas [1. CLEMENTI Muzio: Sonatina C Major op. 36/1, 2. ATTWOOD Thomas: Sonatina G Major, 3. & 4. BEETHOVEN Ludwig van: Sonatinas F Major and G Major, 5. TÜRK Daniel Gottlob: Sonatina C Major, 6. KÖHLER Christian Louis Heinrich: Sonatina G Major, 7. CIMAROSA Domenico: Easy Sonata G Major, 8. MOZART Wolfgang Amadeus: Easy Sonata C Major] (Ohmen, Heumann) CD included 12,85 ALBUM 202491 Pianissimo 2. The Pianist’s Repertory [ABSIL J.: 1. Chanson française, 2. Renver- sement; ANONYME: 3. Danse anglaise ancienne, 4. Danse polonaise; BACH J.Chr.F.: 5. Danse souabe; BACH J.S.: 6. Aria; BARTOK B.: 7. La Pluie; BEETHOVEN L.v.: 8. Danse allemande; CHARTREUX A.: 9. Petite valse `en bleu`, 10. Minie’s March; CLEMENTI M.: 11. Arietta; DECREPT S.: 12. Mode Kafi; DIABELLI A.: 13. Allegretto; DROBNER M.: 14. Le Réveil; DVARIONAS B.: 15. Prélude; FARKAS F.: 16. Danse hongroise; GARSCIA J.: 17. Père Noël; GOEDICKE A.: 18. Danse, 19. Danse des petits lapins, 20. Lied russe; GUBAIDULINA S.: 21. Le petit Poucet; GURLITT C.: 22. Allegro; HÄSSLER J.W.: 23. Ecossaise; HULLMANDEL N.J.: 24. Danse allemande; KABALEVSKY D.: 25. Ma première valse; KIRCHNER Th.: 26. Scherzo; KOJOYAN Y.: 27. Danse de la petite Karine; KOLODOUB J.: 28. Valse; KURTAG G.: 29. Prélude et valse en Do; LELEU J.: 30. Mélodie; LJUBARSKI N.: 31. Chanson tchétchène; MIAKOVSKY N.: 32. L'insouciante; MILITCH: 33. Le grand Cerf (Traditionnel français); MOZART L.: 34. Menuet; MOZART W.A.: 35. Allegro; NEEFE C.G.: 36. Menuet; PAPP L.: 37. Blues, 38. Danse indienne; RAMEAU J.Ph.: 39. Rigaudon; REBIKOW W.: 40. Anuschka; REINECKE C.: 41. Allegro; SAINT-LUC L.: 42. Bourrée; SCARLATTI D.: 43. Aria de sonate; SCHAUM J.W.: 44. Coup de vent; SCHUBERT F.: 45. Ecossaise; SCHUMANN R.: 46. Le Coucou invisible; SLONOV Y.: 47. En s'amusant; SPERONTES: 48. Pièce ancienne; SURANYI B.: 49. Le Robot triste, 50. La Toupie; TEITZEL: 51. Deux vieillards; TELEMANN G.Ph.: 52. Sarabande; TURK D.G.: 53. Arioso en Fa, 54. Ballet, 55. Chanson enfantine, 56. Dors bien, 57. Jeu, 58. Petit ballet, 59. Petite Sonatine; WEINER L.: 60. Danse hongroise populaire] (Quoniam, Suranyi, Saladin de Nugar) 20,05 ALBUM 726511 Piano Anthology. 33 Pieces by 23 Composers [1. ANDRIESSEN - Image de Moreau; 2. ARGENTO – Intermezzo; 3. BEESON - A Fugue in Flight; 4. BERNSTEIN - Seven Anniversaries; 5. BRIDGE - Rosemary from Three Sketches; 6. BRITTEN - Night-Piece (Notturno); 7. CARTER - Two Diversions; 8. COPLAND - Four Piano Blues; 9. CUMMING - Prelude No. 2 from Twenty-Four Preludes; 10. CUMMING - Prelude No. 9 from Twenty- Four Preludes; 11. CUMMING - Prelude No. 11 from Twenty-Four Preludes; 12. CUMMING - Prelude No. 24 from Twenty-Four Preludes; 13. DEL TREDICI - Ballad in Yellow; 14. DELIUS - Five Piano Pieces; 15. GINASTERA - Pequena Danza from the ballet Estancia, Op. 8; 16. GINASTERA - Rondo on Argentine children's folk-tunes, Op. 19; 17. GINASTERA - Suite de danzas criollas, Op. 15; 18. GORECKI – Intermezzo; 19. IRELAND – Rhapsody; 20. JENKINS – Madog; 21. KATS-CHERNIN - Combination Rag; 22. KATS- CHERNIN - Russian Rag; 23. LEES – Fantasia; 24. MARTINU - Etude in A from Etudes and Polkas, Book 1; 25. MARTINU - Etude in F from Etudes and Polkas, Book 2; 26. MARTINU - Polka in A from Etudes and Polkas, Book 1; 27. MARTINU - Polka in A from Etudes and Polkas, Book 3; 28. MAXWELL DAVIES - Farewell to Stromness from The Yellow Cake Revue; 29. RAUTAVAARA – Passionale; 30. ROREM - Song & Dance; 31. STRAVINSKY - Serenade in A; 32. THOMSON - Invention: Theodate Johnson Busy and Resting from Thirteen Portraits; 33. THOMSON - Travelling in Spain: Alice Woodfin Branlière from Thirteen Portraits] 25,30 ALBÉNIZ Isaac 1860-1909 726742 España Op. 165. Six Album Leaves [1. Prélude, 2. Tango, 3. Malagueña, 4. Serenata, 5. Capricho Catalán, 6. Zortzico] (Llano Koehl-White) 11,95 BACH Johann Sebastian 1685-1750 202552 Drei zweistimmige Inventionen BWV 772, 777 & 779 (Leisinger, Jonas) 12,80 095461 Inventionen BWV 772-786 (Kreutz) 10,25 BAIONI Paolo 203070 Hands of Children. 