Considerations for the Execution of Multiple-Stops in German Solo Violin Repertoire from 1676 to 1735
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Examining the Performance Practice of Polyphonic Figures in J.S
Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works Emily Vold Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Performance Commons Recommended Citation Vold, Emily, "Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works" (2011). Theses and Dissertations. 107. https://csuepress.columbusstate.edu/theses_dissertations/107 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. .5 .it* v fif'-j 'wr i7 I' U5" Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/chordconundrumexOOvold Chord Conundrum: Examining the Performance Practice of Polyphonic Figures in J.S. Bach's Solo Violin Works by Emily Void A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Music in Music Performance College of the Arts Columbus State University Thesis Advisor JjJjUkAu Date ¥/&/// Committee Member Date Committee MembeC^^^^^ J^C^^~^ Date J^g> *&&/ / CSU Honors Committee Member Date Director, Honors Program (^Ljjb^Q^/^ ^—^O Date J^r-ste// Interpreting and expressing the musical intentions of a composer in an informed manner requires great dedication and study on the part of a performer. This holds particularly true in the case of music written well before the present age, where direct connections to the thoughts of the composer and even the styles of the era have faded with the passing of time. -
The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von
THE USE OF MULTIPLE STOPS IN WORKS FOR SOLO VIOLIN BY JOHANN PAUL VON WESTHOFF (1656-1705) AND ITS RELATIONSHIP TO GERMAN POLYPHONIC WRITING FOR A SINGLE INSTRUMENT Beixi Gao, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2017 APPROVED: Julia Bushkova, Major Professor Paul Leenhouts, Committee Member Susan Dubois, Committee Member Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Vice Provost of the Toulouse Graduate School Gao, Beixi. The Use of Multiple Stops in Works for Solo Violin by Johann Paul Von Westhoff (1656-1705) and Its Relationship to German Polyphonic Writing for a Single Instrument. Doctor of Musical Arts (Performance), May 2017, 32 pp., 19 musical examples, bibliography, 46 titles. Johann Paul von Westhoff's (1656-1705) solo violin works, consisting of Suite pour le violon sans basse continue published in 1683 and Six Suites for Violin Solo in 1696, feature extensive use of multiple stops, which represents a German polyphonic style of the seventeenth- century instrumental music. However, the Six Suites had escaped the public's attention for nearly three hundred years until its rediscovery by the musicologist Peter Várnai in the late twentieth century. This project focuses on polyphonic writing featured in the solo violin works by von Westhoff. In order to fully understand the stylistic traits of this less well-known collection, a brief summary of the composer, Johann Paul Westhoff, and an overview of the historical background of his time is included in this document. -
DOLCE DUELLO& Ol
S CeciliaDOLCE DUELLO& ol Cappella Gabetta • AndrÉs Gabetta Dolce Duello 2 CECILIA BARTOLI voice SOL GABETTA cello CapPella Gabetta Andrés Gabetta violin & director 3 ANTONIO CALDARA c.1671–1736 ANTONIO CALDARA c.1671–1736 Nitocri (Vienna 1722) Gianguir, imperatore del mogol (Vienna 1724) Libretto: Apostolo Zeno Libretto: Apostolo Zeno 1 “Fortuna e speranza” (Emirena) 10.05 6 “Tanto, e con sì gran piena” (Asaf) 6.28 World premiere recording World premiere recording TOMASO ALBINONI 1671–1750/51 GEORGE FRIDERIC HANDEL 1685–1759 Il nascimento dell’Aurora (Venice c.1710) Arianna in Creta, HWV 32 (London 1734) Libretto: Anon. Libretto: Pietro Pariati, adapt. Anon. 2 “Aure, andate e baciate” (Zefiro) 3.23 7 “Son qual stanco pellegrino” (Alceste) 9.23 DOMENICO GABRIELLI 1659–1690 NICOLA ANTONIO PORPORA 1686–1768 San Sigismondo, re di Borgogna (Bologna 1687) Gli orti esperidi (Naples 1721) Libretto: Domenico Bernardoni Libretto: Pietro Metastasio 3 “Aure voi, de’ miei sospiri” (Inomenia) 6.44 8 “Giusto Amor, tu che m’accendi” (Adone) 5.30 World premiere recording ANTONIO VIVALDI 1678–1741 LUIGI BOCCHERINI 1743–1805 Tito Manlio, RV 738 (Mantua 1719) Libretto: Matteo Noris Cello Concerto No.10 in D major, G483 (op.34, Vienna c.1782) 4 “Di verde ulivo” (Vitellia) 5.22 en ré majeur · D-Dur Cadenzas: Sergio Ciomei GEORGE FRIDERIC HANDEL 1685–1759 9 I. Allegro maestoso 8.15 Ode for St Cecilia’s Day, HWV 76 (London 1739) 10 II. Andante lentarello 7.04 Libretto: John Dryden 11 III. Allegro e con moto 6.58 5 “What passion cannot Music raise and quell!” 