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November 15, 1959 776Th Concert
NATIONAL GALLERY ORCHESTRA Richard Bales, Conductor Violins: Cellos: Mark Ellsworth Ana Drittelle Helmut Braunlich Helen Coffman Henri Sokolov Basses: Raul Da Costa Charles Hamer Dino Cortese Joseph Widens Michael Serber Oboes: THE A. W. MELLON CONCERTS Joel Berman Beth Sears Elinore Tramontana Donald Hefner Eugene Dreyer Bassoon: Isadore Glazer Dorothy Erler Maurice Myers Collin Layton Trumpets: National Gallery of Art Samuel Feldman Richard Smith George Gaul Charles Gallagher, Jr. Washington, D. C. Carmen Parlante Violas: Frank Perricone Leon Feldman T ympani: Barbara Grzesnikowski Walter Howe 776th Concert CHURCH OF THE REFORMATION CANTATA CHOIR Jule Zabawa, Minister of Music Sopranos Altos Tenors Basses Marilyn Krummel Mary Lou Alexander Otto Kundert Harald Strand Eleanor Pressly Mary Forsythe Stephen Beaudry Gerard Siems Handel Bicentennial Program Julia Fromm Blosson Athey Arleigh Green Gilbert Mitchell Julia Green Estella Hyssong Robert Ernst Donald Robinson Patricia Foote Virginia Jones Joseph Agee Richard Foote Dorothy Richardson Marion Kahlert Leslie Polk Glenn Dabbs Ruth Siems Betty Ann Dabbs John Nordberg Edward Bachschmid Sunday Evening Beatrice Shelton Marilyn Smith Charles Kalb Fred Bloch Virginia Mitchell Jane Bennett Donald Krummel Rudolf Michel November 15, 1959 Marion Bradley Barbara Bachschmid John Kjerland John Ramseth Dorothy Moser Jeanne Beaudry Hilman Lund Kay Sisson Mary Bentley Gerald Wolford Norma Grimes Lydia Bloch Austin Vicht Lydia Nordberg Phyllis Wilkes Marion Kalb Ruth Schallert Betty Schulz Lucy Grant AT EIGHT O’CLOCK Hazel Rust Beverly Isaacson Christine Agee Moreen Robinson Bertha Rothe Vivian Schrader Clara Rampendahl lone Holmes IN THE EAST GARDEN COURT Diane Diehl NATIONAL GALLERY ORCHESTRA GEORGE FREDERIC HANDEL CHURCH OF THE REFORMATION CANTATA CHOIR (1685-1759) Concerto Grosso in A Major, Opus 6, No. -
Die Orchestersinfonien Felix Mendelssohn Bartholdys Studien Zum Gegenwärtigen Fachdiskurs
Die Orchestersinfonien Felix Mendelssohn Bartholdys Studien zum gegenwärtigen Fachdiskurs Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinischen Friedrich-Wilhelms-Universität zu Bonn vorgelegt von Silke Gömann aus Holzminden Bonn 1999 INHALTSVERZEICHNIS 0. VORWORT............................................................................................................................ V 1. EINLEITUNG .......................................................................................................................... 1 1.1 Methodische Vorbemerkung ................................................................................................. 7 1.2 Einführung in die Untersuchungsperspektive ........................................................................ 8 2. ‘IDEALE KÜNSTLERBIOGRAPHIE’ .................................................................................... 13 2.1 Narrationsmodelle und der Rückgriff auf die Einteilung in Phasen ..................................... 22 2.2 Interdependenzen: Der Diskurs über die Orchestersinfonien im Kontext der Diskussion einer künstlerischen Entwicklung des Komponisten........................................................... 55 2.2.1 Der Diskurs über Mendelssohns c-moll Sinfonie als „symphonischer Anfang“.................. 62 2.2.2 Der mühsame Weg zur ‘Schottischen Sinfonie’ – Der Diskurs über die a-moll Sinfonie als sinfonisches Hauptwerk des Komponisten ................................................................... 91 2.2.3 -
