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On the Question of the Baroque Instrumental Concerto Typology
Musica Iagellonica 2012 ISSN 1233-9679 Piotr WILK (Kraków) On the question of the Baroque instrumental concerto typology A concerto was one of the most important genres of instrumental music in the Baroque period. The composers who contributed to the development of this musical genre have significantly influenced the shape of the orchestral tex- ture and created a model of the relationship between a soloist and an orchestra, which is still in use today. In terms of its form and style, the Baroque concerto is much more varied than a concerto in any other period in the music history. This diversity and ingenious approaches are causing many challenges that the researches of the genre are bound to face. In this article, I will attempt to re- view existing classifications of the Baroque concerto, and introduce my own typology, which I believe, will facilitate more accurate and clearer description of the content of historical sources. When thinking of the Baroque concerto today, usually three types of genre come to mind: solo concerto, concerto grosso and orchestral concerto. Such classification was first introduced by Manfred Bukofzer in his definitive monograph Music in the Baroque Era. 1 While agreeing with Arnold Schering’s pioneering typology where the author identifies solo concerto, concerto grosso and sinfonia-concerto in the Baroque, Bukofzer notes that the last term is mis- 1 M. Bukofzer, Music in the Baroque Era. From Monteverdi to Bach, New York 1947: 318– –319. 83 Piotr Wilk leading, and that for works where a soloist is not called for, the term ‘orchestral concerto’ should rather be used. -
The Double Keyboard Concertos of Carl Philipp Emanuel Bach
The double keyboard concertos of Carl Philipp Emanuel Bach Item Type text; Thesis-Reproduction (electronic) Authors Waterman, Muriel Moore, 1923- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 18:28:06 Link to Item http://hdl.handle.net/10150/318085 THE DOUBLE KEYBOARD CONCERTOS OF CARL PHILIPP EMANUEL BACH by Muriel Moore Waterman A Thesis Submitted to the Faculty of the DEPARTMENT OF MUSIC In Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC In the Graduate College THE UNIVERSITY OF ARIZONA 1 9 7 0 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of re quirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judg ment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. SIGNED: APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: JAMES R. -
Compact Disc B348 2017 5-25.Pdf (753.4Kb)
(0 rvtpvct etl's (, \S 3 ~~mi' SCHOOL OF MUSIC JO I 7 ~ UNIVERSITY of WASHINGTON ~-).'i HOME Acelebration of 30 years ofservice to the UW School of Music by Professors Robin McCabe, Timothy Salzman and Jonathan Bernard UNIVERSITY OF WASHINGTON SYMPHONIC BAND Dr. Steven Morrison, conductor UNIVERSITY OF WASHINGTON WIND ENSEMBLE Timothy Salzman, conductor UNIVERSI1Y OF WASHINGTON ALUMNI WIND ENSEMBLE 7:30 PM May 25/2017 Meany Theater UW MUSIC 2016-17 SEASON ~ DI ~:Jfl1/b 33 UNIVERSITY OF WASHINGTON SYMPHONIC BAND Dr. Steven Morrison, conductor Scherzo for Band (1865/1977) ...............................................................................................Gioacchino Rossini (1792·1868) arr. William A. Schaefer (b. 1918) -z....Magnetidireflies (2001 )......................................................................................................... Augusta Read Thomas (b. 1964) Anita Kumar, conductor r"6wJ IVI «. S r k IjNW. r 2:> Homecoming (2008)..............................................................................................................................Alex Shapiro (b. 1962) Anita Kumar, conductor 1- Second Prelude (1926/196 7)................................................................................................... George Gershwin (1898·1937) arr. John Krance (1934-1989) V- eMt\ CfI\ f:( ~ I VV1o-r r" 1S an 5 The Purple Pageant March (1933) .....................................................................................................Karl L. King (1891-1971) arr. John P. Paynter (1928-1996) -
Rmc193chiprograml5.Pdf
