Playing the Partitura Correctly and Well: Basso Continuo Accompaniment
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Swr2 Programm Kw 34
SWR2 PROGRAMM - Seite 1 - KW 34 / 23. - 29.08.2021 Montag, 23. August Frédéric Chopin: 8.58 SWR2 Programmtipps Mazurka f-Moll op. 68 Nr. 4 Arturo Benedetti Michelangeli 9.00 Nachrichten, Wetter 0.03 ARD-Nachtkonzert (Klavier) Carl Maria von Weber: Josef Mysliveček: 9.05 SWR2 Musikstunde „Oberon“, Ouvertüre Allegro assai aus dem Violinkonzert Leopold Mozart – Ein Mann mit Staatskapelle Dresden D-Dur EvaM 9a:D2 vielen Talenten (1) Leitung: Bernard Haitink Leila Schayegh (Violine) Der Augsburger Carl Loewe: Collegium 1704 Mit Bettina Winkler Streichquartett G-Dur op. 24 Nr. 1 Leitung: Václav Luks Hallensia Quartett Giovanni Battista Pescetti: Eugen d’Albert: Sonate Nr. 6 c-Moll Musikliste: Sinfonie F-Dur op. 4 Xavier de Maistre (Harfe) Emilia Giuliani: MDR-Sinfonieorchester John Field: Capriccio für Gitarre Leitung: Jun Märkl Rondo aus dem Klavierkonzert Nr. 7 Siegfried Schwab (Gitarre) Jan Dismas Zelenka: c-Moll Leopold Mozart, Wolfgang Sonate Nr. 4 g-Moll ZWV 181 Míceál O’Rourke (Klavier) Amadeus Mozart: Ensemble con bravura London Mozart Players 1. Satz: Allegro „Neue Lambacher Tom Tykwer: Leitung: Matthias Bamert Sinfonie“ aus: Sinfonie G-Dur KV „Cloud Atlas“, End Title Matthew Locke: Anh. 293 MDR-Sinfonieorchester Music for His Majesty’s Sackbuts The Academy of Ancient Music Leitung: Kristjan Järvi and Cornetts Leitung: Christopher Hogwood Philip Jones Brass Ensemble Wolfgang Amadeus Mozart: 2.00 Nachrichten, Wetter Robert Schumann: Der Zauberer, Lied für Sopran und Finale aus Fantasiestücke op. 88 Nr. Klavier KV 472 2.03 ARD-Nachtkonzert 4 Juliane Banse (Sopran) Johann Sebastian Bach: Martha Argerich (Klavier) András Schiff (Klavier) Orchestersuite Nr. 1 C-Dur BWV Gidon Kremer (Violine) Hans Leo Haßler: 1066 Mischa Maisky (Violoncello) Cantate Domino, Psalmmotette für Café Zimmermann fünfstimmigen Chor a cappella, Sacri Antonín Dvořák: 6.00 SWR2 am Morgen Concentus (Augsburg, 1601) Slawische Tänze op. -
A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart
A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview -
Remembering East German Childhood in Post-Wende Life Narratives" (2013)
Wayne State University Wayne State University Dissertations 1-1-2013 Remembering East German Childhood In Post- Wende Life Narratives Juliana Mamou Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the German Literature Commons Recommended Citation Mamou, Juliana, "Remembering East German Childhood In Post-Wende Life Narratives" (2013). Wayne State University Dissertations. Paper 735. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. REMEMBERING EAST GERMAN CHILDHOOD IN POST-WENDE LIFE NARRATIVES by JULIANA MAMOU DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2013 MAJOR: MODERN LANGUAGES (German Studies) Approved by: _____________________________________ Advisor Date _____________________________________ _____________________________________ _____________________________________ _____________________________________ © COPYRIGHT BY JULIANA MAMOU 2013 ALL RIGHTS RESERVED ACKNOWLEDGMENTS I would like to express my great appreciation to the members of my Dissertation Committee, Professor Donald Haase, Professor Lisabeth Hock, and Professor Anca Vlasopolos, for their constructive input, their patience, and support. I am particularly grateful for the assistance -
Beiträge Zur Lebensgeschichte Des Salzburger