Handel's Sacred Music
The Cambridge Companion to HANDEL Edited byD oNAtD BURROWS Professor of Music, The Open University, Milton Keynes CATvTNnIDGE UNTVERSITY PRESS 165 Ha; strings, a 1708 fbr 1l Handel's sacred music extended written to Graydon Beeks quake on sary of th; The m< Jesus rath Handel was involved in the composition of sacred music throughout his strings. Tl career, although it was rarely the focal point of his activities. Only during compositi the brief period in 1702-3 when he was organist for the Cathedral in Cardinal ( Halle did he hold a church job which required regular weekly duties and, one of FIi since the cathedral congregation was Calvinist, these duties did not Several m include composing much (if any) concerted music. Virtually all of his Esther (H\ sacred music was written for specific events and liturgies, and the choice moYemenr of Handel to compose these works was dictated by his connections with The Ror specific patrons. Handel's sacred music falls into groups of works which of Vespers were written for similar forces and occasions, and will be discussed in followed b terms of those groups in this chapter. or feast, ar During his period of study with Zachow in Halle Handel must have followed b written some music for services at the Marktkirche or the Cathedral, but porarl, Ro no examples survive.l His earliest extant work is the F major setting of chanted, br Psalm 113, Laudate pueri (H\41/ 236),2 for solo soprano and strings. The tradition o autograph is on a type of paper that was available in Hamburg, and he up-to-date may have -
Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected]
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School 2011 Scholarly Program Notes of Selected Trumpet Repertoire Jeanne Millikin Jeanne Millikin, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Millikin, Jeanne, "Scholarly Program Notes of Selected Trumpet Repertoire" (2011). Research Papers. Paper 157. http://opensiuc.lib.siu.edu/gs_rp/157 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. SCHOLARLY PROGRAM NOTES OF SELECTED TRUMPET REPERTOIRE BY Jeanne Millikin B.M., Southern Illinois University Carbondale, 2008 Research Submitted in Partial Fulfillment for MASTER OF MUSIC Department of Music in the Graduate School Southern Illinois University Carbondale August 2011 RESEARCH PAPER APPROVAL SCHOLARLY PROGRAM NOTES ON SELECTED TRUMPET REPERTOIRE By Jeanne Millikin A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Music in the field of Music Performance Approved by: Dr. Robert Allison, Chair Mr. Edward Benyas Dr. Richard Kelley Graduate School Southern Illinois University Carbondale July 11, 2011 AN ABSTRACT OF THE RESEARCH PAPER OF JEANNE MILLIKIN, for the Master of Music degree in TRUMPET PERFORMANCE, presented on APRIL 7, 2011, at Southern Illinois University Carbondale. TITLE: SCHOLARLY PROGRAM NOTES FOR SELECTED TRUMPET REPERTOIRE MAJOR PROFESSOR: Dr. Robert Allison The purpose of this research paper is to provide insight and research to five selected compositions in which the trumpet plays a soloistic or significant role. -
Download Booklet