SATURDAY APRIL 29, 2017 | 7:30 PM | ROCKEFELLER CHAPEL A TRIPTYCH: Earth, Moon, Peace Works of Augusta Read Thomas Played by Spektral Quartet and Third Coast Percussion ROCKEFELLER CHAPEL | UNIVERSITY OF CHICAGO OF UNIVERSITY 2 PROGRAM The program is performed without intermission, although there will be brief pauses for resetting the stage. You are warmly invited to a wine and cheese reception here in the Chapel after the concert, with refreshments served from the west transept. You will also find CDs on sale. RAINBOW BRIDGE TO PARADISE SELENE Moon Chariot Rituals 2016 2015 3 Russell Rolen CELLO Spektral Quartet Third Coast Percussion and CHI CHI | A TRIPTYCH: EARTH, MOON, PEACE CHI for string quartet RESOUNDING EARTH 2017 World première 2012 I CHI vital life force I INVOCATION pulse radiance II AURA atmospheres, colors, vibrations II PRAYER star dust orbits III MERIDIANS zeniths III MANTRA ceremonial time shapes IV CHAKRAS center of spiritual power in the body IV REVERIE CARILLON crystal lattice Spektral Quartet Third Coast Percussion Clara Lyon VIOLIN David Skidmore Maeve Feinberg VIOLIN Peter Martin Doyle Armbrust VIOLA Robert Dillon Russell Rolen CELLO Sean Connors ABOUT THIS CONCERT Like most works of art, tonight’s concert came into Enter Spektral Quartet (or re-enter, for this being through the confluence of flashes of desire, conversation also had begun, allegro con spirito, some snippets of conversation, and the sudden alignment of eons before). On March 7, 2015, the cosmic lights went energies sparked by the commissioning of a new work. green and we knew we had a program: Selene, to be The flash of desire came just over three years ago. -
Programnotes Brahms Double
Please note that osmo Vänskä replaces Bernard Haitink, who has been forced to cancel his appearance at these concerts. Program One HundRed TwenTy-SeCOnd SeASOn Chicago symphony orchestra riccardo muti Music director Pierre Boulez Helen Regenstein Conductor emeritus Yo-Yo ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Thursday, October 18, 2012, at 8:00 Friday, October 19, 2012, at 8:00 Saturday, October 20, 2012, at 8:00 osmo Vänskä Conductor renaud Capuçon Violin gautier Capuçon Cello music by Johannes Brahms Concerto for Violin and Cello in A Minor, Op. 102 (Double) Allegro Andante Vivace non troppo RenAud CApuçOn GAuTieR CApuçOn IntermIssIon Symphony no. 1 in C Minor, Op. 68 un poco sostenuto—Allegro Andante sostenuto un poco allegretto e grazioso Adagio—Allegro non troppo, ma con brio This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. Comments by PhilliP huscher Johannes Brahms Born May 7, 1833, Hamburg, Germany. Died April 3, 1897, Vienna, Austria. Concerto for Violin and Cello in a minor, op. 102 (Double) or Brahms, the year 1887 his final orchestral composition, Flaunched a period of tying up this concerto for violin and cello— loose ends, finishing business, and or the Double Concerto, as it would clearing his desk. He began by ask- soon be known. Brahms privately ing Clara Schumann, with whom decided to quit composing for he had long shared his most inti- good, and in 1890 he wrote to his mate thoughts, to return all the let- publisher Fritz Simrock that he had ters he had written to her over the thrown “a lot of torn-up manuscript years. -
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. -
Edgar Meyer Biography by IMG Artists - IMG Artists Imgartists.Com
Edgar Meyer Biography by IMG Artists - IMG Artists imgartists.com Edgar Meyer In demand as both a performer and a composer, Edgar Meyer has formed a role in the music world unlike any other. Hailed by The New Yorker as “...the most remarkable virtuoso in the relatively un-chronicled history of his instrument”, Mr. Meyer’s unparalleled technique and musicianship in combination with his gift for composition have brought him to the fore, where he is appreciated by a vast, varied audience. His uniqueness in the field was recognized by a MacArthur Award in 2002. As a solo classical bassist, Mr. Meyer can be heard on a concerto album with the St. Paul Chamber Orchestra conducted by Hugh Wolff featuring Bottesini’s Gran Duo with Joshua Bell, Meyer’s own Double Concerto for Bass and Cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and Meyer’s own Concerto in D for Bass. He has also recorded an album featuring three of Bach’s Unaccompanied Suites for Cello. In 2006, he released a self-titled solo recording on which he wrote and recorded all of the music, incorporating piano, guitar, mandolin, dobro, banjo, gamba, and double bass. In 2007, recognizing his wide-ranging recording achievements, Sony/BMG released a compilation of “The Best of Edgar Meyer”. In 2011 Mr. Meyer joined cellist Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan for the Sony Masterworks recording “The Goat Rodeo Sessions” which was awarded the 2012 Grammy® Award for Best Folk Album. As a composer, Mr. Meyer has carved out a remarkable and unique niche in the musical world. -
