Exploring Beethoven
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Welcome to Shadyside Presbyterian Church
Welcome to Shadyside Presbyterian Church We are grateful for your presence and invite you to participate in the worship, study, fellowship, and service of this congregation. If you are a guest with us this morning, our ushers are available to assist you. Following worship, we invite those who are new to the church to join us under the ficus tree in the Sharp Atrium, where New Member Committee representatives will greet you and answer any questions you may have. Nursery care is available for infants through three-year-olds during worship. Pagers are available. A cry room with an audio broadcast of worship is available downstairs in the Marks Room. Children in Worship – At 11:00 a.m., families with two- and three-year-olds are welcome to report directly to the Nursery. Four-year-olds through second-graders attend worship and may exit with their teachers before the sermon to participate in children’s chapel worship and Christian education. (If you are a first-time guest, please accompany your child to the Chapel, and then you may return to the Sanctuary.) Parents should meet their children in the Christian education classrooms after worship. On the first Sunday of the month, first- and second-graders stay in worship through the entire service for Communion. A bulletin insert designed for children is available in the Narthex. A video broadcast of worship is available in the Craig Room, accessible through the Narthex at the back of the Sanctuary. Flower Ministry – After worship, members of the Board of Deacons’ Flower Ministry divide the chancel flowers into bouquets to be distributed to individuals who are celebrating joyous occasions and to those who could use some cheer. -
Elaine Fitz Gibbon
Elaine Fitz Gibbon »Beethoven und Goethe blieben die Embleme des kunstliebenden Deutschlands, für jede politische Richtung unantastbar und ebenso als Chiffren manipulierbar« (Klüppelholz 2001, 25-26). “Beethoven and Goethe remained the emblems of art-loving Germany: untouchable for every political persuasion, and likewise, as ciphers, just as easily manipulated.”1 The year 2020 brought with it much more than collective attempts to process what we thought were the uniquely tumultuous 2010s. In addition to causing the deaths of over two million people worldwide, the Covid-19 pandemic has further exposed the extraordinary inequities of U.S.-American society, forcing a long- overdue reckoning with the entrenched racism that suffuses every aspect of American life. Within the realm of classical music, institutions have begun conversations about the ways in which BIPOC, and in particular Black Americans, have been systematically excluded as performers, audience members, administrators and composers: a stark contrast with the manner in which 2020 was anticipated by those same institutions before the pandemic began. Prior to the outbreak of the novel coronavirus, they looked to 2020 with eager anticipation, provoking a flurry of activity around a singular individual: Ludwig van Beethoven. For on December 16th of that year, Beethoven turned 250. The banners went up early. In 2019 on Instagram, Beethoven accounts like @bthvn_2020, the “official account of the Beethoven Anniversary Year,” sprang up. The Twitter hashtags #beethoven2020 and #beethoven250 were (more or less) trending. Prior to the spread of the virus, passengers flying in and out of Chicago’s O’Hare airport found themselves confronted with a huge banner that featured an iconic image of Beethoven’s brooding face, an advertisement for the Chicago Symphony Orchestra’s upcoming complete cycle Current Musicology 107 (Fall 2020) ©2020 Fitz Gibbon. -
CHURCH ORGANIST Job Description Principal Function the Church Organist Is a Committed Christian Who Provides Organ Music And
CHURCH ORGANIST Job Description Principal Function The Church Organist is a committed Christian who provides organ music and accompaniment for scheduled worship services and other activities in support of the music ministry of the church. Having a pivotal role in the musical life of the church, this individual is a strong team player, being a full partner with the ministerial staff and the Church Pianist of Shades Crest Baptist Church. Job Description This year-round position is defined as salary (no overtime pay), restricted part time. Expectation of attendance is for Sunday worship services, rehearsals with the Sanctuary Choir and the Orchestra, and other special services, including (but not limited to) Christmas and Easter. The work is done cooperatively, especially with the Music Minister and the Church Pianist. As a part of the musical leadership team of the church, the Organist is expected to advocate for the music program. Job Requirements 1. A disciple of Jesus Christ, committed to growing in faith through practicing the spiritual disciplines of prayer, Scripture study, worship participation, and service at and beyond Shades Crest Baptist Church. 