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BUXTEHUDE by ARRANGEMENT the Stradal Transcriptions
BUXTEHUDE BY ARRANGEMENT The Stradal Transcriptions Prelude and Fugue in A minor, BuxWV153 8:58 1 Prelude 1:55 Fugue 7:03 2 Fugue 1 3:42 3 Fugue 2 2:00 4 Toccata 1:21 5 Chaconne in E minor, BuxWV160 6:55 Prelude and Fugue in E minor, BuxWV143 6:20 6 Prelude 1:56 Fugue 4:24 7 Fugue 1 3:00 8 Fugue 2 – Adagio 1:24 Prelude and Fugue in E minor, BuxWV142 9:48 9 Prelude 1:12 Fugue 8:36 10 Fugue 1 1:51 11 Fugue 2 3:14 12 Fugue 3 3:31 13 Passacaglia in D minor, BuxWV161 9:01 Prelude and Fugue in D minor, BuxWV140 7:36 14 Prelude 1:41 Fugue 5:55 15 Fugue 1 2:40 16 Fugue 2 3:15 2 Prelude and Fugue in G minor, BuxWV150 8:59 17 Prelude 1:13 Fugue 7:46 18 Fugue 1 3:39 19 Fugue 2 1:21 20 Fugue 3 2:46 21 Chaconne in C minor, BuxWV159 8:01 Prelude and Fugue in F major, BuxWV145 7:41 22 Prelude 2:42 23 Fugue 4:59 Prelude and Fugue in F sharp minor, BuxWV146 10:11 24 Prelude 2:50 Fugue 7:21 25 Fugue 4:27 26 Toccata 2:54 Meilin Ai, piano TT 83:31 FIRST RECORDINGS 3 BUXTEHUDE/STRADAL: ORGAN TRANSCRIPTIONS by William Melton The early life of Dieterich Buxtehude is punctuated with uncertainties of detail.1 He was born about 1637 in either Helsingborg in southern Sweden or Oldesloe in the Danish Duchy of Holstein (presently Bad Oldesloe in the German federal state of Schleswig-Holstein). -
Julie Andrijeski's Cabinet of Wonders at Tregoning & Company (Nov
Julie Andrijeski’s Cabinet of Wonders at Tregoning & Company (Nov. 12) by Nicholas Jones Cleveland-based Baroque violinist Julie Andrijeski, well-known to area audiences for her performances with Les Délices and Apollo’s Fire, premiered a new project on Saturday, November 12 in a lively concert at the Tregoning & Company gallery on West 78th Street. Surrounded by Giancarlo Calicchia’s striking sculptures, Andrijeski and friends performed fascinating works by neglected 17th-century European composers. With the support of a 2016 Creative Workforce Fellowship from the Community Partnership for Arts and Culture (funded by Cuyahoga Arts & Culture), Andrijeski is currently on research leave from her teaching and conducting duties at Case Western Reserve University. She is devoting her time to studying the enormous archive of early Baroque music for the violin, collections that are still for the most part unedited, and little performed. Spending time in this treasure trove of music, according to Andrijeski, is like visiting one of the strange cabinets of curiosities that scholars and collectors assembled in that time of scientific and artistic exploration. In such a “Wonder Chamber” — in German, a Wunderkammer — one might encounter such diverse specimens as a stuffed crocodile, a nautilus shell, a neolithic axe, or a cloisonné bowl: things that fascinated and baffled the inquisitive minds of the times. A sense of discovery was evident throughout the evening. While the composers included some familiar names, such as Dieterich Buxtehude and Jan Pieterszoon Sweelinck, we also heard pieces by the little-known German Johann Schop (ca. 1590-1667) and the Austrian violinist Johann Heinrich Schmeltzer (ca. -