Orchestra of the Age of Enlightenment Monteverdi Vespers oae released and really cemented my path on the road towards Monteverdi often sets the text in that way. I took ‘early music’. Ever since then I have wanted to the decision therefore to blend low tenors with direct performances of it and play it as many times high baritones, low baritones with basses, high as possible. It is a work of such beauty and depth tenors with countertenors etc to create more of that such a wide variety of interpretations can be the sound of a choir that can sing both high and Claudio Monteverdi made of it. I would like to explain briefly some of low within its partbooks. Vespers of the Blessed Virgin, 1610 the choices that I made in preparing for this: When we performed this as a concert, Monteverdi’s publication appears as part- I added in liturgical plainchant as I strongly ROBERT HOWARTH Director books and not as a full score. Many editors believe that Monteverdi never conceived these have undertaken the task of putting together as concert pieces but only ever to be heard in the a performing edition and I’m sure they will all church as part of a service, therefore the Psalms acknowledge that none of them are perfect. What would have been preceded by antiphons relevant lies within these books are dark mysterious codes to the day. These do affect the Psalm and the about how to interpret the music. Once an editor context in which they are heard. As we are now has made decisions on your behalf, it is difficult removing ourselves by one step and presenting not to do their version. -
Georg Friedrich Händel
Georg Friedrich Händel Georg Friedrich Händel (pronunciación alemana: [ ˈgeːɔɐk ˈfʁiːdʁɪç ˈhɛn.dəl ]; Halle, Alemania, 23 de febrero de 1685 – Londres, 14 de abril de 1759) fue un compositor alemán, posteriormente nacionalizado británico, considerado una de las cumbres del Barroco y uno de los más influyentes compositores de la música occidental y universal.1 En la historia de la música, es el primer compositor moderno2 en haber adaptado y enfocado su música para satisfacer los gustos y necesidades del público,2 en vez de los de la nobleza y de los mecenas, como era habitual. Considerado el sucesor y continuador de Henry Purcell,3 marcó toda una era en la música inglesa4 siendo el compositor más importante entre Purcell y Elgar en Inglaterra. Es el primer gran maestro de la música basada en la técnica de la homofonía5 y el más grande dentro del ámbito de los géneros de la ópera seria italiana6 y el oratorio.7 Halle y Hamburgo (1685-1706)[editar] Nació en la ciudad de Halle, ubicada en el centro este de la actual Alemania. Su padre era barbero y cirujano de prestigio y había decidido que su hijo sería abogado, pero cuando observó el interés de Händel por la música, la cual estudiaba y practicaba en secreto, cambió de idea y se mostró dispuesto a pagarle los estudios de música. De esta forma, Händel se convirtió en alumno del principal organista de Halle, Friedrich Wilhelm Zachau, quien le enseñó a tocar el órgano, el clave y el oboe. A la edad de 17 años lo nombraron organista de la catedral calvinista de Halle. -
Instrumental, Cantatas and Other Music Author Index 1
