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Alexander String Quartet Zakarias Grafilo | Violin Frederick Lifsitz | Violin Paul Yarbrough | Viola Sandy Wilson | Cello
presents… Alexander String Quartet Zakarias Grafilo | Violin Frederick Lifsitz | Violin Paul Yarbrough | Viola Sandy Wilson | Cello Eli Eban | Clarinet Recorded at St. Stephen’s Episcopal Church, Belvedere, CA, June 10–14, 2019 BRAHMS Andantino—Presto non assai, ma con sentimento from Quintet in B minor for Clarinet and Strings, Op. 115 Track from the upcoming Foghorn Classics release: Brahms & Mozart Clarinet Quintets Produced, engineered and mastered by Matt Carr Instruments: Clarinet: Handmade by Luis Rossi, Chile Quartet: Ellen M. Quartet, all by Francis Kuttner, 1987 Bows by Arcus ABOUT THE ARTISTS Having celebrated its 35th Anniversary in 2016, the Alex- where they are members of the string faculty in the School ander String Quartet has performed in the major music of Music and instructional faculty at the Morrison Cham- capitals of five continents, securing its standing among ber Music Center. the world’s premier ensembles. Widely admired for its in- Among the fine musicians with whom ASQ has col- terpretations of Beethoven, Mozart, Shostakovich, and laborated are pianists Roger Woodward, Anne-Marie Mc- Brahms, the quartet’s recordings of the Beethoven cycle Dermott, Menachem Pressler, Marc-André Hamelin, and (twice), Bartók and Shostakovich cycles have won interna- Jeremy Menuhin; clarinetists Eli Eban, Joan Enric Lluna, tional critical acclaim. The quartet has also established it- David Shifrin, and Richard Stoltzman; soprano Elly Amel- self as an important advocate of new music through more ing; mezzo-soprano Joyce DiDonato; violinist Midori; cel- than 30 commissions from such composers as Jake Heggie, lists Lynn Harrell, Sadao Harada, and David Requiro; vio- Cindy Cox, Augusta Read Thomas, Robert Greenberg, Mar- list Toby Appel; and jazz greats Branford Marsalis, David tin Bresnick, Cesar Cano, and Pulitzer Prize–winner Wayne Sanchez, and Andrew Speight. -
Jan 25 to 31.Txt
CLASSIC CHOICES PLAYLIST January 25 - 31, 2021 PLAY DATE: Mon, 01/25/2021 6:02 AM Antonio Vivaldi Violin Concerto No. 10 "La Caccia" 6:11 AM Franz Joseph Haydn Symphony No. 22 6:30 AM Claudio Monteverdi Madrigals Book 6: Qui rise, o Tirso 6:39 AM Henry Purcell Sonata No. 9 6:48 AM Franz Ignaz Beck Sinfonia 7:02 AM Francois Francoeur Cello Sonata 7:13 AM Wolfgang Amadeus Mozart Twelve Variations on a Minuet by Fischer 7:33 AM Alessandro Scarlatti Sinfonia di Concerto Grosso No. 2 7:41 AM Franz Danzi Horn Concerto 8:02 AM Johann Sebastian Bach Lute Suite No. 1 8:17 AM William Boyce Concerto Grosso 8:30 AM Ludwig Van Beethoven Symphony No. 8 9:05 AM Lowell Liebermann Piano Concerto No. 2 9:34 AM Walter Piston Divertimento 9:49 AM Frank E. Churchill/Ann Ronell Medley From Snow White & the 7 Dwarfs 10:00 AM Wolfgang Amadeus Mozart Eight Variations on "Laat ons Juichen, 10:07 AM Wolfgang Amadeus Mozart Symphony No. 15 10:18 AM Wolfgang Amadeus Mozart Violin Sonata No. 17 10:35 AM Wolfgang Amadeus Mozart Divertimento No. 9 10:50 AM Wolfgang Amadeus Mozart Rondo for piano & orch 11:01 AM Louise Farrenc Quintet for piano, violin, viola, cello 11:31 AM John Alan Rose Piano Concerto, "Tolkien Tale" 12:00 PM Edward MacDowell Hamlet and Ophelia (1885) 12:15 PM Josef Strauss Music of the Spheres Waltz 12:26 PM Sir Paul McCartney A Leaf 12:39 PM Frank Bridge An Irish Melody, "The Londonderry Air" 12:49 PM Howard Shore The Return of the King: The Return of 1:01 PM Johannes Brahms Clarinet Quintet 1:41 PM Benjamin Britten Young Person's Guide to the Orchestra 2:00 PM Ferry Muhr Csardas No. -
The Role of Clarinet in Op. 114 a Minor Trio Composed by Johannes Brahms for Clarinet, Cello and Piano
Global Journal of Arts, Humanities and Social Sciences Vol.7, No. 3, pp.80-90, March 2019 Published by European Centre for Research Training and Development UK (www.eajournals.org) THE ROLE OF CLARINET IN OP. 114 A MINOR TRIO COMPOSED BY JOHANNES BRAHMS FOR CLARINET, CELLO AND PIANO *İlkay Ak Lecturer, Music Department, Anadolu University, Eskişehir, Turkey ABSTRACT: Sonatas and chamber music works written for clarinetist Richard Mühlfeld by Johannes Brahms, who was one of the most important composers of the second half of Romantic period, in the last years of his life are among the irreplaceable works of clarinet training repertoire. These works which enable the musical improvement for the player are also significant to transfer the stylistic properties of the time. Op. 114 A Minor Trio composed for Clarinet, Cello and Piano by Brahms is among the most important works of chamber music training repertoire and often appears in concerts. The work consists of four parts. The first part is Allegro, the second part is Adagio, the third one is Andantino grazioso and the fourth one is Allegro. In this study, the life and musical identity of Brahms are going to be discussed first and then solo and chamber music works with clarinet are going to be mentioned. Next, the parts which can create technical and musical difficulties for the clarinet performance in Op. 114 A Minor Trio of the composer are determined and the things to decrease these are going to be suggested. KEYWORDS: Romantic Period, Brahms, Mühlfeld, Clarinet, Trio INTRODUCTION: JOHANNES BRAHMS Johannes Brahms (1833-1897) German Johannes Brahms as one of the prominent composers of the second half of 19th century was born on 7 May 1833 as a son of a double bass player. -