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557249bk Buxtehude US 7/10/05 5:16 pm Page 8 Dietrich Buxtehude (c.1637–1707): Complete Chamber Music • 2 Seven Trio Sonatas, Op. 2 BUXTEHUDE Sonata No. 1 in B flat major, 8:33 Sonata No. 5 in A major, 9:15 BuxWV 259 BuxWV 263 Seven Trio Sonatas, Op. 2 1 Allegro 1:23 ^ Allegro 1:01 2 Adagio – Allegro 2:23 & Violino solo – Concitato 3:19 John Holloway, Violin 3 Grave 1:34 * Adagio: Viola da gamba solo 1:21 4 Vivace – Lento 1:14 ( Allegro – Adagio 1:19 Jaap ter Linden, Viola da gamba 5 Poco adagio – Presto 1:59 ) 6/4 – Poco presto 2:14 Lars Ulrik Mortensen, Harpsichord Sonata No. 2 in D major, 9:06 Sonata No. 6 in E major, 8:37 BuxWV 260 BuxWV 264 6 Adagio – Allegro – Largo 3:13 ¡ Grave – Vivace 3:23 7 Ariette, Parte I–X 3:40 ™ Adagio – Poco presto – Lento 3:39 8 Largo – Vivace 2:14 £ Allegro 1:34 Sonata No. 3 in G minor, 10:54 Sonata No. 7 in F major, 8:15 BuxWV 261 BuxWV 265 9 Vivace – Lento 3:07 ¢ Adagio – 4/4 3:02 0 Allegro – Lento 1:25 ∞ Lento – Vivace 2:20 ! Andante 3:16 § Largo – Allegro 2:53 @ Grave – Gigue 3:06 This recording has been based on the following editions: Dieterich Buxtehude: VII. Suonate à doi, Sonata No. 4 in C minor, 8:32 Violino & Violadagamba, con Cembalo, Opus. 1, BuxWV 262 Hamburg [1694] – Opus 2, Hamburg 1696. Facsimile # Poco adagio 1:45 edition, vol. 1-2, with an introduction by Kerala J $ Allegro – Lento 2:03 Snyder. -
Amherst Early Music Festival Directed by Frances Blaker
Amherst Early Music Festival Directed by Frances Blaker July 8-15, and July 15-22 Connecticut College, New London CT Music of France and the Low Countries Largest recorder program in U.S. Expanded vocal programs Renaissance reeds and brass New London Assembly Festival Concert Series Historical Dance Viol Excelsior www.amherstearlymusic.org Amherst Early Music Festival 2018 Week 1: July 8-15 Week 2: July 15-22 Voice, recorder, viol, violin, cello, lute, Voice, recorder, viol, Renaissance reeds Renaissance reeds, flute, oboe, bassoon, and brass, flute, harpsichord, frame drum, harpsichord, historical dance early notation, New London Assembly Special Auditioned Programs Special Auditioned Programs (see website) (see website) Baroque Academy & Opera Roman de Fauvel Medieval Project Advanced Recorder Intensive Ensemble Singing Intensive Choral Workshop Virtuoso Recorder Seminar AMHERST EARLY MUSIC FESTIVAL FACULTY CENTRAL PROGRAM The Central Program is our largest and most flexible program, with over 100 students each week. RECORDER VIOL AND VIELLE BAROQUE BASSOON* Tom Beets** Nathan Bontrager Wouter Verschuren It offers a wide variety of classes for most early instruments, voice, and historical dance. Play in a Letitia Berlin Sarah Cunningham* PERCUSSION** consort, sing music by a favorite composer, read from early notation, dance a minuet, or begin a Frances Blaker Shira Kammen** Glen Velez** new instrument. Questions? Call us at (781)488-3337. Check www.amherstearlymusic.org for Deborah Booth* Heather Miller Lardin* Karen Cook** Loren Ludwig VOICE AND THEATER a full list of classes by May 15. Saskia Coolen* Paolo Pandolfo* Benjamin Bagby** Maria Diez-Canedo* John Mark Rozendaal** Michael Barrett** New to the Festival? Fear not! Our open and inviting atmosphere will make you feel at home Eric Haas* Mary Springfels** Stephen Biegner* right away. -
Join Us for This Summer's Baroque a Cadem Y!