Music Director Riccardo Muti Returns to Cso for Two Weeks of Concerts in February
FOR IMMEDIATE RELEASE Contact: January 14, 2016 Eileen Chambers, 312.294.3092 Photos Available By Request: [email protected] MUSIC DIRECTOR RICCARDO MUTI RETURNS TO CSO FOR TWO WEEKS OF CONCERTS IN FEBRUARY February 11–20, 2016 CSO Principal Clarinet Stephen Williamson and CSO Concertmaster Robert Chen Make Solo Appearances with Muti and CSO Muti and Members of CSO Offer Lenten Performance of Haydn’s The Seven Last Words of Our Savior on the Cross with Archbishop Blase J. Cupich at Holy Name Cathedral on February 19 CHICAGO—Music Director Riccardo Muti returns to Chicago in February for two weeks of concerts and activities February 11-20 during the Chicago Symphony Orchestra’s 125th anniversary season. Programs include subscription concerts featuring CSO Principal Clarinet Stephen Williamson (February 11-14) and CSO Concertmaster Robert Chen (February 18-20), a Lenten performance at Holy Name Cathedral with members of the CSO and Archbishop Blase J. Cupich on February 19 and an Open Rehearsal with the Festival Orchestra of the 2016 Chicago Youth in Music Festival on February 15. On February 11-14, Muti leads a program that highlights the CSO strings in a diverse array of works including György Ligeti’s haunting work for string orchestra, Ramifications, and Tchaikovsky’s Serenade for String Orchestra. The previously-announced premiere of CSO Mead Composer-in-Residence Elizabeth Ogonek’s new work for strings and percussion commissioned for the CSO has been postponed until a future date to be announced. Replacing the Ogonek work on the program is Arvo Pärt’s Orient and Occident, an intense and evocative work for strings in a first-ever performance by the CSO. -
Mercredi 12 Décembre Orchestre De Paris | Ensemble Intercontemporain O Rch Estre D E P a Ris | E N Sem B Le in Terco N Tem
Roch-Olivier Maistre, Président du Conseil d’administration Laurent Bayle, Directeur général Mercredi 12 décembre Mercredi 12 décembre Mercredi | Orchestre de Paris | Ensemble intercontemporain Dans le cadre du cycle Du sprirituel dans l’art Du mercredi 28 novembre au dimanche 16 décembre 2007 Vous avez la possibilité de consulter les notes de programme en ligne, 2 jours avant chaque concert, à l’adresse suivante : www.cite-musique.fr Orchestre de Paris | Ensemble intercontemporain Ensemble | Paris de Orchestre Cycle Du spirituel dans l’art Autour de Pierre Boulez Du MerCreDi 28 noVeMBre Au DiMAnChe 16 DéCeMBre Entretien avec Pierre Boulez Analysant le parallèle Kandinsky-Schönberg, vous confiiez préférer « par dessus tout que l’esprit parle à l’esprit. » Ne pourrait-on retrouver, au sein de l’œuvre musicale, la fonction prophétique de la peinture abstraite, et cette aptitude à révéler un Invisible habituellement trahi par des représentations trop précises ? Avec l’œuvre musicale, sauf si elle repose sur un texte – et encore que la poésie contemporaine elle-même soit parfois difficilement déchiffrable –, tout est très différent. Son message échappe à toute définition. L’humanisme dont on affuble les derniers quatuors de Beethoven par exemple ne signifie pas grand chose, tandis que la dimension panthéiste de la Missa solemnis est plus proche de la Neuvième Symphonie que de la tradition liturgique. La production religieuse de Mozart – et celle des XViiie et XiXe siècles en général – demeure surtout théâtrale, et certaines pages sacrées de Monteverdi sont aussi dramatiques que la musique de l’Orfeo. La musique a perdu sa fonction rituelle. elle n’a plus de style spécifique. -
The Solo Voice
concert program viii: The Solo Voice JOHANN SEBASTIAN BACH (1685–1750) August 9 and 10 Concerto for Violin and Oboe in c minor, BWV 1060 (ca. 1736) Allegro Friday, August 9, 8:00 p.m., Stent Family Hall, Menlo School Adagio Allegro Saturday, August 10, 6:00 p.m., The Center for Performing Arts Kristin Lee, solo violin; James Austin Smith, oboe; Hyeyeon Park, harpsichord; Arnaud Sussmann, at Menlo-Atherton Benjamin Beilman, violins; Richard O’Neill, viola; Dmitri Atapine, cello; Scott Pingel, bass PROGRAM OVERVIEW FRANZ SCHUBERT (1797–1828) The season comes to a riveting close as we celebrate the exuber- Rondo in A Major for Violin and String Quartet, D. 438 (1816) ance of Bach’s music for solo instruments and the virtuosity of the Sean Lee, solo violin; Jorja