String Section the String Section
The Classroom Resource faggot String Section The String Section Where did the string section Repertoire that come from? features the string The string section as we know it today really began to take shape at the end of the section 17th century. Before that instruments had mainly played a supporting role to the human voice, or had performed only as soloists or in very small chamber groups. An orchestra made up just of string players is The violin emerged in the mid-16th century and the members of the violin family called a string orchestra. Many composers have (including viola, cello and double-bass) began to dominate the more ancient viol written pieces for string orchestra including family, even though at first they had been thought somewhat unrefined! Composers Elgar, Barber, Strauss and Schoenberg. Some soon began to appreciate the power, brilliance and versatility of this new family of composers have also composed movements instruments. By the end of the 17th century groups of stringed instruments were within large pieces that feature just the string being employed by leading composers and the violin family (or string section) section, or give the strings big section solos. For instance in Mahler Symphony No 5 there is assumed its position as the heart of the orchestra. a very famous slow movement written just for strings and harp, and in Tchaikovsky Symphony No 4 there is a fast and quirky movement where What is the concertmaster? the string section only plucks the strings and IThe concertmaster is the principal first violinist and also the leader of the orchestra. -
The Double Bass*
OpenStax-CNX module: m14624 1 The Double Bass* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 3.0 Abstract A brief introduction to the largest, lowest-sounding stringed instrument of the orchestra. 1 Introduction The double bass, often called the string bass or upright bass, is the largest, lowest-sounding instrument in the string section of the orchestra. Like its close relatives in that section, the violin, viola, and cello, it is classied as a chordophone. 2 The Instrument Like the other orchestral strings, the double bass has four strings stretched over an unfretted neck and a hollow wooden body. The body of the instrument resonates with and amplies the sound of the strings, which would otherwise be too soft to be heard in a concert situation. To play this large instrument, the bassist must either sit on a tall stool or stand. The bass rests on an adjustable peg on the oor. The four strings of a violin, (or viola or cello) are tuned in fths; in other words, each string is tuned a perfect fth from the previous string. The strings of the double bass are tuned in fourths, to reduce the stretch that the left hand must make to get from one note to the next. Even so, with its large size and long, heavy strings, the double bass is a very physically demanding instrument to play. note: A small but vocal minority of bass players prefers to tune the instrument in fths, CGDA instead of EADG. -
MSHSAA PGML – Flute Trios As of 7-1-08 in Order for Each of the MSHSAA Prescribed Graded Music List (PGML) Review and Revision
MSHSAA PGML – Flute Trios As of 7-1-08 In order for each of the MSHSAA Prescribed Graded Music List (PGML) Review and Revision Project review committees to complete their tasks one last appeal is being made to gather all literature currently appearing on the MSHSAA PGML. Listed below are the titles that have not been secured at this time. Each selection will be reviewed to determine if the selection meets the specific matrix developed through each affiliate organization. If a selection cannot be located for review by the committees, it cannot be physically reviewed; therefore the selection will be removed from the list. If you have any of the titles appearing in this document and are willing to provide a copy of the score only please complete the MSHSAA Prescribed Graded Music List Comprehensive Revision & Review Project Selection Submission Form (located as a separate link under Music Activities) to forward along with the score to Davine Davis at MSHSAA. The address is provided on the 'Selection Submission Form'. If you are sending an original please make sure your name, the school name and mailing information appears on the score. All original scores will be returned at the conclusion of the