FACULTY Aaron Sheehan, voice PAID U.S. Postage Postage U.S. Brockton, MA Brockton, Non-Profit Org. Non-Profit Org. Julie Andrijeski, violin 1000 No. Permit Debra Nagy, oboe Na’ama Lion, flute Saskia Coolen, recorder Wouter Verschuren, bassoon Jaap ter Linden, cello Heather Miller Lardin, double bass Sarah Cunningham, Paolo Pandolfo, viol Arthur Haas, Peter Sykes, harpsichord Xavier Diaz-Latorre, lute, guitar, and theorbo Drew Minter, opera director Amherst Early Music Festival Jason McStoots, Vocal Soloist Project director at Connecticut College, New London CT Adam Pearl, orchestra conductor Music of France and the Low Countries Saskia Coolen, Director DAILY SCHEDULE MONDAY-FRIDAY 9:00 am Master class 11:00 am Baroque ensembles 1:45 pm Ensembles and special topics 3:30 pm Opera and Vocal Soloists rehearsals PERFORMANCES Thursday, July 12 8:00 pm Baroque Academy Faculty concert Friday, July 13 8:00 pm Opera Project: Lully’s Cadmus et Hermione Saturday, July 14 1:00 pm Baroque Academy Concert 4:30 pm Staged Baroque Cantatas with Vocal Soloists www.amherstearlymusic.org Amherst Early Music, Inc. Amherst Director Marilyn Boenau, Executive Allen House Nathaniel Street Webster 35 MA 02465 Newton West this summer’s Join us for Academy! Baroque THE BAROQUE ACADEMY is a program VIOL INTENSIVE Viol players will work for emerging professional singers and instrumentalists with two master viol teachers: Sarah Cunningham who want to develop their understanding and perfor- and Paolo Pandolfo. All-day viol program will mance of Baroque repertoire in a high-powered musi- include technical work and coaching on gorgeous cal environment. Immerse yourself in 17th and 18th viol repertoire by Marais, Couperin, and Forqueray. -
Ton Koopman Marks Telemann's 250Thanniversary at the 16Th Itinéraire Baroque Festival
Ton Koopman marks Telemann’s 250thanniversary at the 16th Itinéraire Baroque festival Launch concert: 13 May Itinéraire Baroque Festival French Perigord 27 – 31 July www.itinerairebaroque.com At this summer’s Itinéraire Baroque, Ton Koopman is marking the 250th anniversary of German composer Georg Philipp Telemann during his annual festival in the Dordogne. The composer’s works form the backbone of the 4-day programme alongside Koopman’s trademark Bach Cantatas with the Amsterdam Baroque Choir and Orchestra. Set in the picturesque medieval villages and towns around Riberac, the festival runs from Thursday 27 July to Sunday 30 July 2017. The annual highlight is the Saturday ‘itinéraire’, starting with an organ recital by Koopman followed by five ‘taster’ concerts - in circuit that takes in small forgotten Romanesque churches. The performers remain in the same church offering a 40-minute concert to each group of concert-goers, while audiences travel between the churches in search of the next baroque “amuse-bouche”. One of the great composers of the baroque period, Telemann (1681-1712) was a lifelong friend of Johann Sebastian Bach and godfather to Bach’s child, Carl Philipp Emanuel. Although he was almost completely self-taught, Telemann is one of the most prolific composers in music history, having left an oeuvre of more than 3,000 works (only half have survived), including 35 operas. Starting his professional career regularly composing for the Thomaskirche in Leipzig, he became director of the city’s opera house. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including several operas, one of which was his first major opera, Germanicus. -
J. S. Bach Christmas Oratorio
J. S. BACH CHRISTMAS ORATORIO Bach Collegium Japan Masaaki Suzuki BACH, Johann Sebastian (1685–1750) Weihnachtsoratorium, BWV 248 142'19 (Christmas Oratorio) Disc 1 Part I: Jauchzet, frohlocket! auf, preiset die Tage 24'57 Christmas Day (25th December 1734) 1 1. Chor. Jauchzet, frohlocket! auf, preiset die Tage … 7'35 2 2. Rezitativ (Tenor [Evangelist]). Es begab sich aber zu der Zeit … 1'14 3 3. Rezitativ (Alt). Nun wird mein liebster Bräutigam … 0'56 4 4. Arie (Alt). Bereite dich, Zion … 5'05 5 5. Choral. Wie soll ich dich empfangen … 1'05 6 6. Rezitativ (Tenor [Evangelist]). Und sie gebar ihren ersten Sohn … 0'24 7 7. Choral und Rezitativ (Sopran, Bass). Er ist auf Erden kommen arm … 2'46 8 8. Arie (Bass). Großer Herr, o starker König … 4'30 9 9. Choral. Ach, mein herzliebes Jesulein … 1'10 Part II: Und es waren Hirten in derselben Gegend 28'31 Second Day of Christmas (26th December 1734) 10 10. Sinfonia 5'42 11 11. Rezitativ (Tenor [Evangelist]). Und es waren Hirten in derselben Gegend … 0'43 12 12. Choral. Brich an, du schönes Morgenlicht … 1'01 13 13. Rezitativ (Tenor, Sopran [Evangelist, Der Engel]). Und der Engel sprach … 0'42 14 14. Rezitativ (Bass). Was Gott dem Abraham verheißen … 0'39 2 15 15. Arie (Tenor). Frohe Hirten, eilt, ach eilet … 3'35 16 16. Rezitativ (Tenor [Evangelist]). Und das habt zum Zeichen … 0'20 17 17. Choral. Schaut hin! dort liegt im finstern Stall … 0'38 18 18. Rezitativ (Bass). So geht denn hin, ihr Hirten, geht … 0'57 19 19. -
