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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 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. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
Im Dienste Einer Staatsidee
Wiener Musikwissenschaftliche Beiträge Band 24 Herausgegeben von Gernot Gruber und Theophil Antonicek Forschungsschwerpunkt Musik – Identität – Raum Band 1 Elisabeth Fritz-Hilscher (Hg.) IM DIENSTE EINER STAATSIDEE Künste und Künstler am Wiener Hof um 1740 2013 Böhlau Verlag Wien Köln Weimar Gedruckt mit der Unterstützung durch den Fonds zur Förderung der wissenschaftlichen Forschung Bibliografische Information der Deutschen Nationalbibliothek : Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie ; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Umschlagabbildung : Mittelmedaillon des Deckenfreskos im Festsaal der Österreichischen Akademie der Wissenschaften (ehemals Alte Universität) von Gregorio Guglielmi nach einem Programmentwurf von Pietro Metastasio (Rekonstruktion nach dem Brand von 1961 durch Paul Reckendorfer) © ÖAW © 2013 by Böhlau Verlag Ges.m.b.H., Wien Köln Weimar Wiesingerstraße 1, A-1010 Wien, www.boehlau-verlag.com Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. Satz : Michael Rauscher, Wien Druck und Bindung : General Nyomda kft., H-6728 Szeged Gedruckt auf chlor- und säurefreiem Papier Printed in Hungary ISBN 978-3-205-78927-7 Inhalt Vorwort .................................... 7 Grete Klingenstein : Bemerkungen zur politischen Situation um 1740 ..... 11 Literatur Alfred Noe : Die italienischen Hofdichter. Das Ende einer Ära ......... 19 Wynfrid Kriegleder : Die deutschsprachige Literatur in Wien um 1740 .... 47 Kunst Werner Telesko : Herrscherrepräsentation um 1740 als „Wendepunkt“ ? Fragen zur Ikonographie von Kaiser Franz I. Stephan ............. 67 Anna Mader-Kratky : Modifizieren oder „nach alter Gewohnheit“ ? Die Auswirkungen des Regierungsantritts von Maria Theresia auf Zeremoniell und Raumfolge in der Wiener Hofburg .................... 85 Theater Andrea Sommer-Mathis : Höfisches Theater zwischen 1735 und 1745. -
Magnificat in D Major, BWV
Johann Sebastian Bach Magnificat in D Major, BWV 243 Magnificat Quia respexit Quia fecit mihi magna Et misericordia eius Fecit potentiam Deposuit potentes Suscepit Israel Gloria patri Sicut erat in principio *** Chorus: S-S-A-T-B Soloists: Soprano 1, soprano 2, alto, tenor, bass Orchestra: 2 flutes, 2 oboes, 2 oboes d'amore, 3 trumpets, timpani, strings, continuo ************************* Program notes by Martin Pearlman Bach, Magnificat, BWV 243 In 1723, for his first Christmas as cantor of the St. Thomas Church in Leipzig, Bach presented a newly composed setting of the Magnificat. It was a grand, celebratory work with a five-voice chorus and a colorful variety of instruments, and Bach expanded the Magnificat text itself by interpolating settings of several traditional Christmas songs between movements. This was the original Eb-major version of his Magnificat, and it was Bach's largest such work up to that point. About a decade later, he reworked the piece, lowering the key from Eb to the more conventional trumpet key of D major, altering some of the orchestration, and, perhaps most importantly, removing the Christmas inserts, so that the work could be performed at a variety of festivals during the liturgical year. It is this later D major version of the Magnificat that is normally heard today. Despite its brilliance and grandeur, Bach's Magnificat is a relatively short work. Nonetheless, it is filled with countless fascinating details. The tenor opens his aria Deposuit with a violent descending F# minor scale to depict the text "He hath put down [the mighty]". At the end of the alto aria Esurientes, Bach illustrates the words "He hath sent the rich away empty" by having the solo flutes omit their final note. -
574040-41 Itunes Beethoven
