Concerto in G for Viola Alto Clef Orchestra Score

Total Page:16

File Type:pdf, Size:1020Kb

Concerto in G for Viola Alto Clef Orchestra Score Orch vla 1 Concerto in G for Viola Alto Clef Orchestra Score Georg Philipp Telemann One arr. Katrina Wreede ˙ œ. œ ˙ ˙ ˙ œ. œ. ˙ ˙ ˙ # 3 ˙ J œ œ œ. œ œ. œ B 2 J J Ó J Ó J 6 f Ÿ ˙ # œ. œ œ œ. œ œ. œ ˙. œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ. œ B J œ. J J J Ó Ó Ó J 12 π ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ #˙ B # ˙ Ó #˙ ˙ Ó Ó Ó Ó Ó 18 œ. #œ ˙ # œ. œ ˙ J ˙ ˙ ˙ œ. œ ˙ ˙ ˙ ˙ ˙ ˙ B Ó J ˙ J Ó Ó 24 π f ˙ ˙ ˙ ˙ ˙ ˙ ˙ #œ. œ B # ˙ Ó Ó ˙ Ó ˙ Ó #˙ Ó Ó J 30 f ˙ # ˙ œ. #œ ˙ œ. œ ˙ ˙ œ. œ œ. œ ˙ œ. œ ˙ B J ˙ J J J J Ó Ó 35 π . œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ B # Ó œ J Ó Ó Ó Ó Ó ˙ Ó ˙ Ó cad. 41 Ÿ ˙ ˙ œ. œ ˙. U 2 œ. œ ˙ B # Ó J œ ˙ Ó ˙ w Ó Ó J 48 f ˙ œ. œ ˙ ˙ œ. œ. œ œ. ˙ ˙ j˙ B # J œ J œ œ. œ Ó œ. œ Ó œ. œ J J J J 53 œ ˙ ˙ ˙ œ. œ œ. œ. œ Ÿ U # œ œ J J J ˙. œ w. 4 B J 4 ©2010 Katrina Wreede,Vlazville Music Concerto in G for Viola 2 Two Allegro 57 # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 60 # œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ œ B œœœ œ œ œœœœœœœ œœœ œ œ œœœœœœœ œœœœ Œ Ó p 64 œ œ œ œ # œ œœœ œ œ œ œ œ œ œ œ œ œ B Ó Œ ‰ J œœœœœœœ œœœ œ œ œœœœœœœ œœœ œ œ œœœœœœœ f 68 œ œ œ 5 œ œ œ œ œ œ œ œ œ œ œ B # œœœœœœœ œœœ œ œ Œ Ó œœœ œ œnœ œœœ œ f 77 œ œ œ œ œ 4 œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ œ œ œœœ œ œ œœœœœœœ B # œœ œœœ 84 f œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ # œœœ œ œ œœœœœœœ œœœ œ œ œœœœœœœ B œœœœ Œ Ó 88 œ œ œ œ œ œ œ œ œ œ 3 œ œœœœœœœ œ œ œ B # Ó Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ‰J ‰J œœœœœœ p f 98 œ œ # œ œ œœœ œœ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ B ‰J Œ Ó œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ œ Œ Ó p 107 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ B # ∑ Ó Œ Ó f f Concerto in G for Viola 3 113 œ œ œ œ œ œ œ œ œ 2 B # Œ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœœœœœ p 120 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B œœœœ œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ œ Œ 124 # œœ œ œœœœœœ œ œœœœ œ œ œ œ œ B ∑ ∑ & œ œ œ œœœœ B œœœ œ œ œœœœœœœ f rit. 129 # œ œ œ œ œ œ œ œ œ œœœ œ œœœœœ ˙ U B œœœ œ œ œœœœœœœ œœœ œ œ œœœœœœœ œœœœ Ó Andante Three 133 œ œ œ œ œ nœ œ . #œ . œ œ œ. œ œ œ œ. œ œ œ œ œ . œ œ. œ . œ B # ‰ œ œ œ œ œ. œ œ f 136 Ÿ # œ.œœ.œœ. œ œ j œ œ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ œ œ B ‰ œ #œ œ œ œ œ œ œ œ œ œ#œ œ p 141 . œ #œ œ. œ œ #œ œ # œ œ œ œ œ œ œ #œ œ œ œ œ œ œ B œ Œ Ó Œ ‰ J œ#œ œ œ œ f 145 Ÿ # œ œ. œ œ œ œ œ œ œ B œ œ #œ. œ œ. œ. œ. œ#œ. œ œ. œ œ. œ œ Œ Ó Concerto in G for Viola 4 148 œ œ # œ. œ œœ.