Fleezanis, Benjamin Beilman, violins; Richard O’Neill, viola; David Finckel, cello soloist. With its origins as an orchestral concerto, Bach’s Concerto WOLFGANG AMADEUS MOZART (1756–1791) for Violin and Oboe revels in the novelty of a double concerto, a Piano Concerto no. 12 in A Major, K. 414 (1782) masterly example of a virtuosic pairing of strings and wind instru- Allegro Andante (after J. C. Bach) ments. Schubert’s Rondo in A Major equally captures the essence Rondeau: Allegretto of the virtuosic violin with its rambunctious finale. Mozart wrote his Gilbert Kalish, piano; Arnaud Sussmann, Jorja Fleezanis, violins; Richard O’Neill, viola; David Finckel, cello; Twelfth Piano Concerto shortly after the death of Bach’s son Carl Scott Pingel, bass Philipp Emanuel, a close friend and mentor. The program con- INTERMISSION PROGRAMSCONCERT cludes with the Double Concerto for Violin, Piano, and Strings by Felix Mendelssohn, one of the most devoted heirs of Bach’s legacy, FELIX MENDELSSOHN (1809–1847) responsible for launching the modern Bach revival. -
Brandenburg Concerto No. 3, 3Rd Movement
BRANDENBURG CONCERTO No. 3 rd (3 movement: “Allegro”) 2 J. S. Bach (1718) BRANDENBURG CONCERTO NO. 3 3rd movement, “Allegro” By Johann Sebastian Bach (Germany) Baroque (ca. 1718) LESSON INTRODUCTION Important Terms and Concepts ∗ Concerto grosso: a type of piece in which multiple soloists perform with an orchestra ∗ Major scale: A scale is an ordered succession of pitches, arranged in a specific pattern of whole (W) or half (H) steps. A major scale follows the pattern WWHWWWH and is often sung as “Do Re Mi Fa Sol La Ti Do” ∗ Tempo: the speed of music o Adagio: slow, stately, leisurely o Allegro: quickly BEHIND THE MUSIC Johann Sebastian Bach (1685 – 1782) is widely considered to be one of the most important composers in the history of Western music. His father was a The Discovery concerts on respected violinist and January 26 - 27, 2017, will violist, but both his feature J. S. Bach’s “Air “ from mother and father died Symphonic Suite No. 3. when he was around 10 Register your class for this free concert today!! years old. Bach moved in with his brother, who was a professional church organist, and in the Amplify Curriculum: copyright 2016 Shreveport Symphony Orchestra www.shreveportsymphony.com 3 following years, he studied organ, clavichord, violin, and composition of music. Bach later served for the courts, where he was obligated to compose a great deal of instrumental music: hundreds of pieces for solo keyboard, concertos, orchestral dance suites, and more! In a tribute to the Duke of Brandenburg in 1721, Bach created the "Brandenburg Concertos.” These concertos represent a popular music style of the Baroque era, the concerto grosso, in which a group of soloists play with a small orchestra. -
Notes on the Program by James M
Notes on the Program By James M. Keller, Program Annotator, The Leni and Peter May Chair Concerto in D major for Violin and Orchestra, Op. 77 Johannes Brahms ohannes Brahms was the chief acolyte of time. It was Joachim who had championed Jthe conservative stream of 19th-century Beethoven’s Violin Concerto to a degree that Romanticism. As a young composer, he lifted it in musical prestige from a perceived sought out the composer and critic Robert footnote in Beethoven’s catalogue to a reper- Schumann in 1853. Schumann was hugely toire masterwork. He would introduce such impressed by the young man’s talent, and on important works as Schumann’s Phantasie October 28 of that year he published in the for Violin and Orchestra (1854) and Violin Neue Zeitschrift für Musik, a musical maga- Concerto (though the latter only in private zine he had founded, an effusive article that performances beginning in 1855) and the acclaimed Brahms as a sort of musical Mes- final version of Max Bruch’s Violin Concer- siah, “destined to give ideal presentation to to No. 1 (in 1868), as well as Brahms’s Violin the highest expression of the time, … spring- Concerto and Double Concerto for Violin ing forth like Minerva fully armed from the and Cello. head of Jove.” Joachim’s presence looms large in the Brahms filled Schumann’s prophecy and case of Brahms’s Violin Concerto, as the became the figure who most fully adapted composer consulted with him very closely the models of Beethoven (via Mendelssohn while writing the piece and there is no ques- and Schumann himself) to the evolving aes- tion that Joachim’s influence on the final thetics of the mid-to-late 19th century.