7.35 4 5 who famously disappeared the night before the which the rival is reduced to silence. -
An Historical Survey of the Establishment of an Orchestral Tradition in Christchurch to 1939
AN HISTORICAL SURVEY OF THE ESTABLISHMENT OF AN ORCHESTRAL TRADITION IN CHRISTCHURCH TO 1939 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury by Philip Jane University of Canterbury 2009 ii Abstract This dissertation is the first study devoted solely to the history of an orchestral tradition in Christchurch. Within a timeframe stretching from the beginning of the local settlement to the establishment of the first “national” orchestra in 1939, it provides detailed portrayals of all facets of amateur and professional orchestral activity. This includes the histories of all orchestral bodies, their membership, a chronology of concerts, repertoire, programme structure and critical reception. This dissertation explains the advance of orchestral tradition that is at times tentative and at times bold, until it is securely entrenched as a mainstream musical activity in Christchurch. A preliminary narration, which begins in 1857, ends in 1906 with the International Exhibition. This is then discussed as a landmark event for orchestral music in Christchurch. A series of case studies for the period of 1908 to 1939, covers each of the five major orchestral groups that flourished in this period. The case studies also include the footprints of development, the “incidental” music performed by the cinema orchestras, and the “studio only” performances of many broadcasting groups. The role played by minor orchestral groups as an “alternative” music culture is included, along with the impact of orchestras associated with visiting opera companies. The final section is a detailed analysis of the repertoire and programme construction, and a discussion of the people who played an influential role in the development of an orchestral tradition. -
XVI Przeciwko Dosłowności / Against Literality / Gegen Wörtlichkeit
XVI przeciwko dosłowności / against literality / gegen wörtlichkeit świdnica 2015 Zrealizowano ze środków Ministra Kultury i Dziedzictwa Narodowego 2 XVI międzynarodowy festiwal bachowski świdnica 2015 | przeciwko dosłowności / against literality / gegen wörtlichkeit 3 przeciwko against dosłowności literality Dosłowność zabija. Jeśli chcemy się Literality is destructive. If we want to develop, rozwijać, jeśli chcemy być mądrzy, piękni if we want to be clever, beautiful and rich, we i bogaci, musimy zrozumieć, że nie można have to understand that we cannot eat all our wszystkich pieniędzy przejadać. money, but we need to invest. Musimy inwestować. Ale żeby to robić, trzeba mieć wyobraź- In order to do so, we ought to have imagination. Contact with nię. Sposobem na rozwijanie wyobraźni jest kontakt ze sztuką. art develops imagination. Cities without art do not develop Miasta bez sztuki nie rozwijają się i nawet nie wiedzą, dlaczego while searching for an answer why do not they go forward. stoją w miejscu. Myślą „dosłownie”: nowe latarnie na deptaku They think “literally”: new lamp posts on the promenade or lub jakiś pomnik staną się źródłem cudu gospodarczego. To tak a next sculpture will cause an economic miracle. It does not nie działa. Miasta bez sztuki to bezmyślna, skolonizowana pro- work like this. The cities without art become thoughtless, wincja. Sztuka = inspiracja = innowacja = inwestycja = rozwój colonized provinces. Art = inspiration = innovation = investment = dobrobyt. = development = prosperity. Świdnica potrafi snuć własną, oryginalną, organiczną i kulturo- Świdnica can spin its own, original, organic and culture- twórczą opowieść: urodzony w Świdnicy Thomas Stoltzer to forming story: Thomas Stoltzer, a composer born in Świdnica, jeden z największych polifonistów renesansowych; inny świd- was one of the greatest polyphonists of the Renaissance. -