œ œ#œ œ œ. œ œ œ œ œ œœœœœœœœ B ‰ Œ Ó ∑ Ó ‰ Œ Ó Ó Œ ‰ J p p 155 cad. œ œ œ œ U . #œ . œ œ B # œ œ œ œ œ œ œ œ ∑ ∑ ∑ ‰ œ œ f rit. 160 œ .nœ œ œ. œ œ œ œ œ œ œ œ œ . œ œ. œ . œ œ . Ÿ U B # œ œ œ. œ œ œ. œ œœ. œ ˙ C Four Presto 163 œ ˙ ˙ œ œ œ œ œ # œ œœ œ œ œ œ œ œ œ ˙ œ œ œ ˙ B C . Œ œ œ œ. œ œ f 171 3 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B œ. œ œ œ œ œ œ œ œ œ œ ˙. Œ 179 ≥ # œ œ ˙ œ œ œ œ ˙ œ œ œ œ ˙ œ œ œ œ œ ˙ B Ó Œ ˙ ˙ ˙ ˙ Ó p 188 ≥ ≥ ≥ ≥ ≥ œ ˙ #˙ œ#œ œœ œ œ B # ˙ Ó ˙ Ó ˙ Ó ˙ Ó ˙ Ó Ó Œ œœœ œ œ f 197 œ ˙ œ ˙ œ œ ˙ œ #˙ œ ˙ œ ˙ B # Œ Œ Œ Œ Œ p 203 ˙ œ œ . ˙ ˙ #˙ ˙ œ œ ˙ œ. œ œ #œ ˙ B # œ œ œ œ œ . Concerto in G for Viola 5 210 œ œ œ # ˙ ˙ œ #œ œ œ œ œ œ œ B . œ œ f 214 œ œ 3 œ ˙ ˙ ˙ ˙ B # Ó Ó Œ Ó Ó Ó Ó p 223 ˙ ˙ ˙ b˙ 4 ˙ B # Ó Ó Ó Œ œ #˙ f 232 œ 3 œ ˙ # œ nœnœ œ œ œ œ ˙ B œ œ œ œ œ Ó Ó Œ p 240 ˙ ˙ ˙ ˙ ˙ ˙ B # ˙ ˙ ˙ ˙ Ó Ó ˙ Ó 247 ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B # ˙ Ó Ó Œ Œ f p 253 œ ˙ œ ˙ œ ˙ œ ˙ ˙ ˙ B # ˙ Œ Œ Œ Œ ˙ ˙ ˙ 260 ˙ ˙ ˙ œ œ ˙ œ œ B # ˙ ˙ Œ œ œ œ. œ œ ˙ œ f 266 # œ œ œ œ œ œ œ œ œ œ B œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . rit. œ œ ˙. Orch vla 2 Concerto in G for Viola Alto Clef Orchestra Score Georg Philipp Telemann One arr. Katrina Wreede œ. œ ˙ ˙ ˙ B # 3 ˙ Ó ˙ ˙ œ œ. J ˙ Ó Ó ˙ Ó œ. œ j 2 J ˙ ˙ J œ. œ f 7 Ÿ # j ˙ ˙ ˙ B œ. œ ˙. œ ˙ Ó ˙ Ó Ó ˙ ˙ Ó ˙ ˙ Ó ˙ π 13 # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ B ˙ Ó Ó Ó ˙ Ó Ó Ó Ó ˙ f 20 # œ. œ . œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ B ˙ J#œ J ˙ Ó Ó Ó Ó Ó Ó π 27 ˙ ˙ ˙ B # ˙ Ó n˙ ˙ Ó ˙ Ó ˙ ˙ Ó ˙ Ó ˙ ˙ ˙ #˙ ˙ Ó f π 34 ˙ ˙ ˙ ˙ ˙ B # Ó Ó Ó Ó ˙ Ó Ó Ó Ó Ó ˙ Ó ˙ ˙ Ó ˙ 41 cad. ˙ ˙ ˙ U 2 B # Ó ˙ ˙ ˙ Ó ˙ w Ó Ó Ó ˙ ˙ Ó ˙ ˙ Ó #˙ f 50 ˙ œ. Ÿ U # ˙ ˙ ˙ œ œ. œ œ. œ ˙ ˙ ˙. œ w. 4 B ˙ Ó Ó ˙ Ó J J J w 4 ©2010 Katrina Wreede,Vlazville Music Concerto in G for Viola 2 Two Allegro 57 œ œ œ œ œ œ B # 4 œ œ œ œ œœ œœ œ œ œ œ ‰ œ œ œœ œ œ ‰ œ œœœ œ 4 œ œ œ œœ œ J J œ 61 f # j œœ j œ j œ œ œœœ œ B œ ‰ œ œ œ œ œ ‰ œ œœ œœœœœ œ Œ Ó Ó Œ ‰ œ ‰ J œ 66 p f B # œ ‰ œ œ œ œ œ ‰ j œ œ œ ‰ j œ œ œ Œ Ó J œ œ œ œ œ œ œ œ œ œ œ œ œ 70 5 4 œ œ œ #œ œ œ œ œ œ B # œ œ œ œœœ œœœ œ œ Œ œ œ œ œ œ œœ 82 f f œ œ #œ œ #œ #œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B œ ‰ J ‰ J ‰ J œ 86 œ œ œ #œ œ # œ œ œœœœœœœœ œ œ œ B ‰ J œ Œ Ó Ó Œ Œ Œ Œ Œ Œ Œ 92 p 3 œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ B # Œ œ Œ œ Œ ‰ J #œ œ ‰ J 98 f œ œ œ œ œ œ œ œ 4 B # ‰ J œ œ Œ Ó ‰ œ ‰ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ 106 p # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 B œ Œ Ó ∑ Ó Œ 112 f œ œ œ œ œ œ œ œ œ œ œ œ œ 2 B # Ó #œ œ #œ œ Œ f Concerto in G for Viola 3 116 # œ œ œ œ œ œ œ œ B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ p 121 2 œ œ œ B # ‰ j œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 127 f œ œ B # œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ & J J rit.
Recommended publications
  • 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
    [Show full text]
  • Franz Anton Hoffmeister’S Concerto for Violoncello and Orchestra in D Major a Scholarly Performance Edition