reviews. If you prefer to submit a photocopy of the score it will be destroyed at the conclusion of the reviews. If you have questions please contact Davine Davis at MSHSAA. Thank you. EVENT GRADE TYPE TITLE LEVEL COMPOSER 3 Flute Trio Adagio Ma Non Tanto B Neubaur 4 Flute Trio Advent Music, Op 8 No.1 A Thomas 12 Flute Trio Aubade C Koepke 14 Flute Trio Caprice C Delibes 18 Flute Trio Dance Of The Reed-Flutes B Tschaikovsky 19 Flute Trio Danza Felice C Guenther 20 Flute Trio Divertissement A Raymond 23 Flute Trio Flute Trio A Tcherepnine 26 Flute Trio Gavotte And Hornpipe C Purcell 28 Flute Trio Gavotte From Symphony No.4 C Boyce 29 Flute Trio Gavotte In Rondeau C Lully 30 Flute Trio Giga C Vivaldi 31 Flute Trio Grand Trio Concertante A Gabrielsky 32 Flute Trio Grand Trio In A, Op. -
Orchestra 101
ORCHESTRA 101 THE WORD ITSELF Symphony is the Greek word for “sounding together”. Philharmonic is from the Greek word for “music-loving”. The only difference between the two words is that symphony orchestra can also be used as a generic term, while philharmonic orchestra only occurs as part of a proper name. THE HISTORY The first instrumental groups that could be called orchestras were assembled for Italian opera in the early 1600s, but throughout the Baroque period (ca. 1600–1750) the makeup of orchestras, whether for opera or for purely instrumental music, varied widely. In any particular city, or for any particular occasion, the size and constitution of the orchestra usually depended on the forces — and the money — available. Baroque composers often didn't even specify which instruments, or how many, would be required to perform their pieces. By the mid-eighteenth century, orchestral instrumentation had become standardized to a great extent, partly as a result of the example set by the famous orchestra of Mannheim, Germany. The Mannheim Orchestra, reputed to be the best in all of Europe, normally consisted of strings — first and second violins, violas, cellos, and double basses — and two each of flutes, oboes, bassoons, French horns, and trumpets, along with two timpani. This formation, which was enlarged later in the century by the addition of clarinets, became the foundation for the modern orchestra.* THE PLAYERS A full-sized modern orchestra consists of more than one hundred musicians usually playing anywhere from eighteen to twenty-five different kinds of instruments. The instruments are divided into four overall “sections”: the strings, woodwinds, brass, and percussion. -
EARLY LISTENER's GUIDE Strings
EARLY LISTENER’S GUIDE Strings 1 Table of Contents Welcome Letter, Guide Information…………………………………………………………………3 Strings Concert Program…………………………………………………………………………………..5 About the Composers and Conductors………………………………………………………………6 Snapshot for Students and Teachers………………………………………………………………….8 String One: Connecting Pieces………………………………………………………………………….9 String Two: The Art of Listening…………………………………..…………………………………12 String Three: Bowing and Bowing………………………………………….………………………..17 String Four: Strings…In A Different Part of America!..……………………………………….22 String Five: Strings…In A Different Place!…………………………………………………………27 String Six: All Kinds of A-B-A…………………………………………………………………………31 String Seven: How Do I Look?……………………………………………………………………….35 String Eight: Finding Strings……………………………………………………………………………39 Special Thanks……………………………………………………………………………………………..42 2 Welcome to the BGE Midweek Classroom Broadcasts! On behalf of the BSO Associate Conductor, Nicholas Hersh, Assistant Conductor Jonathan Taylor Rush, the members of the Baltimore Symphony Orchestra, and the BSO Education Department, we are delighted to welcome you to our 2020-2021 Midweek Classroom Broadcasts. With the BSO’s Midweek Concert series as the longest running education initiative at the BSO (running since February 16, 1924), and the first regular educational concert series of any orchestra in the country, we are thrilled to have you join us for these concerts online. About This Guide On the next pages you will find the Early Listener’s Guide for the Strings Concert Program, written by a highly skilled group of Maryland educators with specialism in Music, Drama, Science, English/Language Arts, and Visual Arts, led by award-winning curriculum writer and editor, Richard McCready. At the start of the guide is a “Snapshot” of your concert experience. This will give you a sense of what to expect in the broadcast, along with some thoughts about the various curricular connections, and music we suggest you listen to in the classroom, or at home. -
History of the Violin
History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira). -
(2019) Disc 2. Define the Classical Idiom