Universidade Federal Do Paraná Atli Ellendersen
UNIVERSIDADE FEDERAL DO PARANÁ ATLI ELLENDERSEN PARÂMETROS INTERPRETATIVOS PARA A SONATA PARA VIOLINO SOLO EM LÁ MENOR, BWV 1003 DE J. S. BACH CURITIBA 2012 ATLI ELLENDERSEN PARÂMETROS INTERPRETATIVOS PARA A SONATA PARA VIOLINO SOLO EM LÁ MENOR, BWV 1003 DE J. S. BACH Dissertação apresentada ao Programa de Pós-Graduação em Música, Departamento de Artes, Setor de Ciências Humanas, Letras e Artes da Universidade Federal do Paraná, como parte das exigências para a obtenção do título de Mestre em Música. Orientadora: Prof.a Dra. Silvana Scarinci CURITIBA 2012 Catalogação na Publicação Aline Brugnari Juvenâncio – CRB 9ª/1504 Biblioteca de Ciências Humanas e Educação - UFPR Ellendersen, Atli Parâmetros interpretativos para a sonata para violino solo em Lá menor, BWV 1003 de J. S. Bach / Atli Ellendersen. – Curitiba, 2012. 191 f. Orientadora: Profª. Drª. Silvana Scarinci Dissertação (Mestrado em Música) – Setor de Ciências Humanas, Letras e Artes, Universidade Federal do Paraná. 1. Bach, Johann Sebastian, 1685-1750 – Interpretação. 2. Música barroca – Interpretação. 3. Música para violino. 4. Sonatas (Violino). 5. Notação musical. I. Título. CDD 787.2 A Luciana A Maite, Lucas, Andras e Anna Cecilia AGRADECIMENTOS A toda minha família pela paciência e compreensão na minha ausência. Especialmente a minha esposa Luciana pelas incontáveis ajudas e por ter cuidado de nossos filhos. À orientadora Prof. a Dra. Silvana Ruffier Scarinci pelos incentivos e pela amizade. Ao elenco de professores do PPGMUS-UFPR pelas oportunidades de novos conhecimentos. A CAPES pela ajuda financeira. RESUMO Este trabalho trata de questões de interpretação de música barroca, mais especificamente de parâmetros interpretativos para a Sonata para Violino solo em Lá menor, BWV 1003 de Johann Sebastian Bach. -
Nicola Benedetti, Violin Alexei Grynyuk, Piano
Sunday, January 27, 2019, 3pm Zellerbach Hall Nicola Benedetti, violin Alexei Grynyuk, piano PROGRAM Johann Sebastian BACH (1685 –1750) Chaconne from the Partita No. 2 for Solo Violin in D minor, BWV 1004 Sergei PROKOFIEV (1891 –1953) Sonata No. 2 for Violin and Piano in D Major, Op. 94a Moderato Scherzo Andante Allegro con brio INTERMISSION Wynton MARSALIS (b. 1961) Fiddle Dance Suite for Solo Violin (West Coast Premiere) Sidestep Reel As the Wind Goes Jones’ Jig Nicola’s Strathspey Bye Bye Breakdown Richard STRAUSS (1864 –1949) Sonata for Violin and Piano in E-flat Major, Op. 18 Allegro, ma non troppo Improvisation: Andante cantabile Finale: Andante – Allegro This performance is made possible, in part, by Patron Sponsors Will and Linda Schieber, and Daniel W. Johnson and Herman Winkel. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. PROGRAM NOTES Chaconne from the Partita No. 2 ginning to the 32nd notes which rush up and for Solo Violin in D minor, BWV 1004 down like the very demons; from the tremulous Johann Sebastian Bach arpeggios that hang almost motionless, like Bach composed the set of three sonatas and veiling clouds above a dark ravine … to the de - three partitas for unaccompanied violin before votional beauty of the section in D Major, where 1720, during his six-year tenure as director of the evening sun sets in a peaceful valley: the music at the court of Anhalt-Cöthen, north of spirit of the master urges the instrument to in - Leipzig. ough there is not a letter, preface, credible utterances. At the end of the D-Major contemporary account, or shred of any other section it sounds like an organ, and sometimes documentary evidence extant to shed light on a whole band of violins seems to be playing. -