    FRANZ ANTON HOFFMEISTER’S CONCERTO FOR VIOLONCELLO AND ORCHESTRA IN D MAJOR A SCHOLARLY PERFORMANCE EDITION by Sonja Kraus Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2019 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 ______________________________________ Emilio Colón, Research Director and Chair ______________________________________ Kristina Muxfeldt ______________________________________ Peter Stumpf ______________________________________ Mimi Zweig September 3, 2019 ii Copyright © 2019 Sonja Kraus iii Acknowledgements Completing this work would not have been possible without the continuous and dedicated support of many people. First and foremost, I would like to extend my deepest gratitude to my teacher and mentor Prof. Emilio Colón for his relentless support and his knowledgeable advice throughout my doctoral degree and the creation of this edition of the Hoffmeister Cello Concerto. The way he lives his life as a compassionate human being and dedicated musician inspired me to search for a topic that I am truly passionate about and led me to a life filled with purpose. I thank my other committee members Prof. Mimi Zweig and Prof. Peter Stumpf for their time and commitment throughout my studies. I could not have wished for a more positive and encouraging committee. I also thank Dr. Kristina Muxfeldt for being my music history advisor with an open ear for my questions and helpful comments throughout my time at Indiana University. I would also like to thank Dr.
    [Show full text]
  • This Paper Is a Revised Version of My Article 'Towards A
    1 This paper is a revised version of my article ‘Towards a more consistent and more historical view of Bach’s Violoncello’, published in Chelys Vol. 32 (2004), p. 49. N.B. at the end of this document readers can download the music examples. Towar ds a different, possibly more historical view of Bach’s Violoncello Was Bach's Violoncello a small CGda Violoncello “played like a violin” (as Bach’s Weimar collegue Johann Gottfried Walther 1708 stated)? Lambert Smit N.B. In this paper 18 th ­century terms are in italics. Introduction Bias and acquired preferences sometimes cloud people’s views. Modern musicians’ fondness of their own instruments sometimes obstructs a clear view of the history of each single instrument. Some instrumentalists want to defend the territory of their own instrument or to enlarge 1 it. However, in the 18 th century specialization in one instrument, as is the custom today, was unknown. 2 Names of instruments in modern ‘Urtext’ editions can be misleading: in the Neue Bach Ausgabe the due Fiauti d’ Echo in Bach’s score of Concerto 4 .to (BWV 1049) are interpreted as ‘Flauto dolce’ (=recorder, Blockflöte, flûte à bec), whereas a Fiauto d’ Echo was actually a kind of double recorder, consisting of two recorders, one loud and one soft. (see internet and Bachs Orchestermusik by S. Rampe & D. Sackmann, p. 279­280). 1 The bassoon specialist Konrad Brandt, however, argues against the habit of introducing a bassoon in every movement in Bach’s church music where oboes are played (the theory ‘wo Oboen, da auch Fagott’) Bach­Jahrbuch '68.