Incredible Decades (2019) Disc 2. define the Classical idiom. At the time of his first trios, the 1–3 Piano Trio in d minor, Hob. XV: 23 (1795) combination of piano, violin, and cello had not yet become JOSEPH HAYDN (1732–1809) established as a standard chamber ensemble; some of the Molto andante earliest piano trios have been accurately described as Adagio ma non troppo keyboard sonatas with violin and cello accompaniment. (In Finale: Vivace 1775, Carl Philipp Emanuel Bach designated a set of his own trios “Sonatas for Piano, which may equally well be GILBERT KALISH, piano; ADAM BARNETT-HART, violin; played solo, or accompanied by violin and violoncello.”) BROOK SPELTZ, cello But Haydn developed the piano trio into a sophisticated conversation among three voices. Consequently, the 4–6 Trio in B-flat Major for Clarinet, Cello, and Piano, medium’s popularity grew rapidly, with piano trio music op. 11 (1797) becoming an essential part of any amateur musician’s LUDWIG VAN BEETHOVEN (1770–1827) library by the end of the eighteenth century. Allegro con brio The Trio in d minor, Hob. XV: 23, dates from the Adagio mid-1790s, the late period of Haydn’s career, by which time Tema con variazione: Allegretto he had thoroughly transformed Western music and (on “Pria ch’io l’impegno”) achieved international celebrity. Yet the immensity of his accomplishments notwithstanding, he continued, tirelessly, TOMMASO LONQUICH, clarinet; DAVID FINCKEL, cello; to innovate. Having already redefined the symphonic genre WU HAN, piano over the course of ninety-three symphonies, he composed his final twelve (the celebrated London symphonies) 7–10 String Quintet in E-flat Major, K. -
Double Bass Intonation: a Systematic Approach to Solo And
DOUBLE BASS INTONATION: A SYSTEMATIC APPROACH TO SOLO AND ENSEMBLE PLAYING BY JOHN MICHAEL PRIESTER 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 2015 Accepted by the faculty of the Jacobs School of Music Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Doctoral Committee ________________________________________ Lawrence Hurst, Research Director _______________________________________ Bruce Bransby, Chairperson _______________________________________ Marianne C. Kielian-Gilbert _______________________________________ Stanley Ritchie 30 March 2015 ii Copyright ©2014 John Michael Priester iii ACKNOWLEDGEMENTS To my committee, Prof. Bruce Bransby, Prof. Lawrence Hurst, Prof. Marianne Kielian- Gilbert, Prof. Stanley Ritch, and Prof. Kurt Muroki, my deepest thanks for your mentorship and patience. Even knowing what a long, hard road this paper was to be, you let me walk it. To Prof. Hurst and Prof. Bransby, in particular, thank you for the years of wisdom, which has made me the player and teacher I am today. To my parents, thank you for all of the years of support, even if seemed like they wouldn’t end. And to my wife, Briana, for every discovery shared, every frustration soothed, and every day I was allowed to cover the dining room table with research materials, thank you. iv DOUBLE BASS INTONATION: A SYSTEMATIC APPROACH TO SOLO AND ENSEMBLE PLAYING Abstract This study uses an interdisciplinary approach to analyze double bass intonation as it occurs in a solo (i.e., without playing with any additional instruments) and ensemble contexts, develops a systematic approach to double bass intonation (subsequently referred to as “the system”), and applies that system to double bass literature to theoretically test its applicability. -
The Clarinetist's Guide to the Performance of the Clarinet, Viola
The Clarinetist’s Guide to the Performance of the Clarinet, Viola, and Piano Trios by Mozart, Bruch, and Larsen. D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Adrienne Marie Marshall, M.M. & M.A. Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Caroline Hartig, Advisor, Karen Pierson Daryl Kinney Copyright by Adrienne Marie Marshall 2013 Abstract The purpose of this study is to provide clarinetists with a study guide for the teaching and performance of the clarinet, viola, and piano trios of Mozart, Bruch, and Larsen. A select bibliography of additional compositions for this medium is also provided. Performance practice details, technical suggestions, historical information, and publication details are included for each work. Although there is a sizeable repertoire for this combination of instruments, only a few works have become recognized as standards of the repertoire, including the trios of Mozart and Bruch. A newer addition to this medium is Libby Larsen’s Black Birds, Red Hills, which is likely to become integrated into the standard repertoire. An interview with composer Libby Larsen regarding new music and her compositions is included. It is recommended that complete scores be obtained to accompany this performance guide. The document will conclude with recommendations to further the creation and performance of this medium. ii Dedication This document is dedicated to my family, Christopher Lape, & Dr. Elfie Schults-Berndt. iii Acknowledgments I would like to thank my advisor Caroline Hartig, and committee members Karen Pierson and Daryl Kinney for their patience and guidance regarding scholarly research and writing for this document.