© Gesellschaft für Salzburger Landeskunde, Salzburg, Austria; download unter www.zobodat.at 179 Beiträge 3ur €ebensgefd)id)te 6cs Ga^burgct /5ofkapellmciftct5 Jobann £rnft £bedm Von M. Cuvay Lectori Benevolo Nobilis, ac Perdoctus Dominus Joannes Ernestus Eberlin Jettinganus Suevus, postquam in Gymnasio nostro Augustano classes inferiores omnes cum laude boni capacisque ingenii, egregiique profectus inter óptimos est emensus, inde ad Lyceum translatus, anno elapso Logicam inter primos, hoc vero Phisicam inter meliores absolvit, optimis haud dubie et hoc anno annumerandus, si magnae ingenii capacitad parem junxisset diligentiam et applicationem, ac musicae, cujus insigni pollet peritia, plus nimis non tribuisset. His ingenii, doctrinae, artisque Musicae dotibus junxit mores admodum obsequiosos, reverentes, civiles, Superiorumque, et Scholasticae dis* ciplinae observantes. Ita testor manu mea, et consulto Collegii nostri sigillo Augustae Vindelicorum die 19. Sept, anno a partu Virginis 1721. Georgius Kolb Soc. Jesu Lycei et Gymn. Praef. Auf deutsch: Dem wohlwollenden Leser. Der edle und sehr gelehrte Herr Johannes Eberlin, Schwabe aus Jettingen, ist — nachdem er in unserem Gym nasium in Augsburg alle Unterklassen mit der Anerkennung seiner guten umfassenden Intelligenz und seines hervorragenden Fortschritts unter den Besten durchlaufen hat — von dort an das Lyzeum versetzt worden und hat im vergangenen Jahr die Logik unter den Ersten, heuer aber die Physik unter den Besseren absolviert und wäre zweifellos auch in diesem Jahr den Besten zuzuzählen gewesen, wenn er zur großen Begabung seines Verstandes ebensoviel Fleiß und Ausdauer gesellt hätte, wie er sie nur allzusehr der Musik- widmete, in der er über eine gediegene Kenntnis verfügt. Mit dieser Ausstattung an Intelligenz, Wissen und musikalischem Können vereinte er ein Betragen voll großer Dienstwilligkeit, Ehrerbietung und Höflichkeit und voll Hochachtung vor seinen Vorgesetzten und der Schule mit ihrer straffen Zucht. -
Milan, 24Th Nov., 1770 I Have Nothing to Write About to You, Other Than That
0220. LEOPOLD MOZART TO HIS WIFE , SALZBURG Milan, 24 th Nov ., 1770 I have nothing to write about to you, other than that we are, praise God, in good health. I am writing hastily in Count Firmian’s house; 1 Wolfgang now has his hands full, as the time is drawing near, 2 [5] and so far he has written only one aria for the primo uomo ,3 because he is not here yet, and he does not want to have double work, therefore would rather wait for him to be present in order to cut the suit exactly to suit the body. I have just received your letter 4 and have been greatly enjoying hearing about your entertainments. Thank Herr Adlgasser, 5 with our compliments, for his pleasant congratulations 6 [10] and assure his wife 7 that her wishes will be met. Addio . We kiss you 100 000 times and am your old Mzt mp Our compliments to the whole Salzburg world. Do I know Frau Spitzeder? 8 1 “im Gr: Firmianischen Hause”. BD: Cf. No. 0216/42. Karl Joseph, Count [Graf] Firmian, studied in Innsbruck, Salzburg and Leyden before becoming a diplomat. Governor general of Lombardy. A reliable supporter of Mozart in Italy; noted for his learning and intellect. 2 BD: Mitridate Rè di Ponto KV 87 (74a) was to be the first opera of the season in Milan, starting at the end of December. 3 BD: Pietro Benedetti, known as Sartorini, whom the Mozarts had met again in Rome (cf. No. 0192/13) and who sang in Mozart's Mitridate in Milan in 1770. -
Life of Mozart, Vol. 1
Life Of Mozart, Vol. 1 By Otto Jahn LIFE OF MOZART. CHAPTER I. — CHILDHOOD WOLFGANG AMADE MOZART came of a family belonging originally to the artisan class. We find his ancestors settled in Augsburg early in the seventeenth century, and following their calling there without any great success. His grandfather, Johann Georg Mozart, a bookbinder, married, October 7, 1708, Anna Maria Peterin, the widow of another bookbinder, Augustin Banneger. From this union sprang two daughters and three sons, viz.: Fr. Joseph Ignaz, Franz Alois (who carried on his father's trade in his native town), and Johann Georg Leopold Mozart, bom on November 14, 1719, the father of the Mozart of our biography. Gifted with a keen intellect and firm will he early formed the resolution of raising himself to a higher position in the world than that hitherto occupied by his