BEETHOVEN Chamber Music Piano Quartet in E flat major • Six German Dances Various Artists Ludwig van ¡ Piano Quartet in E flat major, Op. 16 (1797) 26:16 ™ I. Grave – Allegro ma non troppo 13:01 £ II. Andante cantabile 7:20 BEE(1T77H0–1O827V) En III. Rondo: Allegro, ma non troppo 5:54 1 ¢ 6 Minuets, WoO 9, Hess 26 (c. 1799) 12:20 March in D major, WoO 24 ‘Marsch zur grossen Wachtparade ∞ No. 1 in E flat major 2:05 No. 2 in G major 1:58 2 (Grosser Marsch no. 4)’ (1816) 8:17 § No. 3 in C major 2:29 March in C major, WoO 20 ‘Zapfenstreich no. 2’ (c. 1809–22/23) 4:27 ¶ 3 • No. 4 in F major 2:01 4 Polonaise in D major, WoO 21 (1810) 2:06 ª No. 5 in D major 1:50 Écossaise in D major, WoO 22 (c. 1809–10) 0:58 No. 6 in G major 1:56 5 3 Equali, WoO 30 (1812) 5:03 º 6 Ländlerische Tänze, WoO 15 (version for 2 violins and double bass) (1801–02) 5:06 6 No. 1. Andante 2:14 ⁄ No. 1 in D major 0:43 No. 2 in D major 0:42 7 No. 2. Poco adagio 1:42 ¤ No. 3. Poco sostenuto 1:05 ‹ No. 3 in D major 0:38 8 › No. 4 in D minor 0:43 Adagio in A flat major, Hess 297 (1815) 0:52 9 fi No. 5 in D major 0:42 March in B flat major, WoO 29, Hess 107 ‘Grenadier March’ No. -
UWM Department of Music Concert Program Style Guide
UWM Department of Music Concert Program Style Guide Table of Contents 1. General Rules for All Titles 2. Generic Titles 3. Distinctive Titles 4. Composer Names & Dates 1. General Rules for All Titles 1.1 Titles (including movement titles) are capitalized following the rules of each language: a. English: capitalize all words except conjunctions, prepositions, and articles, unless they begin a title. b. French: capitalize all words up to and including the first noun; everything after that is lower case (except for proper nouns). c. German: capitalize first word, and all nouns. d. Italian & Spanish: capitalize first word, all else is lower case except proper nouns. 1.2 Movement Titles a. Movements follow under the main title; those in foreign languages should be italicized. b. Movement numbers are uppercase roman numerals (I, II, III, IV, rather than i, ii, iii, iv) c. If all movements of a work are performed in order, they do not need to be numbered; otherwise number the movements being performed with their original numbers. If only a few movements of many are being performed, it is possible to also add the word “Selections” in parentheses after the title to avoid confusion. Examples: Orchestral Suite No. 3 in D Major, BWV 1068 V. Bourrée VI. Gigue Carnaval des animaux (Selections) IV. Tortues XII. Fossiles d. It is appropriate to translate movement titles that might not otherwise be understood, particularly if they are not translated elsewhere in the program. Place translation(s) in parentheses. Example: Concerto for Orchestra I. Introduzione II. Gioco delle coppie (Game of Pairs) III. -
14 January 2011 Page 1 of 9
Radio 3 Listings for 8 – 14 January 2011 Page 1 of 9 SATURDAY 08 JANUARY 2011 05:37AM virtuosity, but it's quite possible he wrote this concerto to play Mozart, Wolfgang Amadeus (1756-1791) himself. One early soloist commented that the middle SAT 01:00 Through the Night (b00wx4v1) Alma Dei creatoris (K.277) movement was 'too clever by half', but it's the finale that's The Genius of Mozart, presented by John Shea Ursula Reinhardt-Kiss (soprano); Annelies Burmeister (mezzo); catches most attention today, as it suddenly lurches into the Eberhard Büchner (tenor); Leipzig Radio Chorus & Symphony 'Turkish' (or more accurately Hungarian-inspired) style - and 01:01AM Orchestra), Herbert Kegel (conductor) the nickname has stuck. Mozart, Wolfgang Amadeus (1756-1791) Thamos, König in Ägypten (K.345) 05:43AM Conductor Garry Walker is no stranger to Mozart, last season Monteverdi Choir; English Baroque Soloists; cond. by John Mozart, Wolfgang Amadeus (1756-1791) he visited the St David's Festival in West Wales with the Eliot Gardiner 16 Minuets (K.176) (excerpts) Nos.1-4 orchestra, taking the 'Haffner' symphony. Today he conducts Slovak Sinfonietta, cond. Tara Krysa the players in Symphony No. 25, written when Mozart was a 01:50AM teenager. It's his first symphony in a minor key, and maybe the Mozart, Wolfgang Amadeus (1756-1791) 05:51AM passion and turbulence we hear in the outer movements a young Piano Sonata in C minor (K. 457) (1784) Mozart, Wolfgang Amadeus (1756-1791) man struggling out of his adolescence. Denis Burstein (piano) Quartet for strings in B flat major (K.458) "Hunt" Quatuor Mosaïques MOZART 02:15AM Violin Concerto No. -
1 Eighteenth-Century Music in a Twenty-First Century Conservatory of Music Or Using Haydn to Make the Familiar Exciting by Mary