23 Piano Pieces (2010) 12,80 BEETHOVEN Ludwig van 1770-1827 726744 Sonata No. 21 in C major Op. 53 (Grande Sonate) (Waldstein) (Gordon) 9,55 4 BÉRA-TAGRINE Nathalie 202490 Méthode Tagrine. Volume 1. Mes premières années de piano et de solfège illustrated; CD included 33,40 BLANCKAERT Joris *1976 202420 Airs volatils (2008) 9,65 BRAHMS Johannes 1833-1897 202396 Walzer Op. 39 (Köhn) 9,00 202397 Walzer Op.39 (Köhn) easy arrangement 9,00 BURGAN Patrick *1960 203092 Ivoire sous ébène (Bouthinon-Dumas) easy 7,75 CHAYNES Charles *1925 203091 Paysages habités. Six préludes (2009) 20,05 CHOPIN Frédéric 1810-1849 202658 Sonata No. 1 in C minor Op. 4 (Biret) 17,55 CORNICK Mike *1947 202453 Piano Coach. Die Klavierschule für Anfänger und Wiedereinsteiger Band 2 [1. TSCHAIKOWSKY Peter Iljitsch: Das Begräbnis der Puppe, 2. CORNICK Mike: Sechzehntel-Studie, 3. BACH Johann Sebastian: Largo, 4. MARTINI Jean: Plaisir d'Amour, 5. Traditional: My Bonnie Lies Over the Ocean, 6. Traditional: Morning Has Broken, 7. MOZART Wolfgang Amadeus: lacrymosa, 8. BACH Johann Sebastian: Passionschoral, 9. CORNICK Mike: Stimmführungsübung 1, 10. CORNICK Mike: Stimmführungsübung 2, 11. CORNICK Mike: Autumn Morning, 12. CORNICK Mike: Piano Blues in G, 13. BYRD William: Pavan. The Earle of Salisbury, 14. BACH Johann Sebastian: Invention 1, 15. CHOPIN Frédéric: Prélude Op. 28/20, 16. CHOPIN Frédéric: Nocturne Op. 55/1, 17. CORNICK Mike: Stoke Woods, 18. CORNICK Mike: Blues for Lydia, 19. CORNICK Mike: Etüde B-Dur für die rechte Hand, 20. CORNICK Mike: Etüde B-Dur für die linke Hand, 21. CORNICK Mike: The Skippy Rag, 22. Traditional: The Water is Wide (O Waly, Waly), 23. CORNICK Mike: Minor Bossa, 24. CORNICK Mike: Sonate in F – Soloversion, 25. CORNICK Mike: Sonate in F – Version für Klavier zu vier Händen, 26. BEETHOVEN Ludwig van: Sechs Variationen – Thema, 27. JOHN Elton: Your Song, 28. CORNICK Mike: Studie – Dur zu Moll, 29. Traditional: Shenandoah, 30. Traditional: David of the White Rock, 31. CORNICK Mike: Seventh Heaven, 32. CORNICK Mike: Die fertige Improvisation, 33. CORNICK Mike: Early Morning at Dahouet, 34. CORNICK Mike: Chapelle de Trémalo, 35. Traditional: London Bridge is Falling Down, 36. CORNICK Mike: The Hickory Rag, 37. CORNICK Mike: The London Eye, 38. CORNICK Mike: Palace Parade] 2 CDs included 30,40 CUI César 1835-1918 202076 25 Préludes Op. 64 46,65 DERCKSEN Thijs 726810 Piano Matrix 4 [Voorwoord; Lijst van mogelijkheden; Het verlevendigen van de melodie; Het verbeteren van de klank; Muziek; Uitwerkingen] (Nederlandse versie) 9,90 ESSER Benjamin van *1979 202429 Degrees of Ability I 9,90 202428 Degrees of Ability II 11,00 202427 Degrees of Ability III 13,15 GABLER Cristoph August 1770-after 1837 MAG 232 Fantaisie Op. 12 (Pasetti) 17,95 GWIS Alessandro *1969 XXS 74 Alborada. 10 Selected Pieces for Piano Solo from ‘Alessandro Gwis’ (2006) and ‘#2’ (2011) [1. Alborada, 2. Which Was It?, 3. Agosto Noir, 4. Alfabeto dell’Angelo, 5. Cuentos de Payasos , 6. Forrò, 7. O sol dos dias mais lindos, 8. Grand Guignol, 9. Settembre, 10 Langhe oscure] 20,50 HAYDN Franz Joseph 1732-1809 202551 Klaviersonate C-Dur Hob.XVI:35 (Landon, Leisinger, Levin, Jonas) 8,95 HUILLET Thierry *1965 203170 Treize à la douzaine. Comptines pour piano 2nd to 3rd year 16,60 ILLÉS Márton *1975 202456 Torso II (2006) 28,25 JOPLIN Scott 1868-1917 203115 Marches. 9 Original Pieces [1. The Crush Collision March (1896), 2. Combination March (1896), 3. Cleopha (1902), 4. March Majestic (1902), 5. The Rose-bud March (1905), 6. A Breeze from Alabama (1902), 7.