10.18 Mozart in Paris2 Program & Notes
Mozart in Paris – Part 2 Wolfgang Amadeus Mozart: Grand Quintetto (KV 360) arr. Schwencke Largo – Molto Allegro Luigi Boccherini: Sonate di cembalo e violino obbligato Op. 5 no. 1 in Bb Allegro con moto Adagio Presto assai Giuseppe Maria Cambini: Trio concertans Op 3 no. 4 in C Allegro Rondo Allegretto Johann Schobert: Sonate pour le clavecin (en quatuor), Op 14 no. 1 in Eb Allegro assai con sordini Andante Polonoise Menuetto – Trio Mozart:: Grand Quintetto arr. Schwencke Adagio Thema con variazioni Finale Performers: Sylvia Berry, fortepiano Debra Nagy, oboe Julie Andrijeski, violin Allison Monroe, violin and viola Jaap ter Linden, cello Notes on the Program: Leopold Mozart took his family (including wife Anna Maria, daughter Nannerl, and the amazingly precocious Wolfgang Amadeus) on a Grand Tour of Europe from 1763-1768 with the dual aim of educating his talented children and introducing them to all the tastemakers and nobility in Europe. He hoped they might not only be showered with gifts along the way (they were) but would also secure the most valuable item of all: a full-time job with benefits. Their five-year journey took them from provincial Salzburg to all the greatest cities and courts in Europe including Munich, Vienna, Amsterdam, London, and Paris, where the boy genius made an excellent impression. Back home in Salzburg in the late 1770s, the young Mozart was straining under the repressive conditions of his appointment and petitioned to be released from his contract. He had two professional options: secure a permanent court appointment (where Mozart insisted “one could expect to occupy a social status not too far above the cooks”) or establish a freelance career combining private patronage with commissions, publishing (engraved by subscription), and teaching. -
Sonatas Troisième Livre De Sonates Op
ECM Jean-Marie Leclair: Sonatas Troisième Livre de Sonates op. 5 Sonatas Nos. 1, 3, 4, 7 and 8 John Holloway: violin; Jaap ter Linden: violoncello; Lars Ulrik Mortensen: harpsichord ECM New Series 2009 0289 476 6280 (8) Release: November 2008 This is playing that fizzes with intelligence, combining intensity, percipience and drama in equal measure. Peter Quinn, International Record Review, reviewing John Holloway’s recording of the complete unaccompanied works by Bach (2006) Lacemaker, dancer, ballet master, violinist, composer. Founder of the French violin school and a typical exponent of the “mixed tastes” of Italian and French compositional styles. Wayfaring virtuoso and victim of a never fully elucidated murder in his own garden in Paris: Jean-Marie Leclair (1697–1764) is one of the most fascinating figures in French music history. He was famous for the rare beauty of his sound on the violin and for the originality of his compositions in which, according to his contemporaries, he created “new things which were entirely his own.” In today’s concert life, though, Leclair is all but forgotten. John Holloway now offers a strong plea for Leclair’s violin sonatas. “The best violinist- composers write things for the instrument which non-violinists normally don’t trust themselves to do, they explore colours and shades in a quite unique way”, says Holloway in an interview for this CD’s booklet. Leclair is a logical step after his exemplary recordings of works by Corelli, Schmelzer, Biber, Veracini and others. However, conceiving of his trio as a partnership among equals, it is not the demonstratively virtuosic pieces Holloway is most interested in, but, rather, sonatas with elaborate chamber music qualities and ambitious contrapuntal settings. -
T. Koopman & Amsterdam Baroque Orchestra & Choir