Leticia Scopel Camargo Carniel
LETICIA SCOPEL CAMARGO CARNIEL NOVEL APPROACHES AND FUTURE DIRECTIONS FOR PESTICIDE ECOLOGICAL RISK ASSESSMENT TO IN-SOIL FAUNA LAGES, SC 2019 2 Ficha catalográfica elaborada pelo programa de geração automática da Biblioteca Setorial do CAV/UDESC, com os dados fornecidos pelo(a) autor(a) Carniel, Letícia Scopel Camargo Novel approaches and future directions for pesticide ecological risk assessment to in-soil fauna / Letícia Scopel Camargo Carniel. -- 2019. 197 p. Orientador: Osmar Klauberg-Filho Coorientador: José Paulo Sousa Tese (doutorado) -- Universidade do Estado de Santa Catarina, Centro de Ciências Agroveterinárias, Programa de Pós-Graduação em Ciência do Solo, Lages, 2019. 1. Soil ecotoxicology. 2. Pesticides. 3. Collembola. 4. Earthworms. 5. Enchytraeids. I. Klauberg-Filho, Osmar. II. Sousa, José Paulo. III. Universidade do Estado de Santa Catarina, Centro de Ciências Agroveterinárias, Programa de Pós-Graduação em Ciência do Solo. IV. Novel approaches and future directions for pesticide ecological risk assessment to in-soil fauna. 3 UNIVERSIDADE DO ESTADO DE SANTA CATARINA CENTRO DE CIÊNCIAS AGROVETERINÁRIAS - CAV DEPARTAMENTO DE SOLOS E RECURSOS NATURAIS LETICIA SCOPEL CAMARGO CARNIEL NOVEL APPROACHES AND FUTURE DIRECTIONS FOR PESTICIDE ECOLOGICAL RISK ASSESSMENT TO IN-SOIL FAUNA Tese apresentada à Universidade de Coimbra e à Universidade do Estado de Santa Catarina ao abrigo do Acordo para realização de Doutoramento em Regime de Cotutela assinado entre as duas instituições para a obtenção do Grau de Doutora em Ciência do Solo -
JP Von Westhoff
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13 (62) No. 1 – 2020 https://doi.org/10.31926/but.pa.2020.13.62.1.8 J. P. von Westhoff: Six Suites pour Violon seul sans Basse Előd GÁBOR1, Ignác–Csaba FILIP2 Abstract: Johann Paul von Westhoff's character was a determining figure of the late 17th and early 18th century. Having a strong impact both on his contemporary fellow composers as well as the future generations like J.S.Bach, J.G.Pisendel, G.Ph.Telemann, etc. For me, Westhoff embodies the perfect 17th century violin virtuoso. Analyzing and playing these magnificient solo suites I found a very obvious similarity between the Bach Solo Sonatas and Partitas and Westhoff's Six Solo Suites for Violin Solo. Key-words: violon, suite, sans basse, Westhoff, Dresden 1. Introduction J.P. von Westhoff was born in Dresden and spent most of his life there. His musical education was first set by his father and later by Heinrich Schütz by that time a well-known violin performer and teacher. Because of his talent in learning multiple foreign languages he got the opportunity to teach Spanish, Italian and also French. He also had the privilege of travelling often all over Europe: Italy, France, the Netherlands and England. Starting 1699 he lived in Weimar, therefore there is a high possibility of him meeting J.S. Bach who was working there as a conductor and organist until 1703. His heritage consists of a very low number of works. We know from him a continuo accompanied sonata from 1682, a single piece suite for solo violin from 1683, and the above described six suite series for solo violin from 1696. -
TUESDAY MORNING, 24 MAY 2016 SALON E, 8:00 AM to 11:05 AM Session 2Aaaa Architectural Acoustics and Noise
TUESDAY MORNING, 24 MAY 2016 SALON E, 8:00 A.M. TO 11:05 A.M. Session 2aAAa Architectural Acoustics and Noise: Forensic Studies from Noise Identification to Solutions in the Built Environment Kenneth Cunefare, Cochair Georgia Tech, Mechanical Engineering, Atlanta, GA 30332-0405 Kenric D. Van Wyk, Cochair Acoustics By Design, Inc., 124 Fulton Street East, Second Floor, Grand Rapids, MI 49503 Chair’s Introduction—8:00 Invited Papers 2a TUE. AM 8:05 2aAAa1. What’s that sound? Probe tones and poltergeists: Two case studies in diagnosing noise sources. Kenneth A. Cunefare (Georgia Tech/Arpeggio Acoust. Consulting, Mech. Eng., Atlanta, GA 30332-0405, [email protected]) Case #1: Following construction of a new hospital building