Music Manuscripts: Series 4: Part 8: British Library, London: Section C: Instrumental, Cantatas and Other Music Author Index Alberto, Giovanni (Ristori of Venice) - Italian. Anonymous. Versi colli. Belt costante; Se a chiamare il caro bene; Rivo, che tumido 1st half of 18th century s' ingrossa d'onda; Daphne the beautyfull: soprano cantata. Manuscript Number: Add. Ms 14212; Hughes-Hughes vol.ii, c.1712 558. With a bass for harpsichord; Type: Ms. Copy: Score. Manuscript Number: Add. Ms 31993; Hughes-Hughes vol.ii, 510. With figured bass for harpsichord; Type: Ms. Score. Genre: Secular Vocal Music: Solo Cantatas: Soprano Genre: Secular Vocal Music: Songs Reel: 58 Reel: 62 Albinoni, Tomaso Giovanni - Italian; Corelli, Arcangelo - Italian. Anonymous. 18th century Bruggio frà mille fiamme. Manuscript Number: RM 19 a 8; Catalogue of the King's 1st half of 18th century Music Library, vol.i, 131; Type: Ms.. Manuscript Number: Add. Ms 14212; Hughes-Hughes vol.ii, 558. With a bass for harpsichord; Type: Ms. Copy: Score. Genre: Instrumental Music Genre: Secular Vocal Music: Solo Cantatas Reel: 50 Reel: 58 Aldrich, Henry - English. Hark, the bonny Christ Church Bells; Good, good indeed; Anonymous. the Herbs good weed ( 4). Crudeli, affrettate; Con Megera, Tesifone ed Aletto; Posso c.1762 morir; Su l'orme del desio. Manuscript Number: Add. Ms 29386; Hughes-Hughes vol.ii, c.1761 28. In the hand of Edmund T. Warren; Type: Ms. Copy: Score. Manuscript Number: Add. Ms 14229; Hughes-Hughes vol.ii, 295; Type: Ms. Score. Genre: Secular Vocal Music: 3-part Catches/Rounds Genre: Secular Vocal Music: Operas: Arias Reel: 59 Reel: 59 Alexander's Feast, extracts; Esther. -
Georg Friedrich Händel (1685-1759)
Georg Friedrich Händel (1685-1759) Sämtliche Werke / Complete works in MP3-Format Details Georg Friedrich Händel (George Frederic Handel) (1685-1759) - Complete works / Sämtliche Werke - Total time / Gesamtspielzeit 249:50:54 ( 10 d 10 h ) Titel/Title Zeit/Time 1. Opera HWV 1 - 45, A11, A13, A14 116:30:55 HWV 01 Almira 3:44:50 1994: Fiori musicali - Andrew Lawrence-King, Organ/Harpsichord/Harp - Beate Röllecke Ann Monoyios (Soprano) - Almira, Patricia Rozario (Soprano) - Edilia, Linda Gerrard (Soprano) - Bellante, David Thomas (Bass) - Consalvo, Jamie MacDougall (Tenor) - Fernando, Olaf Haye (Bass) - Raymondo, Christian Elsner (Tenor) - Tabarco HWV 06 Agrippina 3:24:33 2010: Akademie f. Alte Musik Berlin - René Jacobs Alexandrina Pendatchanska (Soprano) - Agrippina, Jennifer Rivera (Mezzo-Soprano) - Nerone, Sunhae Im (Soprano) - Poppea, Bejun Mehta (Counter-Tenor) - Ottone, Marcos Fink (Bass-Bariton) - Claudio, Neal Davis (Bass-Bariton) - Pallante, Dominique Visse (Counter-Tenor) - Narciso, Daniel Schmutzhard (Bass) - Lesbo HWV 07 Rinaldo 2:54:46 1999: The Academy of Ancient Music - Christopher Hogwood Bernarda Fink (Mezzo-Sopran) - Goffredo, Cecilia Bartoli (Mezzo-Sopran) - Almirena, David Daniels (Counter-Tenor) - Rinaldo, Daniel Taylor (Counter-Tenor) - Eustazio, Gerald Finley (Bariton) - Argante, Luba Orgonasova (Soprano) - Armida, Bejun Mehta (Counter-Tenor) - Mago cristiano, Ana-Maria Rincón (Soprano) - Donna, Sirena II, Catherine Bott (Soprano) - Sirena I, Mark Padmore (Tenor) - Un Araldo HWV 08c Il Pastor fido 2:27:42 1994: Capella -
6.5 X 11.5 Doublelines.P65