_crar ~cr- :xxh :2- -5: =-:.-:: 7' .ocr _o(ob -e __- ::Si2"a::-:cc--~ ,,::" JC' fC :::e;:: .--,: 2 Johann Sebastian BACH(1685-1750) COMPLETE CANTATAS/L'INTEGRALE DES CANTATES DAS KANTATENWERK . VOLUME 3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHYON MAGNUS, soprano If, alto ANDREASSCHOU,alto(BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN 3 2 JohannSebastianBACH(1685-1750) COMPLETECANTATAS/L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHVON MAGNUS,sopranoII, alto ANDREASSCHOU,alto (BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THEAMSTERDAMBAROQUEORCHESTRA& CHOIR TON KOOPMAN 3 COMPACTDISC1 70'13 P~/ 5eite "Christen, iitzet diesen Tag" BWV 63 28'20 Feria 1 Nativitatis Christi For the 1st day. of Christmas/Pour Ie I~ jour de Noel/Erster Weihnachtstag Text: Anon., Johann Michael Heineccios (?). 171.8 Ruth Holton, soprano [I] Chorale (Chorus): "Christen, otzel diesen Ta~" £148 [43] Violins, Violas, Cel/o, Double bass, Oboes, Trumpets, Timpani, Bassoon, Organ W Recitative(Altol:"a seiger Tag! 0 ungemeines Heute" -< " [43J Violins, Violas, Cel/o, Double -bass, Organ OJ Duel (Soprano, Bassi: "Gott. du hast es wohl gefuget" v [45] Oboe, Cel/o, Organ ""':::,' m Recitative (Tenor): "So kehret sich nun heut das bange leid" [45] Cel/a, Organ []] Duet (Alto, Tenorl: "Run und flehl den Himmel an" [45] Violins, Violas, Cel/i, Double bass, Organ W Recitative(Bass): "Verdoppelt euch demnach" [45] Violins, Violas, Cel/i, Double bass, Oboes, Bassoon, Organ [[] Chorale (Chorus): "HOchsler,schau in Gnaden an" [47] Violins, Violas, Cel/i, Double bass, Oboes, Trumpets,Timpani Bossoor C>-F "Ach, ich sehe, ilzt, do ich zur Hachzeit gehe" BWV 162 16"22 Dominica 20 post Trinitatis For the 20th Sunday aner Trinity/Pour Ie 20' Dimanche ap<es Ie ~""" e. -
The Historical Figures of the Birthday Cantatas of Johann Sebastian Bach
Southern Illinois University Carbondale OpenSIUC Theses Theses and Dissertations 5-15-2010 The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach Marva J. Watson Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/theses Recommended Citation Watson, Marva J., "The iH storical Figures of the Birthday Cantatas of Johann Sebastian Bach" (2010). Theses. Paper 157. This Open Access Thesis is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Theses by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH by Marva Jean Watson B.M., Southern Illinois University, 1980 A Thesis Submitted in Partial Fulfillment of the Requirements for the Master of Music Degree School of Music in the Graduate School Southern Illinois University Carbondale May 2010 THESIS APPROVAL THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH By Marva Jean Watson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music in the field of Music History and Literature Approved by: Dr. Melissa Mackey, Chair Dr. Pamela Stover Dr. Douglas Worthen Graduate School Southern Illinois University Carbondale April 2, 2010 AN ABSTRACT OF THE THESIS OF MARVA JEAN WATSON, for the Master of Music degree in Music History and Literature, presented on 2 April 2010, at Southern Illinois University Carbondale. TITLE: THE HISTORICAL FIGURES OF THE BIRTHDAY CANTATAS OF JOHANN SEBASTIAN BACH MAJOR PROFESSOR: Dr. -
Juilliard415 Photo by Claudio Papapietro
Juilliard415 Photo by Claudio Papapietro Support the next generation of performing artists Thank you for being an important part of this performance as an engaged audience member. You can do even more to support Juilliard’s remarkable young artists by making a tax-deductible gift of scholarship today. Your donation supports financial aid for our dedicated students and encourages their development and growth as performing artists. With more than 90% of students qualifying for financial aid, your donation truly does make a difference. Give now at giving.juilliard.edu/fromyourseat Or call (212) 799-5000, ext. 278 Thank you for your support! The Juilliard School presents Juilliard Historical Performance 10th Anniversary Season Juilliard415 Richard Egarr, Harpsichord and Director Friday, October 11, 2019, 7:30pm Peter Jay Sharp Theater GEORGE FRIDERIC Concerto Grosso in B-flat Major, Op. 3, No. 2 HANDEL Vivace (1685-1759) Largo Allegro Moderato Allegro HANDEL Concerto Grosso in A Minor, Op. 6, No. 4 Larghetto affetuoso Allegro Largo Allegro CHARLES AVISON Concerto Grosso in A Major, No. 1 (1709-70) Adagio Amoroso Allegro (after sonatas by Domenico Scarlatti) Intermission Juilliard's full-scholarship Historical Performance program was established and endowed in 2008 by the generous support of Bruce and Suzie Kovner. Additional support for this performance was provided, in part, by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 HANDEL Concerto Grosso in G Major, Op. 6, No. 1 A tempo giusto Allegro Adagio Allegro Allegro HANDEL Organ Concerto in F Major, Op.