    [Show full text]
  • Viola Concerto Second Movement
    String Orchestra Series • Grade 3.5 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish 1 Full Score 8 Violin I 8 Violin II 5 Viola 5 Cello 5 Bass For PreviewExtra Parts P3035221 Only 3035222 sm INGERT WONES J P UBLICATIONS Program Notes The Telemann Viola Concerto is one of the most famous ever written for the instrument. Although originally in four movements, this arrangement focuses on the exuberant second movement. Care has been taken to keep a great deal of melodic material in the viola part. Difficult sixteenth note passages have been broken up to be easily played by both the violin and viola sections. Student violists will enjoy playing this medium level work, and they will appreciate the opportunity it gives to showcase the beauty and power of their instrument. About the Arranger Todd Parrish has taught public school orchestras at all levels for 17 years in both Illinois and Virginia. He currently has several original compositions and arrangements published with Alfred Music and Wingert-Jones Publications. He received a Bachelor of Music Education from Oral Roberts University in Oklahoma and a Master of Music in orchestral conducting from the University of Arizona in Tucson. He has also studied conducting at workshops with many leading teachers in Colorado, Illinois, South Carolina, Maine, and Aix-en-Provence, France. Todd is the orchestra editor for J.W. Pepper & Son sheet music and the string editor for Wingert-Jones Publications based in Exton, Pennsylvania. In addition to playing violin and viola with many symphony orchestras around the country, he regularly guest conducts student orchestras upon request ([email protected]) For Preview Only Duration 3:00 Viola Concerto Second Movement Georg Philipp Telemann arranged by Todd Parrish Allegro q = 100 œ œ≥ œ œ œ Violin I ° #4 ≥ .
    [Show full text]
  • Repertoire List
    APPROVED REPERTOIRE FOR 2022 COMPETITION: Please choose your repertoire from the approved selections below. Repertoire substitution requests will be considered by the Charlotte Symphony on an individual case-by-case basis. The deadline for all repertoire approvals is September 15, 2021. Please email [email protected] with any questions. VIOLIN VIOLINCELLO J.S. BACH Violin Concerto No. 1 in A Minor BOCCHERINI All cello concerti Violin Concerto No. 2 in E Major DVORAK Cello Concerto in B Minor BEETHOVEN Romance No. 1 in G Major Romance No. 2 in F Major HAYDN Cello Concerto No. 1 in C Major Cello Concerto No. 2 in D Major BRUCH Violin Concerto No. 1 in G Minor LALO Cello Concerto in D Minor HAYDN Violin Concerto in C Major Violin Concerto in G Major SAINT-SAENS Cello Concerto No. 1 in A Minor Cello Concerto No. 2 in D Minor LALO Symphonie Espagnole for Violin SCHUMANN Cello Concerto in A Minor MENDELSSOHN Violin Concerto in E Minor DOUBLE BASS MONTI Czárdás BOTTESINI Double Bass Concerto No. 2in B Minor MOZART Violin Concerti Nos. 1 – 5 DITTERSDORF Double Bass Concerto in E Major PROKOFIEV Violin Concerto No. 2 in G Minor DRAGONETTI All double bass concerti SAINT-SAENS Introduction & Rondo Capriccioso KOUSSEVITSKY Double Bass Concerto in F# Minor Violin Concerto No. 3 in B Minor HARP SCHUBERT Rondo in A Major for Violin and Strings DEBUSSY Danses Sacrée et Profane (in entirety) SIBELIUS Violin Concerto in D Minor DITTERSDORF Harp Concerto in A Major VIVALDI The Four Seasons HANDEL Harp Concerto in Bb Major, Op.