Load more

Recommended publications
  • The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • An Obscure History of the Guitar Or, a History of Obscure Guitars Franklin Lei, Vihuela, Early Viennese Guitar, Archtop Guitar
    A 2016 Berkeley Festival Fringe event sponsored by Trinity Chamber Concerts An Obscure History of the Guitar or, A History of Obscure Guitars Trinity Chapel, 2320 Dana Street Saturday June 11th, 2016, 10:30 a.m. Franklin Lei, vihuela, early Viennese guitar, archtop guitar I. Ricercar 84 – Fantasia 40 – Fantasia 30 – Ricercar 16 - Francesco Canova da Milano (1497-1543) Tochata – Ricercar 34, ‘La compagna’ II. Diferencias sobre ‘Guárdame las vcas’ (both sets) Luys de Narváez (c.1505-1549) Fantasia V Luis Milán (c.1500-1561) Fantasia que contrahaze la harpa en la manera de Luduvico Alonso Mudarra (c.1510-1580) III. Grande Ouverture, Opus 61 : Mauro Giuliani, 1781-1829 Andante Sostenuto – Allegro Maestoso Source: Facsimile of the First Edition by Giovanni Ricordi, Milan, late 1814 IV. Blues in the Night Harold Arlen (1905-1986) Autumn in New York Vernon Duke (1903-1969) Night and Day Cole Porter (1891-1964) Here’s That Rainy Day Jimmy Van Heusen (1913-1990) Letter to Evan* - Laurie* Bill Evans (1929-1980) Arrangements by Franklin Lei (except * by Sid Jacobs) 6-course Vihuela: Daniel Larson, Duluth MN, 1997 (after iconographic sources especially Juan Bermudo’s woodcut) Viennese guitar: Johann Michael Rudert, Vienna, dated 1811 Acoustic archtop: Tom Bills, St. Louis, 2013 An obscure history of the guitar or, A history of obscure guitars I am playing three guitars from very different periods in the instrument’s history: The vihuela de mano dates from most of the 16th century. Strung in courses (pairs of strings) and tuned as the Renaissance lute, the vihuela is the true ancestor of the modern guitar.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Franz Schubert's Chamber Music with Guitar: a Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Franz Schubert's Chamber Music with Guitar: A Study of the Guitar's Role in Biedermeier Vienna Stephen Mattingly Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FRANZ SCHUBERT’S CHAMBER MUSIC WITH GUITAR: A Study of the Guitar’s Role in Biedermeier Vienna By STEPHEN MATTINGLY A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2007 Copyright © 2007 Stephen Mattingly All Rights Reserved The members of the Committee approve the treatise of Stephen Mattingly defended on March 26, 2007. ______________________________ Michael Buchler Professor Directing Treatise ______________________________ Nancy Rogers Outside Committee Member ______________________________ Bruce Holzman Committee Member ______________________________ Melanie Punter Committee Member ______________________________ Larry Gerber Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii ACKNOWLEDGEMENTS The following organizations deserve special thanks for their material support of this project: the Presser Foundation for their generous grant to fund the recording and research of “Schubert’s Complete Chamber Music with Guitar”, the Vienna Schubertbund and the Schubert Institute of the United Kingdom for their