Cambridge University Press 978-0-521-45613-5 - The Cambridge Companion to Handel Edited by Donald Burrows Index More information Index Abraham, Gerald, 126–7, 308, 310 Armenia, 260 Abell, John, 87 Arne, Susanna, see Cibber, Susanna Abingdon (Oxfordshire), 255 Arne, Thomas Augustine, 69, 73, 75, 91, 153, Dall’Abaco, Giuseppe, 80 296 Academy of Vocal [Ancient] Music, 70–1, 152 Arsinoe, see Clayton Accademia della Crusca, 27 Atterbury Plot, 97, 175 Accademia Filarmonica (Bologna, Verona), 32 Augsburg, 39, 320 Accademia della Morte (Ferrara), 32 August, Duke of Saxony, 12–13, 15–16 Accademia dello Spirito Santo (Ferrara), 32 Augusta, Princess of Saxe-Gotha, Princess of Ackermann, Rudolph, 268 Wales, 178 Act of Settlement, 46 Austria, Emperor of, see Leopold I Adlington Hall, Cheshire, 217 Austrian Succession, War of the, 179–80 Addison, John, 52, 85, 90 Avelloni, Casimiro Aix-la-Chapelle, 178 Aix-la-Chapelle, Treaty/Peace of, 180 Babell, William, 69 d’Alay, Mauro, 80 Bach, J. S., 172, 195, 208, 218 Alberti, Johann Friedrich, 21, 210 Baker, Janet, 327 Albinoni, Tomaso, 38–9, 197–8 Banister, John, 68, 193 Aldrovandini, Giuseppe, 38 Barberini, Signora [Campanini, Barbarina], 85 Alexander the Great, 155–6 Barbier, Jane, 76 Alexander VIII, Pope (Ottoboni), 28 Baretti, Julia, 88 Amadei, Filippo, 80, 242 Barn-Elms [Barnes], Surrey, 66 Amiconi, Jacopo, 86 Barsanti, Francesco, 80–1 Amsterdam, 24, 39, 214, 217 Bartolotti, Girolamo, 80 Ancona, 26 Basel, 40 Andrews, Mr, 66 Baselt, Bernd, 22, 316 Angelini, Antonio Giuseppe, 41, 310 Bath, 84 Anne, Queen -
Monteverdi the Beauty of Monteverdi
The Beauty of Monteverdi The Beauty of Monteverdi 2 Claudio Monteverdi (1567–1643) 1 L’Orfeo: Toccata 1:36 12 Zefiro torna, e di soavi accenti (Scherzi musicali, cioè arie, et madrigali in stil recitativo) 6:47 ENGLISH BAROQUE SOLOISTS · JOHN ELIOT GARDINER Text: Ottavio Rinuccini ANNA PROHASKA soprano · MAGDALENA KOŽENÁ mezzo-soprano Vespro della Beata Vergine LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor 2 Lauda Jerusalem a 7 3:48 13 (Ottavo libro de’ madrigali: Madrigali guerrieri, et amorosi) 8:00 3 Duo seraphim a 3 6:44 Lamento della ninfa Text: Ottavio Rinuccini 4 Nisi Dominus a 10 4:36 MAGDALENA KOŽENÁ mezzo-soprano 5 Pulchra es a 2 3:57 JAKOB PILGRAM · MICHAEL FEYFAR tenor · LUCA TITTOTO bass MARINELLA PENNICCHI � · ANN MONOYIOS � soprano LA CETRA BAROCKORCHESTER BASEL · ANDREA MARCON harpsichord and conductor MARK TUCKER � · NIGEL ROBSON � · SANDRO NAGLIA � tenor · THE MONTEVERDI CHOIR � , � JAKOB LINDBERG � chitarrone, � lute · DAVID MILLER �, � · CHRISTOPHER WILSON � chitarrone 14 Io mi son giovinetta (Quarto libro de’ madrigali) 2:14 ENGLISH BAROQUE SOLOISTS · HIS MAJESTYS SAGBUTTS & CORNETTS · JOHN ELIOT GARDINER Text: Giovanni Battista Guarini Recorded live at the Basilica di San Marco, Venice EMMA KIRKBY · EVELYN TUBB soprano · MARY NICHOLS alto JOSEPH CORNWELL tenor · RICHARD WISTREICH bass L’Orfeo CONSORT OF MUSICKE · ANTHONY ROOLEY Libretto: Alessandro Striggio jr 6 “Rosa del ciel” (Orfeo) … “Io non dirò qual sia” (Euridice) … 4:30 15 Parlo, miser, o taccio (Settimo libro de’ madrigali) 4:42 Balletto: “Lasciate i monti” … “Vieni, Imeneo” (Coro) Text: Giovanni Battista Guarini 7 Sinfonia … “Ecco pur ch’a voi ritorno” (Orfeo) 0:50 EMMA KIRKBY · JUDITH NELSON soprano · DAVID THOMAS bass CONSORT OF MUSICKE · ANTHONY ROOLEY 8 “Mira ch’a sé n’alletta” (Pastore I & II) … “Dunque fa’ degni, Orfeo” (Coro) 2:18 9 “Qual onor di te fia degno” … “O dolcissimi lumi” (Orfeo) – 3:16 16 Laetatus sum (Messa, salmi concertati e parte da capella, et letanie della B. -
Zum Gedenken an Renate Groth (1940–2014) 7