    [Show full text]
  • The String Family
    The String Family When you look at a string instrument, the first thing you'll probably notice is that it's made of wood, so why is it called a string instrument? The bodies of the string instruments, which are hollow inside to allow sound to vibrate within them, are made of different kinds of wood, but the part of the instrument that makes the sound is the strings, which are made of nylon, steel or sometimes gut. The strings are played most often by drawing a bow across them. The handle of the bow is made of wood and the strings of the bow are actually horsehair from horses' tails! Sometimes the musicians will use their fingers to pluck the strings, and occasionally they will turn the bow upside down and play the strings with the wooden handle. The strings are the largest family of instruments in the orchestra and they come in four sizes: the violin, which is the smallest, viola, cello, and the biggest, the double bass, sometimes called the contrabass. (Bass is pronounced "base," as in "baseball.") The smaller instruments, the violin and viola, make higher-pitched sounds, while the larger cello and double bass produce low rich sounds. They are all similarly shaped, with curvy wooden bodies and wooden necks. The strings stretch over the body and neck and attach to small decorative heads, where they are tuned with small tuning pegs. The violin is the smallest instrument of the string family, and makes the highest sounds. There are more violins in the orchestra than any other instrument they are divided into two groups: first and second.
    [Show full text]
  • Lunchtime Concert in Europe, Scandinavia, China, the U.S
    Rob Nairn worked as Associate Professor of Double Bass at Melbourne Conservatorium and Head of the Early Music Department for the past three years. He previous taught on the faculty of the Juilliard School for 11 years and Penn State University for 18 years where he was a Distinguished Professor. A Past-president of the International Society of Bassists he hosted the Society’s 2009 Convention at Penn State. Rob received his Bachelor of Music with distinction from the Canberra School of Music and a post-graduate diploma from the Berlin Musikhochschule by courtesy of a two-year DAAD German Government Scholarship. His teachers have included Klaus Stoll, Tom Martin, and Max McBride. In 2008 he was awarded a Howard Foundation Fellowship from Brown University. Rob has performed with the Pittsburgh Symphony Orchestra, the London Philharmonic, the English, Scottish and Australian Chamber Orchestras, the Bavarian Radio Symphony Orchestra, The Oslo Philharmonic, The Gothenburg Symphony, The Baltimore Symphony, The Halle Orchestra, the London Sinfonietta, and the Sydney, Adelaide, Queensland and Melbourne Symphony Orchestras, the Australia Ensemble, The Australian World Orchestra and the Australian String Quartet. Rob has recorded for Deutsche Grammaphon, Sony Classical , EMI, Naxos, Tall Poppies, RCA and ABC Classics. In Historical Performance he is currently principal bass with the Australian Brandenburg Orchestra and the Handel Haydn Society of Boston and has worked with the Boston Early Music Festival, Juilliard Baroque, Orchestre Revolutionnaire et Romantique, English Baroque Soloists, Smithsonian Chamber Players, Concerto Caledonia, Ironwood, Washington Bach Consort, the Aulos Ensemble, Rebel, Florilegium and the Orchestra of the Age of Enlightenment.
    [Show full text]
  • Concerto in G Major for Viola and Piano
    G.P.Telemann Concerto in G major for viola and piano www.virtualsheetmusic.com www.virtualsheetmusic.com Classical Sheet Music Downloads® Virtual Sheet Music PDF fi les - License Agreement Carefully read all the terms and conditions of this license agreement prior to use of this document. Use of this document whether all or a portion of this music indicates your agreement to the following terms and condi- tions. Virtual Sheet Music grants you, the purchaser, a non-exclusive license to use this score (the »PDF score«), under the terms and conditions stated in this agreement. You may: 1. make one copy of the PDF score solely for back-up purposes. 2. print this document for your personal use. You may not: 1. make copies of the PDF score in whole or in part except as expressly provided for in this agreement. 2. make alterations or modifi cations to the PDF score or any copy, or otherwise attempt to discover the source code of the PDF score. 3. sub-license, lease, lend, rent or grant other rights in all or any copy to others. 4. make verbal or media translation of the PDF score. 5. make telecommunication data transmission of the PDF score. Terms: This agreement is effective until terminated. You may terminate it at any time by destroying the PDF score, to- gether with all copies in any form. It will also terminate if you fail to comply with any term or condition in this agreement. NOTE: when you select Print, be certain to select the “shrink to fi t” or “fi t to page” option before clicking OK.