2. Experience in church worship, with both organ and other music and hymnody (understanding and familiarity with blended worship preferred). 3. Flexibility to play in blended style services that include all types of worship music. 4. Knowledge of the instrument and keyboard ability sufficient to play hymns, songs, and anthem accompaniments. Ability to sight-read and improvise is desired. 5. High degree of competence on organ, and the ability to accompany groups and individuals. 6. Knowledge of basic music theory and ability to perform simple transpositions or harmonizations. -
Christian Gottlob Neefe and the Early Reception of Le Nozze Di Figaro and Don Giovanni
Christian Gottlob Neefe and the Early Reception of Le nozze di Figaro and Don Giovanni Woodfield, I. (2016). Christian Gottlob Neefe and the Early Reception of Le nozze di Figaro and Don Giovanni. Newsletter of the Mozart Society of America, 20(1), 4-6. Published in: Newsletter of the Mozart Society of America Document Version: Early version, also known as pre-print Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2016 The Newsletter of the Mozart Society of America General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:27. Sep. 2021 Christian Gottlob Neefe and the early reception of Figaro and Don Giovanni When he became Elector of Bonn in 1784, Joseph II’s youngest brother, the music-loving Maximilian Franz, inherited a financial crisis as a result of which he had to close the stage.1 During the five-year theatrical hiatus that ensued, Bonn missed out on public productions of the new wave of popular Viennese operas by Salieri, Martín y Soler, Mozart and Dittersdorf. -
PIERRE COCHEREAU: a LEGACY of IMPROVISATION at NOTRE DAME DE PARIS By
PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS By ©2019 Matt Gender Submitted to the graduate degree program in School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ______________________________ Chairperson: Michael Bauer ______________________________ James Higdon ______________________________ Colin Roust ______________________________ David Alan Street ______________________________ Martin Bergee Date Defended: 05/15/19 The Dissertation Committee for Matt Gender certifies that this is the approved version of the following dissertation: PIERRE COCHEREAU: A LEGACY OF IMPROVISATION AT NOTRE DAME DE PARIS _____________________________ Chairperson: Michael Bauer Date Approved: 05/15/19 ii ABSTRACT Pierre Cochereau (1924–84) was the organist of Notre Dame Cathedral in Paris and an improviser of organ music in both concert and liturgical settings. He transformed the already established practices of improvising in the church into a modern artform. He was influenced by the teachers with whom he studied, including Marcel Dupré, Maurice Duruflé, and André Fleury. The legacy of modern organ improvisation that he established at Notre Dame in Paris, his synthesis of influences from significant figures in the French organ world, and his development of a personal and highly distinctive style make Cochereau’s recorded improvisations musically significant and worthy of transcription. The transcription of Cochereau’s recorded improvisations is a task that is seldom undertaken by organists or scholars. Thus, the published improvisations that have been transcribed are musically significant in their own way because of their relative scarcity in print and in concert performances. This project seeks to add to this published collection, giving organists another glimpse into the vast career of this colorful organist and composer. -
Kat.%2010.Pdf
Musikantiquariat Marion Neugebauer Am Weidenbach 16 82347 Bernried +49 8158 90 39 59 [email protected] www.musikantiquariat-neugebauer.de Für die Echtheit der angebotenen Drucke und Handschriften wird garantiert Mitglied im Verband deutscher Antiquare e. V. und in der International League of Antiquarian Booksellers (ILAB) Geschäftsbedingungen: Es gelten die in der Bundesrepublik Deutschland wirksamen gesetzlichen Bestimmungen. Das Angebot ist freibleibend. Lieferzwang besteht nicht. Mit Aufgabe einer Bestellung werden die Geschäftsbedingungen anerkannt. Die Preise verstehen sich in Euro inklusive der bei Lieferung gültigen Mehrwertsteuer, soweit nicht § 25a UStG angewandt wird. Sie erhalten eine Rechnung mit ausgewiesener Mehrwertsteuer, soweit nicht § 25a UStG angewandt wird. Erfüllungsort und Gerichtsstand für beide Teile ist Bernried am Starnberger See. Eigentumsvorbehalt