family; and in his later years he could point with just elation to his own arduous efforts, and the success which had crowned them, when he was urging his son to the same steady perseverance. When Wolfgang visited Augsburg in 1777, he gathered many particulars of his father's youth which refreshed the recollections of Leopold himself. We find him writing to his son (October 10, 1777) how, as a boy, he had sung a cantata at the monastery of St. Ulrich, for the wedding of the Hofrath Oefele, and how he had often climbed the broken steps to the organ loft, to sing treble at the Feast of the Holy Cross (November 29, 1777). He afterwards became an excellent organist: a certain Herr von Freisinger, of Munich, told Wolfgang (October 10, 1777) that he knew his father well, he had studied with him, and "had the liveliest recollections of Wessobrunn where my father (this was news to me) played the organ remarkably well. -
Polzonetti's CV
September 2019 PIERPAOLO POLZONETTI Curriculum Vitae Department of Music Room 132, Hutchison Dr University of California, Davis One Shields Avenue Davis, CA 95616-8701 e-mail: [email protected] telephone: +1 (530) 752-9041 EDUCATION Ph.D. in Musicology, Cornell University, 2003. Advisor: James Webster M.A. in Musicology, Cornell University, 2001 B.A. in Letters (Laurea in Lettere), University of Rome “La Sapienza,” 1995 (magna cum laude). Advisor: Pierluigi Petrobelli PROFESSIONAL POSITIONS Jan and Betta Popper Professor of Music, University of California, Davis, 2019 Professor, Department of Music, University of California, Davis, 2017 Professor, Program of Liberal Studies, University of Notre Dame, 2016 Concurrent Professor in Music and in the Program in Sacred Music, 2016 Director of Graduate Studies, Program in Sacred Music Associate Director of Academics, Program in Sacred Music Associate Professor, Program of Liberal Studies, concurrent in the Program in Sacred Music and in the Department of Music, allied faculty in Italian Studies, University of Notre Dame, 2012-2015. Adjunct Professor, Westville Educational Initiative (WEI) at Westville Correctional Facility, College of the Holy Cross, Fall 2014 Assistant Professor, Program of Liberal Studies, University of Notre Dame, 2006-2012 Assistant Professor, School of Music, University of North Carolina, Greensboro, 2003-2006 Teaching Fellow, Department of Music, Cornell University, 1998-2003 PUBLICATIONS Books: Italian Opera in the Age of the American Revolution. Cambridge: Cambridge University Press, 2011. 396 pp. Winner of the Lewis Lockwood Book Award, conferred by the American Musicological Society. 1- CV - PpP September 2019 Tartini e la musica secondo natura. Lucca: LIM, 2001. 197 pp. Winner of the International Prize in Music Studies, “Premio Internazionale Latina di Studi Musicali.” Edited Books: The Cambridge Companion to Eighteenth-Century Opera. -
Nov 23 to 29.Txt
CLASSIC CHOICES PLAYLIST Nov. 23 - Nov. 29, 2020 PLAY DATE: Mon, 11/23/2020 6:02 AM Antonio Vivaldi Concerto for Viola d'amore, lute & orch. 6:15 AM Wolfgang Amadeus Mozart Divertimento for Winds 6:29 AM Georg Muffat Sonata No.1 6:42 AM Marianne Martinez Sinfonia 7:02 AM Georg Philipp Telemann Concerto for 2 violas 7:09 AM Ludwig Van Beethoven Eleven Dances 7:29 AM Henry Purcell Chacony a 4 7:37 AM Robert Schumann Waldszenen 8:02 AM Johann David Heinichen Concerto for 2 flutes, oboes, vn, string 8:15 AM Antonin Reicha Commemoration Symphony 8:36 AM Ernst von Dohnányi Serenade for Strings 9:05 AM Hector Berlioz Harold in Italy 9:46 AM Franz Schubert Moments Musicaux No. 6 9:53 AM Ernesto de Curtis Torna a Surriento 10:00 AM Wolfgang Amadeus Mozart Rondo for horn & orch 10:07 AM Wolfgang Amadeus Mozart Divertimento No. 3 10:21 AM Wolfgang Amadeus Mozart Piano Sonata 10:39 AM Wolfgang Amadeus Mozart Allegro for Clarinet & String Quartet 10:49 AM Wolfgang Amadeus Mozart Divertimento No. 8 11:01 AM Aaron Copland Appalachian Spring (Ballet for Martha) 11:29 AM Johann Sebastian Bach Violin Partita No. 2 12:01 PM Bedrich Smetana Ma Vlast: The Moldau ("Vltava") 12:16 PM Astor Piazzolla Tangazo 12:31 PM Johann Strauss, Jr. Artist's Life 12:43 PM Luigi Boccherini Flute Quintet No. 3 12:53 PM John Williams (Comp./Cond.) Summon the Heroes 1:01 PM Ludwig Van Beethoven Piano Trio No. 1 1:36 PM Margaret Griebling-Haigh Romans des Rois 2:00 PM Johann Sebastian Bach Konzertsatz (Sinfonia) for vln,3 trpts. -