    [Show full text]
  • Catgut Acoustical Society Journal
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.
    [Show full text]
  • The Issue of Size: a Glimpse Into the History of the Violoncello Piccolo
    Page 1 The Issue of Size: A Glimpse into the History of the Violoncello Piccolo by Johanna Randvere Early Music Department University of the Arts, Sibelius Academy April 2020 Page 2 Abstract The aim of this research is to find out whether, how and why the size, tuning and the number of strings of the cello in the 17th and 18th centuries varied. There are multiple reasons to believe that the instrument we now recognize as a cello has not always been as clearly defined as now. There are written theoretical sources, original survived instruments, iconographical sources and cello music that support the hypothesis that smaller-sized cellos – violoncelli piccoli – were commonly used among string players of Europe in the Baroque era. The musical examples in this paper are based on my own experience as a cellist and viol player. The research is historically informed (HIP) and theoretically based on treatises concerning instruments from the 17th and the 18th centuries as well as articles by colleagues around the world. In the first part of this paper I will concentrate on the history of the cello, possible reasons for its varying dimensions and how the size of the cello affects playing it. Because this article is quite cello-specific, I have included a chapter concerning technical vocabulary in order to make my text more understandable also for those who are not acquainted with string instruments. In applying these findings to the music written for the piccolo, the second part of the article focuses on the music of Johann Sebastian Bach, namely cantatas with obbligato piccolo part, Cello Suite No.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date: 12-May-2010 I, Chiu-Ching Su , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Viola It is entitled: A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas Student Signature: Chiu-Ching Su This work and its defense approved by: Committee Chair: Catharine Carroll, DMA Catharine Carroll, DMA 6/18/2010 657 A Performance Guide to Franz Anton Hoffmeister’s Viola Concerto in D Major with an Analytical Study of Published Cadenzas 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 2010 by Chiu-Ching Su B.M. Fu Jen Catholic University, 2001 M.M. University of Cincinnati, 2003 ABSTRACT Franz Anton Hoffmeister’s Viola Concerto in D Major (written prior to 1799) has become among the standard repertoire of viola concertos, due to the rise of viola virtuosos since the beginning of the twentieth century and the rarity of virtuosic viola concertos with stylistic forms from the Classical period. This piece has been included in several major orchestra auditions and competitions. While violists often lack hands-on experiences of the Classical repertoire, this document is to provide violists ways to perform this piece and pieces from the same period. Hoffmeister’s Viola Concerto in D Major has been published by G. Henle Verlag, Kunzelmann, Peters, Kalmus, International Music Company (New York), H.
    [Show full text]
  • The Use of Scordatura in Heinrich Biber's Harmonia Artificioso-Ariosa
    RICE UNIVERSITY TUE USE OF SCORDATURA IN HEINRICH BIBER'S HARMONIA ARTIFICIOSO-ARIOSA by MARGARET KEHL MITCHELL A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC APPROVED, THESIS COMMITTEE aÆMl Dr. Anne Schnoebelen, Professor of Music Chairman C<c g>'A. Dr. Paul Cooper, Professor of- Music and Composer in Ldence Professor of Music ABSTRACT The Use of Scordatura in Heinrich Biber*s Harmonia Artificioso-Ariosa by Margaret Kehl Mitchell Violin scordatura, the alteration of the normal g-d'-a'-e" tuning of the instrument, originated from the spirit of musical experimentation in the early seventeenth century. Closely tied to the construction and fittings of the baroque violin, scordatura was used to expand the technical and coloristlc resources of the instrument. Each country used scordatura within its own musical style. Al¬ though scordatura was relatively unappreciated in seventeenth-century Italy, the technique was occasionally used to aid chordal playing. Germany and Austria exploited the technical and coloristlc benefits of scordatura to produce chords, Imitative passages, and special effects. England used scordatura primarily to alter the tone color of the violin, while the technique does not appear to have been used in seventeenth- century France. Scordatura was used for possibly the most effective results in the works of Heinrich Ignaz Franz von Biber (1644-1704), a virtuoso violin¬ ist and composer. Scordatura appears in three of Biber*s works—the "Mystery Sonatas", Sonatae violino solo, and Harmonia Artificioso- Ariosa—although the technique was used for fundamentally different reasons in each set. In the "Mystery Sonatas", scordatura was used to produce various tone colors and to facilitate certain technical feats.
    [Show full text]