Arbeitsgemeinschaft für rheinische Musikgeschichte Mitteilungen 96 Juli 2016 Herausgeber: Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Institut für Historische Musikwissenschaft der Hochschule für Musik und Tanz Köln Unter Krahnenbäumen 87, 50668 Köln Redaktion: Fabian Kolb Druck: Jürgen Brandau Druckservice, Köln © 2016 ISSN 0948-1222 MITTEILUNGEN der Arbeitsgemeinschaft für rheinische Musikgeschichte e.V. Nr. 96 Juli 2016 Inhalt Inga Mai Groote Zum Gedenken an Renate Groth (1940–2014) 7 Hans Joachim Marx Zum Gedenken an Günther Massenkeil (1926–2014) 8 Klaus Wolfgang Niemöller Zum Gedenken an Detlef Altenburg (1947–2016) 9 Joachim Dorfmüller Ein reiches Wissenschaftlerleben – Gedenkblatt für Prof. Dr. Heinrich Hüschen anlässlich seines 100. Geburtstags am 2. März 2015 10 Norbert Jers Dietrich Kämper 80 Jahre 13 Klaus Wolfgang Niemöller Das Sängerfest des Deutsch-flämischen Sängerbundes 1846 in Köln unter Leitung von Felix Mendelssohn Bartholdy und Franz Weber. Die Chorpartitur der Gesänge und das Festprogrammbuch im Kontext der Mitwirkenden 15 Franz-Josef Vogt Die Orgel der kath. Pfarrkirche St. Bartholomäus in Köln-Porz-Urbach 37 Arnold Jacobshagen 1863 – Der Kölner Dom und die Musik 44 Fabian Kolb Max Bruch – Neue Perspektiven auf Leben und Werk 46 6 Robert von Zahn Wie preußisch klang das Rheinland? Eine Tagung bilanzierte 48 Robert von Zahn Das Beethoven-Haus während des Nationalsozialismus 50 Leitungswechsel im Deutschen Musikinformationszentrum 53 Protokoll der Mitgliederversammlung 2015 54 7 Inga Mai Groote Zum Gedenken an Renate Groth (1940–2014)* Am 11. September 2014 verstarb mit Renate Groth eine engagierte Vermittlerin zwischen Musikwissenschaft und Musiktheorie. Nach dem Studium der Schulmusik mit dem instru- mentalen Hauptfach Viola da gamba und den Nebenfächern Anglistik und Philosophie und Tätigkeit im Schuldienst unterrichtete sie an der Hochschule für Musik und Theater Hanno- ver, wo sie ab 1982 eine Professur für Musiktheorie innehatte. -
The Cambridge Companion to Mendelssohn Edited by Peter Mercer-Taylor Index More Information
Cambridge University Press 0521826039 - The Cambridge Companion to Mendelssohn Edited by Peter Mercer-Taylor Index More information Index abbreviations, xv Austen, Jane, 255–56, 258, 260 absolute music, 265 Austin, Sarah, 43 acceleration, 278 Aeneid (Virgil), 39 Bach, Carl Philipp Emanuel, 61, 113–14 Aeschylus, 226 Bach, Johann Christian, 113–14, 149 aestheticians, 67, 68 Bach, Johann Sebastian, xi, xiii, 11, 13, 17, 19, aesthetics, Hegel’s lectures on, 64 21, 61, 62, 63–64, 66, 91, 94, 252, 277 “Aesthetics of Assimilation and Affirmation, Bach revival, 11, 63–64, 172, 277 The” (Botstein), 6–7 influence on Mendelssohn, 95, 130–48, 156, Agawu, Kofi, 81, 83 164, 172, 259 Agricola, Alexander, 61 Mendelssohn’s interest in, 62 Albert, Prince of England, xiii Mendelssohn’s performance of works of, 165 Alexis und Dora (Goethe), 65 Bach, Johann Sebastian, works Alf, Julius, 246 Ascension Oratorio (BWV 11), 17 Alger, William, 47 Cantata no. 4, Christ lag in Todesbanden Allgemeine musikalische Zeitung,160,214,234, (BWV 4), 164 235 choral music, 11, 63–64, 164, 172 Altes Museum,12 Concerto, keyboard, in D-minor (BWV Ambros, A. W., 103 1052), 150 Anglican church music, 169 St. Matthew Passion (BWV 244), 11, 14, 35, Antigone (Sophocles), 22, 68, 225, 227 36, 61, 63, 159, 172–73, 174, 175, 234, anti-Semitism, 2, 4 266 Berlin Singakademie directorship and, 16, 36 Well-Tempered Clavier (BWV 846-893), 43, classification and, 27–28 61, 62, 283 criticism of Mendelssohn and, 26, 238–40, Bach, Wilhelm Friedemann, 61 246–48, 253, 260, 292 Baillot, Pierre, x, 115