    [Show full text]
  • Sonata for the Arpeggione Transcribed for Viola in G Minor Franz Schubert by Alan Bonds D
    Transcribed for Viola & Piano in G minor by Alan Bonds based on the Urtext PREFACE For generations, viola players (and cellists) have studied and performed the Arpeggione Sonata by Schubert in a variety of transcriptions which all have one thing in common–they are in the original key of A minor. This edition makes the bold and logical step of transposing the entire work down a whole tone to G minor for reasons outlined below. At last the natural resonances of the instrument can be heard and some of the passage work (especially in the last movement) now suits the tuning of the viola. We know that the Arpeggione was a short-lived hybrid of the cello and the guitar, invented in 1823 by Georg Staufer. It was also known as the guitar-cello, the bowed-guitar, and the Guitarre d’amour. Like the guitar, it had six strings and frets on the fingerboard, but it had an elevated fingerboard and was bowed like the cello in the ‘gamba’ position. In fact it sounds like it shared more in common with the viola da gamba than any other instrument. Vincenz Schuster, a guitar-player from Schubert’s circle of friends, seems to have been the principal (or only?) exponent of the instrument, and who published a method for the Arpeggione in 1825. In this method Schuster published an engraving of the Arpeggione which looks suspiciously like a Viola da Gamba–it has a quite distinctive ‘waist’–but with f holes and frets to the very top of the fingerboard. This illustration is at odds with photographs of the two surviving instruments attributed to Staufer and Mitteis.
    [Show full text]
  • American Viola Society Newsletter No. 26, April 1984
    THE AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY Association for the Promotion of Viola Performance and Research No. 26 NEWSLETTER THE AMERICAN VIOLA SOCIETY Chapter of THE INTERNATIONAL VIOLA SOCIETY OFFICERS Association for the Promotion of Viola Performance and Research MAURICE W. RILEY, PRESIDENT DWIGHT POUNDS, VICE PRESIDENT ANN WOODWARD, TREASURER HAROLD KLATZ, SECRETARY 5 ~:2 Roosevelt Blvd 1713 Daren Court 209W. University Drive 1024 Mapie Avenue Ypsilanti, MI48197 Bowling Green, Ky 42101 Chapel Hill, NC 27514 Evanston, IL 60202 313 • 482-6288 Western Kentucky University North Carolina University Vioiis! in Chicago Symphony. Emeritus Professor of Violin-Viola Advertising tor AVS Newsietter Eastern Michigan University MYRON ROSENBLUM, PAST PRESIDENT 39-23 47th Street Sunnyside, NY 11104 No. 26 Queensborough Community College NEWSLETTER April 1984 EXECUTIVE BOARD MEMBERS DAVIO DALTON Archivist. International Primrose Viola Archives, Editor. A.V.S. Newsletter Brigham Young University Provo, Utah 84602 OAUL DOKTOR The AMERICAN VIOLA SOCIETY invites you to 215 Wesl88th Street New Vork, NY 10024 participate in an exciting organization that is Juillard School, dedicated solely to the Viola, its history, its Mannes College of Music music, its performance. MILTON KATlM5 Artistic Advisor School 01 Music University of Houston We are part of an international society of Houston, TX 77004 professional and amateur Violists, teachers, LOUIS KIEVMAN luthiers, publishers, and musicologists who have 1343 Arnalljj Drive Pacific Palisades, CA 90272 the Viola as a common interest. The parent Private Teacher in the Los Angeles Area organization--the INTERNATIONAL VIOLA SOCIETY, DONALD MciNNES ASSOCIATION FOR THE PROMOTION OF VIOLA PERFORMANCE Professor of Viola AND RESEARCH is currently located with Prof.