1 Morrow, Mary Sue. “Eighteenth-Century Music in a Twenty-First Century Conservatory of Music, or Using Haydn to Make the Familiar Exciting.” HAYDN: Online Journal of the Haydn Society of North America 6.1 (Spring 2016), http://haydnjournal.org. © RIT Press and Haydn Society of North America, 2016. Duplication without the express permission of the author, RIT Press, and/or the Haydn Society of North America is prohibited. Eighteenth-Century Music in a Twenty-First Century Conservatory of Music or Using Haydn to Make the Familiar Exciting by Mary Sue Morrow University of Cincinnati College-Conservatory of Music I. Introduction Teaching the history of eighteenth-century music in a conservatory can be challenging. Aside from the handful of music history and music theory students, your classes are populated mostly by performers, conductors, and composers who do not always find the study of music history interesting or even necessary. Moreover, when you step in front of a graduate-level class at the College-Conservatory of Music at the University of Cincinnati, everybody in the class is going to know all about the music of the eighteenth century: they’ve played Bach fugues and sung in Handel choruses; they’ve sung Mozart arias and played Haydn string quartets or early Beethoven sonatas. They have also been taught to revere these names as the century’s musical geniuses, but quite a number of them will admit that they are not very interested in eighteenth-century music, particularly the music from the late eighteenth-century: It is too ordinary and unexciting; it all sounds alike; it is mostly useful for teaching purposes (definitely the fate of Haydn’s keyboard sonatas and, to a degree, his string quartets). -
Heralding a New Enlightenment
Peculiarities of Clarinet Concertos Form-Building in the Second Half of the 20th Century and the Beginning of the 21st Century Marina Chernaya and Yu Zhao* Abstract: The article deals with clarinet concertos composed in the 20th– 21st centuries. Many different works have been created, either in one or few parts; the longest concert that is mentioned has seven parts (by K. Meyer, 2000). Most of the concertos have 3 parts and the fast-slowly-fast kind of structure connected with the Italian overture; sometimes, the scheme has variants. Our question is: How does the concerto genre function during this period? To answer, we had to search many musical compositions. Sometimes the clarinet is accompanied by orchestra, other times it is surrounded by an ensemble of instruments. More than 100 concertos were found and analyzed. Examples of such concertos were written by C. Nielsen, P. Boulez, J. Adams, C. Debussy, M. Arnold, A. Copland, P. Hindemith, I. Stravinsky, S. Vassilenko, and the attention in the article is focused on them. A special complete analysis is made as regards “Domaines” for clarinet and 21 instruments divided in 6 groups, by Pierre Boulez that had a great role for the concert routine, based on the “aleatoric” principle. The conclusions underline the significant development of the clarinet concerto genre in the 20th -21st centuries, the high diversity of the compositions’ structures, the considerable expressiveness and technicality together with the soloist’s part in the expressive concertizing (as a rule). Further studies suggest the analysis of stylistic and structural peculiarities of the found compositions that are apparently to win their popularity with performers and listeners. -
My Musical Lineage Since the 1600S
Paris Smaragdis My musical lineage Richard Boulanger since the 1600s Barry Vercoe Names in bold are people you should recognize from music history class if you were not asleep. Malcolm Peyton Hugo Norden Joji Yuasa Alan Black Bernard Rands Jack Jarrett Roger Reynolds Irving Fine Edward Cone Edward Steuerman Wolfgang Fortner Felix Winternitz Sebastian Matthews Howard Thatcher Hugo Kontschak Michael Czajkowski Pierre Boulez Luciano Berio Bruno Maderna Boris Blacher Erich Peter Tibor Kozma Bernhard Heiden Aaron Copland Walter Piston Ross Lee Finney Jr Leo Sowerby Bernard Wagenaar René Leibowitz Vincent Persichetti Andrée Vaurabourg Olivier Messiaen Giulio Cesare Paribeni Giorgio Federico