nach § 449 BGB bis zur vollständigen Bezahlung. Meine Rechnungen sind zahlbar ohne Abzüge nach Empfang. Der Versand erfolgt auf Kosten und Gefahr des Bestellers. Die angebotenen Objekte befinden sich in gutem Zustand, soweit nicht anders beschrieben. Unwesentliche Mängel (wie z.B. Namenseintrag) werden nicht immer erwähnt, sondern im Preis berücksichtigt. Begründete Reklamationen bitte ich innerhalb von 14 Tagen geltend zu machen (keine Ersatzleistungspflicht). Abbildungen und Zitate dienen lediglich dem Verkauf und stellen keine Publikation im Sinne des Urheberrechts dar. Alle Rechte an den Abbildungen und den zitierten Texten bleiben den Inhabern der Urheberrechte vorbehalten. Nachdrucke müssen in jedem Fall genehmigt werden. Versandkosten: innerhalb Deutschlands kostenfrei, innerhalb Europas: EUR 9.--, außerhalb Europas: EUR 18.-- „augenblicklich mit einer grösseren Arbeit beschäftigt“ Bernried 6.9.1897 1 ALBERT, EUGEN D' (1864-1932): Eigenhändige Postkarte mit Unterschrift und Adresse. Bernried 6.9.1897. Beidseitig beschrieben. EUR 400 An den Verleger Unico Hensel. -
The Compositional Influence of Wolfgang Amadeus Mozart on Ludwig Van Beethoven’S Early Period Works
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2018 Apr 18th, 12:30 PM - 1:45 PM The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works Mary L. Krebs Clackamas High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Musicology Commons Let us know how access to this document benefits ou.y Krebs, Mary L., "The Compositional Influence of olfW gang Amadeus Mozart on Ludwig van Beethoven’s Early Period Works" (2018). Young Historians Conference. 7. https://pdxscholar.library.pdx.edu/younghistorians/2018/oralpres/7 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. THE COMPOSITIONAL INFLUENCE OF WOLFGANG AMADEUS MOZART ON LUDWIG VAN BEETHOVEN’S EARLY PERIOD WORKS Mary Krebs Honors Western Civilization Humanities March 19, 2018 1 Imagine having the opportunity to spend a couple years with your favorite celebrity, only to meet them once and then receiving a phone call from a relative saying your mother was about to die. You would be devastated, being prevented from spending time with your idol because you needed to go care for your sick and dying mother; it would feel as if both your dream and your reality were shattered. This is the exact situation the pianist Ludwig van Beethoven found himself in when he traveled to Vienna in hopes of receiving lessons from his role model, Wolfgang Amadeus Mozart. -
EPTA Conference Germany 2020 Beethoven As
EPTA Conference Germany 2020 Beethoven as student and teacher Nils Franke Dean of Higher Education, University Centre Colchester, UK [email protected] 1. Beethoven as keyboard student Until just after the beginning of the 21st century, musicological studies of Beethoven as a student have focused predominantly on two elements: the first is the likely influence that Beethoven’s father Johann, himself a professional musician, may have had on his son’s artistic development. The second component was concerned with Christian Gottlob Neefe’s teaching of the young Beethoven, for which on very few surviving sources remain. The significance of young Beethoven’s parental home tended to focus on his father’s occupation as a professional singer, and, given the practices at the time, private music tutor. In contrast, Neefe’s output as a court musician was more tangible in its relevance to Beethoven’s subsequent achievements by ranging from conducting to playing the organ and composition. What was shared by both scenarios was a lack of academically credible sources that offered sufficient information for a more detailed picture of Beethoven’s initial studies to emerge. This changed in 2006 when the diaries of Gottfried Fischer (1780-1864) became available in an annotated scholarly edition, a master baker in Bonn whose family owned the house in which Beethoven’s parents rented an apartment. Fischer compiled his diaries between 1837 and 1857, but drew heavily on observations written down by his sister Cäcilie (1762-1845), who was eighteen years his senior and would thus have been in a position to witness some of the musical activities that formed part of the lives of the Beethoven family in the late 1770s and early 1780s. -
Rcco Toronto Centre Substitute Organist List