Programme Artikulationen 2017
Programme ARTikulationen 2017 Introduction 2 Research Festival Programme 4 Thursday, 5 October 2017 6 Friday, 6 October 2017 29 Saturday, 7 October 2017 43 Further Doctoral Researchers (Dr. artium), Internal Supervisors and External Advisors 51 Artistic Doctoral School: Team 68 Venues and Public Transport 69 Credits 70 Contact and Partners 71 1 Introduction ARTikulationen. A Festival of Artistic Research (Graz, 5–7 October 2017) Artistic research is currently a much-talked about and highly innovative field of know- ledge creation which combines artistic with academic practice. One of its central features is ambitious artistic experiments exploring musical and other questions, systematically bringing them into dialogue with reflection, analysis and other academic approaches. ARTikulationen, a two-and-a-half day festival of artistic research that has been running under that name since 2016, organised by the Artistic Doctoral School (KWDS) of the Uni- versity of Music and Performing Arts Graz (KUG), expands the pioneering format deve- loped by Ulf Bästlein and Wolfgang Hattinger in 2010, in which the particular moment of artistic research – namely audible results, which come about through a dynamic between art and scholarship that is rooted in methodology – becomes something the audience can understand and experience. In Alfred Brendel, Georg Friedrich Haas and George Lewis, the festival brings three world- famous and influential personalities and thinkers from the world of music to Graz as key- note speakers. George Lewis will combine his lecture with a version of his piece for soloist and interactive grand piano. The presentations at ARTikulationen encompass many different formats such as keynotes, lecture recitals, guest talks, poster presentations and a round table on practices in artistic research. -
PAUL NETTL, EIGHTEENTH-CENTURY BOHEMIA, and GERMANNESS ■ Martin Nedbal
386 ČLÁNKY / ARTICLES MUSIC HISTORY AND ETHNICITY FROM PRAGUE TO INDIANA: PAUL NETTL, EIGHTEENTH-CENTURY BOHEMIA, AND GERMANNESS ■ Martin Nedbal Dedicated to the memory of Bruno Nettl (1930–2020) In 1947, musicologist Paul Nettl published The Story of Dance Music, his first book after his immigration to the United States from Nazi-occupied Czecho- slovakia.1 In their reviews of the book, two critics accused Nettl of Czech nationalism and chauvinism. Hungarian-born musicologist Otto Gombosi (1902–1955), who settled in the US in 1939, was particularly bothered by what he called Nettl’s „disturbing overemphasis on everything Slavic, and especially Czech.“2 German musicologist Hans Engel (1894–1970) went even further to make an explicit connection between Nettl’s scholarly work and his presumed ethnic identity. Engel was especially critical of Nettl’s claims that the minuets in multi-movement compositions by eighteenth-century composers of the so-called Mannheim School originated in Czech folk music and that the ac- centuated openings of these minuets (on the downbeat, without an upbeat) corresponded “to the trochaic rhythm of the Czech language which has no article.”3 Engel viewed such claims as resulting from “patriotic or nationalistic 1 Paul Nettl, The Story of Dance Music (New York: Philosophical Library, 1947). 2 Otto Gombosi, “The Story of Dance Music by Paul Nettl,” The Musical Quarterly 34, no. 4 (October 1948): 627. Gombosi was even more critical of Nettl’s minor comment about Smetana: “it is chauvinism gone rampant,” he wrote, “to say that ‘Smetana is … a more universal type of genius than Chopin who used only the piano to glorify national aspirations’.” 3 Nettl, The Story of Dance Music, 207; Hans Engel, “Paul Nettl. -