within a larger campus, residents began to complain about droning noises in the surrounding neighborhood. Blame was laid on HVAC chillers and an MRI chiller installed on exposed roof-tops of the building. However, there were numerous other chillers on buildings on the campus that were not blamed; a test using probe tones eliminated the hos- pital building as the source impacting the community. Case #2: A homeowner complained of intermittent groaning and moaning noises in the home (poltergeist-like). Interviews revealed that the noises occurred essentially randomly; while the homeowner correlated occurrences to whether or not it had recently rained, the correlation was weak. Additionally, the homeowner had found that opening a water tap would cause the sound to fade away; this was suggestive, but since the sound faded away in a short time even without opening the valve, it was not definitive. -
1455189355674.Pdf
THE STORYTeller’S THESAURUS FANTASY, HISTORY, AND HORROR JAMES M. WARD AND ANNE K. BROWN Cover by: Peter Bradley LEGAL PAGE: Every effort has been made not to make use of proprietary or copyrighted materi- al. Any mention of actual commercial products in this book does not constitute an endorsement. www.trolllord.com www.chenaultandgraypublishing.com Email:[email protected] Printed in U.S.A © 2013 Chenault & Gray Publishing, LLC. All Rights Reserved. Storyteller’s Thesaurus Trademark of Cheanult & Gray Publishing. All Rights Reserved. Chenault & Gray Publishing, Troll Lord Games logos are Trademark of Chenault & Gray Publishing. All Rights Reserved. TABLE OF CONTENTS THE STORYTeller’S THESAURUS 1 FANTASY, HISTORY, AND HORROR 1 JAMES M. WARD AND ANNE K. BROWN 1 INTRODUCTION 8 WHAT MAKES THIS BOOK DIFFERENT 8 THE STORYTeller’s RESPONSIBILITY: RESEARCH 9 WHAT THIS BOOK DOES NOT CONTAIN 9 A WHISPER OF ENCOURAGEMENT 10 CHAPTER 1: CHARACTER BUILDING 11 GENDER 11 AGE 11 PHYSICAL AttRIBUTES 11 SIZE AND BODY TYPE 11 FACIAL FEATURES 12 HAIR 13 SPECIES 13 PERSONALITY 14 PHOBIAS 15 OCCUPATIONS 17 ADVENTURERS 17 CIVILIANS 18 ORGANIZATIONS 21 CHAPTER 2: CLOTHING 22 STYLES OF DRESS 22 CLOTHING PIECES 22 CLOTHING CONSTRUCTION 24 CHAPTER 3: ARCHITECTURE AND PROPERTY 25 ARCHITECTURAL STYLES AND ELEMENTS 25 BUILDING MATERIALS 26 PROPERTY TYPES 26 SPECIALTY ANATOMY 29 CHAPTER 4: FURNISHINGS 30 CHAPTER 5: EQUIPMENT AND TOOLS 31 ADVENTurer’S GEAR 31 GENERAL EQUIPMENT AND TOOLS 31 2 THE STORYTeller’s Thesaurus KITCHEN EQUIPMENT 35 LINENS 36 MUSICAL INSTRUMENTS -
Violin Sonatas
PISENDEL VIOLIN SONATAS Tomasz Aleksander Plusa violin · Robert Smith cello Earl Christy lute and theorbo · Ere Lievonen harpsichord JOHANN GEORG PISENDEL 1687-1755 Johann Georg Pisendel was born on the 26th December 1687 in Cadolzburg, a Violin Sonatas small town in Bavaria where his father had settled as Cantor in 1680. At the age of ten he joined the Ansbach court chapel as a chorister. Destined to follow in his father’s footsteps, he entered the local court chapel of Ansbach as a chorister in 1697, SILVIUS LEOPOLD WEISS Sonata for solo violin in A minor studying singing with Francesco Antonio Pistocchi and the violin with Pistocchi’s 1687-1750 11. [without tempo indication] 2’46 great friend and fellow Bolognese, Giuseppe Torelli. To have studied with so great a 1. Ouverture (from Sonata 12. Allegro 5’31 master as Torelli at such a young age must have been fundamental to the development for lute No.39 in C) 4’46 13. Giga 4’36 of Pisendel both as a violinist and composer. 14. Variatione 5’41 At the age of sixteen he was a violinist in the court orchestra of Ansbach. In March JOHANN GEORG PISENDEL 1709 Pisendel left Ansbach for Leipzig to study law. His stay in Leipzig enabled him 1687-1755 SILVIUS LEOPOLD WEISS to enter into two friendships which were to continue throughout his life. Sonata for violin and b.c. in C minor 15. Presto (from Sonata On the way to Leipzig, his path led through Weimar, where he made the 2. Adagio – Andante 1’53 for lute No.39 in C) 6’30 acquaintance of Johann Sebastian Bach, who was at that time in service there.