Ghedini Luigi Dallapiccola Hermann Scherchen Alessandro Bustini Antonio Guarnieri Gian Francesco Malipiero Friedrich Ernst Koch Paul Hindemith Sergei Koussevitzky Circa 20th century Leopold Wolfsohn Rubin Goldmark Archibald Davinson Clifford Heilman Edward Ballantine George Enescu Harris Shaw Edward Burlingame Hill Roger Sessions Nadia Boulanger Johan Wagenaar Maurice Ravel Anton Webern Paul Dukas Alban Berg Fritz Reiner Darius Milhaud Olga Samaroff Marcel Dupré Ernesto Consolo Vito Frazzi Marco Enrico Bossi Antonio Smareglia Arnold Mendelssohn Bernhard Sekles Maurice Emmanuel Antonín Dvořák Arthur Nikisch Robert Fuchs Sigismond Bachrich Jules Massenet Margaret Ruthven Lang Frederick Field Bullard George Elbridge Whiting Horatio Parker Ernest Bloch Raissa Myshetskaya Paul Vidal Gabriel Fauré André Gédalge Arnold Schoenberg Théodore Dubois Béla Bartók Vincent -
VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo
VIVACEAUTUMN / WINTER 2016 Classical music review in Supraphon recordings Photo archive PPC archive Photo Photo © Jan Houda Photo LUKÁŠ VASILEK SIMONA ŠATUROVÁ TOMÁŠ NETOPIL Borggreve © Marco Photo Photo © David Konečný Photo Photo © Petr Kurečka © Petr Photo MARKO IVANOVIĆ RADEK BABORÁK RICHARD NOVÁK CP archive Photo Photo © Lukáš Kadeřábek Photo JANA SEMERÁDOVÁ • MAREK ŠTRYNCL • ROMAN VÁLEK Photo © Martin Kubica Photo XENIA LÖFFLER 1 VIVACE AUTUMN / WINTER 2016 Photo © Martin Kubica Photo Dear friends, of Kabeláč, the second greatest 20th-century Czech symphonist, only When looking over the fruits of Supraphon’s autumn harvest, I can eclipsed by Martinů. The project represents the first large repayment observe that a number of them have a common denominator, one per- to the man, whose upright posture and unyielding nature made him taining to the autumn of life, maturity and reflections on life-long “inconvenient” during World War II and the Communist regime work. I would thus like to highlight a few of our albums, viewed from alike, a human who remained faithful to his principles even when it this very angle of vision. resulted in his works not being allowed to be performed, paying the This year, we have paid special attention to Bohuslav Martinů in price of existential uncertainty and imperilment. particular. Tomáš Netopil deserves merit for an exquisite and highly A totally different hindsight is afforded by the unique album acclaimed recording (the Sunday Times Album of the Week, for of J. S. Bach’s complete Brandenburg Concertos, which has been instance), featuring one of the composer’s final two operas, Ariane, released on CD for the very first time. -
Friday 8 May 2020
Koanga - New Zealand SO/John Hopkins Zealand National Youth Choir/Karen (EX Tartar TRL 020) Grylls (TRUST MMT 2016) 2:00 approx ELGAR: Nursery Suite - New Zealand JOPLIN: Maple Leaf Rag; Magnetic Rag (2) SO/James Judd (Naxos 8.557166) - Elizabeth Hayes (pno) (QUARTZ QTZ 2005) COPLAND: Down a Country Lane - Saint Friday 8 May 2020 BECK: Sinfonia in G minor Op 3/3 - Paul CO/Hugh Wolff (Teldec 77310) Toronto CO/Kevin Mallon (Naxos 5:00 approx 12:00 Music Through the Night 8.570799) BRAHMS: Violin Sonata No 2 in A Op 100 - RAMEAU: The Entrance of Polyhymnia, GAY: Virgins Are Like The Fair Flow'r, from Tasmin Little (vln), Piers Lane (pno) from Les Boréades - Ensemble The Beggar's Opera - Kiri Te Kanawa (sop), (Chandos CHAN 10977) Pygmalion/Raphaël Pichon (Harmonia National Phil/Richard Bonynge (Decca 475 VAUGHAN WILLIAMS: In the Fen Country - Mundi HMM902288) 459) London Festival Orch/Ross Pople (ASV CD DELIUS: Walk to the Paradise Garden - DETT: Eight Bible Vignettes - Denver DCA 779) Symphony Nova Scotia/Georg Tintner Oldham (piano) (New World NW 367) ANONYMOUS: Masque Dances - Alison (CBC Records SMCD 5134) HAN KUN SHA: Shepherd's Song - Melville (recorder), Margaret Gay (cello), CIMAROSA: Concerto in G for two flutes - Shanghai Quartet (Delos DE 3308) Peter Lehman (theorbo), Valerie Weeks Mathieu Dufour (fl), Alex Klein (ob), Czech 3:00 approx (hpschd) (EBS EBS 6016) National SO/Paul Freeman (Cedille CDR TELEMANN: Trumpet Concerto in D - DELIUS arr Fenby: Serenade, from Hassan 90000 080) Niklas Eklund (baroque tpt), - Julian Lloyd Webber -
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.