    [Show full text]
  • Viewed As Baroque Instruments, That Were Also Going out of Style During This Time Period.15
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 A Study of Franz Schubert's Arpeggione Sonata and Claude Debussy's Premiére Rhapsodie: A Performer's Perspective Jeffrey Michael Brooks Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A STUDY OF FRANZ SCHUBERT’S ARPEGGIONE SONATA AND CLAUDE DEBUSSY’S PREMIÉRE RHAPSODIE: A PERFORMER’S PERSPECTIVE By JEFFREY MICHAEL BROOKS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Jeffrey Michael Brooks defended this treatise on April 10, 2017. The members of the supervisory committee were: Deborah Bish Professor Directing Treatise Richard Clary University Representative Eric Ohlsson Committee Member Jeffrey Keesecker 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 For Mom and Dad iii ACKNOWLEDGMENTS There are many people to whom I owe thanks and gratitude over the past several years. First of all, thank you to my advisor and mentor Dr. Deborah Bish. Your patience, confidence, and persistence have helped me through many challenging times. Thank you for gently encouraging me to keep going and for leading me through this academic process. Thank you to my committee members, Dr. Eric Ohlsson, Jeffrey Keesecker, and Richard Clary, all of whom have guided me both professionally and scholastically. Thank you to emeritus professor, Dr. Frank Kowalsky, who taught me so much about music and the pursuit of intentional living.
    [Show full text]
  • The Viennese Violone: the Development, Blossoming, and Decline of a Musical Instrument in 18Th Century Vienna
    The Viennese Violone: The Development, Blossoming, and Decline of a Musical Instrument in 18th Century Vienna A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2016 by William Christopher Leverenz B.M., Southern Illinois University Carbondale, 2006 M.M., University of Cincinnati College-Conservatory of Music, 2008 2 Abstract This work is an examination of the Viennese violone school of double bass performance that developed during the latter half of the 18th century. The focus of this study is the tuning system that allowed the instrument to flourish during the Viennese Classic era and how these same idiomatic traits would render the instrument obsolete by the early 19th century. The Viennese violone utilized a unique tuning system of thirds and fourths intervals. It was used as a solo, chamber, and orchestral instrument that coexisted with other European bass styles that utilized different tuning systems. The examination will track the development and demise of this unique school of bass playing. Through analysis of representative solo works the development of the school’s technique is examined in correlation with the constantly evolving musical content. Analysis of selected symphonic works demonstrates the use of the bass violone in an orchestral setting. After establishing the unique characteristics that allowed the violone to flourish during the 18th century this document will prove how the violone was unable to meet the evolving musical demands of the 19th century.
    [Show full text]
  • A Comprehensive Guide for Learning Cello Vibrato
    A Comprehensive Guide for Learning Cello Vibrato Yang Lu A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2020 Reading Committee: Sæunn Thorsteinsd´ottir,Chair Patricia Shehan Campbell Rachel Lee Priday Program Authorized to Offer Degree: School of Music c Copyright 2020 Yang Lu University of Washington Abstract A Comprehensive Guide for Learning Cello Vibrato Yang Lu Chair of the Supervisory Committee: Assistant Professor Sæunn Thorsteinsd´ottir Music Vibrato has become such a critical technique in today's instrumental performance that it is surprising to find it only lightly recorded in pedagogical literature, especially with respects to systematic teaching. The learning process for vibrato often comes verbally from teacher to student and is treated as the learning of a mechanism of expression. This study presents a comprehensive learning guide for vibrato on the cello. There are a number of different characteristics in vibrato technique, and based on these characteristics I demonstrate relevant exercises and excerpts for learning and practicing vibrato. I also provide a collection of cello excerpts as different applications of vibrato in performance scenarios. This study will analyze recording excerpts by renown cellists in performance environments using digital signal processing techniques to visualize and discuss the vibrato in selected passages. The goal of this study is to document a systematic method for educators to help students achieve musical expression through a thorough understanding of vibrato. CONTENTS Contents . List of Figures . ii List of Tables . iv List of Excerpts . vi List of Exercises . vii List of Recordings . viii Introduction .