Music by Handel, Purcell, Corelli & Muffat
Belsize Baroque Director: Persephone Gibbs Soprano: Nia Coleman Music by Handel, Purcell, Corelli & Mufat Sunday 27 November 2016, 6.30 pm St Peter’s, Belsize Square, Belsize Park, London NW3 4HY Programme George Friderick Handel (1685–1759) Concerto Grosso in B flat Op.3 No.1 HWV 312 Allegro – Largo – Allegro The Concerti Grossi Opus 3, drawing together pre-existing works by Handel, were published by the less than scrupulous London publisher John Walsh in 1734. A rival composer, Geminiani, had just taken Walsh to court for printing two sets of his Concerti which he claimed Walsh had acquired illegally. While there is no evidence that Handel objected to Walsh’s selection of his works as Opus 3, it looks as if he did not have a chance to edit them pre-publication; it is for instance odd that the last movement of this B flat concerto is in G Minor. The opening movement has solos for the oboes and a violin, the slow movement adds recorders over an orchestral texture with divided violas, and the final movement features bassoons towards the end: all giving London’s best instrumentalists a chance to shine. George Friderick Handel Two arias from the opera Rinaldo, HWV 7 ‘Augelletti, che cantate’ – ‘Lascia ch’io pianga’ Rinaldo is the first Italian opera Handel composed for London, opening in the Haymarket in February 1711. These two arias are sung by Almirena, the daughter of Godfrey of Bouillon, who is capturing the city of Jerusalem from the infidel during the First Crusade (1096–99). Almirena, a character unknown to Torquato Tasso, from whose epic the plot of the opera is drawn, has been introduced into the plot by the librettist to provide a love interest. -
The Fall of the Wall: the Unintended Self-Dissolution of East Germany’S Ruling Regime
COLD WAR INTERNATIONAL HISTORY PROJECT BULLETIN, ISSUE 12 /13 131 The Fall of the Wall: The Unintended Self-Dissolution of East Germany’s Ruling Regime By Hans-Hermann Hertle ast Germany’s sudden collapse like a house of cards retrospect to have been inevitable.” He labeled this in fall 1989 caught both the political and academic thinking “whatever happened, had to have happened,” or, Eworlds by surprise.1 The decisive moment of the more ironically, “the marvelous advantage which historians collapse was undoubtedly the fall of the Berlin Wall during have over political scientists.”15 Resistance scholar Peter the night of 9 November 1989. After the initial political Steinbach commented that historians occasionally forget upheavals in Poland and Hungary, it served as the turning very quickly “that they are only able to offer insightful point for the revolutions in Central and Eastern Europe and interpretations of the changes because they know how accelerated the deterioration of the Soviet empire. Indeed, unpredictable circumstances have resolved themselves.”16 the Soviet Union collapsed within two years. Along with In the case of 9 November 1989, reconstruction of the the demolition of the “Iron Curtain” in May and the details graphically demonstrates that history is an open opening of the border between Hungary and Austria for process. In addition, it also leads to the paradoxical GDR citizens in September 1989, the fall of the Berlin Wall realization that the details of central historical events can stands as a symbol of the end of the Cold War,2 the end of only be understood when they are placed in their historical the division of Germany and of the continent of Europe.3 context, thereby losing their sense of predetermination.17 Political events of this magnitude have always been The mistaken conclusion of what Reinhard Bendix the preferred stuff of which legends and myths are made of.