    [Show full text]
  • Rowan Puig Davis, Double Bass
    presents A Degree Recital: Rowan Puig Davis, double bass Friday, April 23, 2021, at 8:00 PM View the concert on: https://youtu.be/7gIfiG0tWbk Cello Suite No.1 in G major, BWV 1007 Johann Sebastian Bach (1685-1750) Prelude Allemande Courante Sarabande Minuet I and II Gigue Arpeggione Sonata in A minor, D. 821 (arr. Stuart Sankey) Franz Schubert (1797-1828) Allegro moderato Adagio Allegretto Elias Dagher, pianist Alfonsina y El Mar (arr. Avishai Cohen) Ariel Ramirez (1921-2010) Félix Luna (1925-2009) Program Notes Cello Suite No.1 in G major, BWV 1007 By far one of the most famous cello suites ever written and performed around the world. Written around 1720, the Cello Suites by J.S. Bach are part of the normal soloist repertoire of every string instrument. Nowadays it is required to have at least a movement of Bach prepared when auditioning for a Conservatory or a professional orchestra. Although they were written for cello, the work has gained popularity on wind instruments and string instruments like the double bass. Now then, playing a piece that is not written for double bass poses a challenge. The double bass is tuned in fourths (Strings GDAE) and the cello is tuned in fifths. That’s a big difference right there. If you have an instrument tuned in fifths, that makes playing easier when you have fast string crossings and fast runs in the piece. The distance between each note is much closer together (this also has to do with the size of the instrument) and you have the opportunity to play chords more easily.
    [Show full text]
  • Intersections of Music and Science in Experimental Violins of the Nineteenth Century Sarah M
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Intersections of Music and Science in Experimental Violins of the Nineteenth Century Sarah M. Gilbert Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC INTERSECTIONS OF MUSIC AND SCIENCE IN EXPERIMENTAL VIOLINS OF THE NINETEENTH CENTURY By SARAH M. GILBERT A thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Spring Semester, 2013 i Sarah M. Gilbert defended this thesis on March 27, 2013. The members of the supervisory committee were: Douglass Seaton Professor Directing Thesis Michael Broyles Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to acknowledge the faculty of the College of Music for providing me with the Curtis Mayes Orpheus Grant, which allowed me to research experimental violins at the National Music Museum in Vermillion, South Dakota, in the summer of 2012. I would also like to thank the staff of the National Music Museum, especially Arian Sheets, for their assistance during my visit. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v
    [Show full text]
  • Togaman Guitars
    Builder Profile TogaMan Guitars WARD MEEKER n the early 1980s, Jonathan Wilson was a guitarist who became enthralled Iby neo-classical rock and the music of former Scorpions guitarist Uli Roth and his Sky Guitar, with its 36-plus frets that allowed him to add violin-range notes to his repertoire. “The idea of creating an instrument one’s art requires, rather than limiting it to what exists, inspired me,” he said. “Roth’s references to Viv- aldi and Paganini led me to listen to a lot of violin and cello music. I spent hours doing volume swells to emulate those sounds, then began to view the guitar as incomplete without the facility to bow. Jonathan Wilson Of course, most luthiers and musicians viewed me as crazy, so I had to fulfill my own vision.” And fulfill it, he did. By the It is inspired by the toga/tunic attention of top film compos- you offered a second gui- early ’90s, Wilson had been figure in “Noces de Cana” a ers who asked me build one tar? experimenting heavily, and de- painting by Paolo Veronese that for them. Before long, I was After the first Cana models, veloped a prototype instrument depicts the water-to-wine wed- nine to 12 months backlogged! which had alder bodies finished he called an “electric ding scene in the Then I exhibited at NAMM in with custom factory finishes by arpeggione,” inspired Bible. In it, a man ’05. After that, I realized that Pat Wilkins, I added a simple TOGAMAN by a bowed guitar GUITARS is playing a gui- I prefer a direct relationships hand-rubbed finish and dubbed built by Johan Staufer Jonathan Wilson tar-sized viol in a with artists rather than going it the Naked Spartan.
    [Show full text]