RCCO TORONTO CENTRE SUBSTITUTE ORGANIST LIST Included in this list is the contact information for organists in the Greater Toronto Area who are available as substitutes. Several of the organists on this list have provided a short biography detailing their experience, which you can read on the following pages of this document. If you would like to be added or removed from this list, please email Sebastian Moreno at [email protected]. You must be a current Toronto Centre RCCO member to appear on the list! Name Phone E-mail Location Peter Bayer (703) 209-5892 [email protected] Toronto Paulo Busato (416) 795-8877 [email protected] Toronto John Charles (289) 788-6451 [email protected] Toronto/ Hamilton J.-C. Coolen (905) 683-5757 [email protected] Ajax Patrick Dewell (647) 657-2486 [email protected] Toronto Quirino Di Giulio (416) 323-1537 [email protected] Toronto Kelly Galbraith (416) 655-7335 [email protected] Toronto Marianne Gast (416) 944-9698 [email protected] Toronto William Goodfellow (416) 694-3753 [email protected] Scarborough Kimberly Hanmer (416) 417-1325 [email protected] Toronto/ Hamilton Christine Hanson (647) 460-7027 [email protected] Toronto Paul Jessen (416) 419-6904 [email protected] Toronto Glenn Keefe [email protected] Toronto Matthew Larkin [email protected] Toronto/ Ottawa Sebastian Moreno (647) 278-5559 [email protected] Mississauga/ Toronto Gerald Martindale (647) 458-0213 [email protected] -
Part-Time Organist / Choirmaster
JOB DESCRIPTION: PART-TIME ORGANIST / CHOIRMASTER Organization / Position The Church of St. Mark located in Crown Heights, has been serving Brooklyn for over 180 years. It is a church with an Anglo-Catholic liturgical tradition and it is commonly referred to as the cathedral on the hill. St. Mark’s is a program size church with three services on a Sunday at 7:30AM, 9AM and 11:15AM. The church has a rich choral tradition and organists enjoy playing the Opus 143, electric-slide action, 3 manuals, 45 stops, 36 ranks organ. St. Mark’s Church seeks a part-time organist / choirmaster to further enhance the vibrant music ministry. The candidate must have an aptitude for the Anglican & classical music tradition as well as gospel and jazz. Responsibilities Church Services: Play and direct music at the 11:15AM Sunday Services and occasionally at the 7:30AM services. Play and direct music at assign special services such as Christmas Eve, Christmas day, New Year’s Eve, Ash Wednesday, Maundy Thursday, Good Friday, EvenSong, Lessons & Carols, major ordinations or celebrations and weddings and funerals. Choir Director: Select, review and arrange music for services and provide the necessary information in a timely manner for the preparation of the service bulletin. Prepare for and conduct weekly rehearsals, pre-service warm-up rehearsals and others as deemed necessary. The choir is used to singing anthems every Sunday and the congregation sings the entire mass along with the choir. Where necessary, sort out and select instrumentalist to accompany the choir. Purposefully recruit and encourage parish volunteers with musical talent to become choir members. -
Ludwig Van Beethoven: Triumph Over a Life of Tragedy
Ludwig van Beethoven: Triumph Over a Life of Tragedy Madeline Brashaw Senior Division Historical Paper Paper Length: 2,448 words “It seemed unthinkable for me to leave the world forever before I had produced all that I felt Heiligenstadt Testament called upon to produce,” Ludwig van Beethoven wrote in shortly before he passed away. Ludwig van Beethoven practiced music his entire life. He told people that he did not know what he would do without music. Beethoven was brought up during the Classical Period which was defined and determined by its clear characteristics such as its emphasis on beauty, elegance, and balance, and by the variety and contrast within the musical pieces. It is said that his music altered the course of musical history and that it modified the Classical Period (Classical Music). Sadly, Beethoven’s career came to a halt when he began to lose his hearing, and it became nearly impossible for him to compose and conduct his works. The tragic loss of Beethoven’s hearing led to his triumph in changing musical history. Beethoven was brought into this world in December of 1770. As a child, Ludwig van Beethoven often had a sad life. He had no friends and had nobody to care for him. The one thing that he did have, and he used almost every day, was his music. Beethoven’s main instruments were the piano and the violin. As a child, he even composed his own music at times. His father, Johann van Beethoven, was young Beethoven’s first music teacher. As a child, his father harshly pushed him in his musical studies. -
Ludwig Van Beethoven Hdt What? Index
LUDWIG VAN BEETHOVEN HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1756 December 8, Wednesday: The Emperor’s son Maximilian Franz, the Archduke who in 1784 would become the patron of the young Ludwig van Beethoven, was born on the Emperor’s own birthday. Christoph Willibald Gluck’s dramma per musica Il rè pastore to words of Metastasio was being performed for the initial time, in the Burgtheater, Vienna, in celebration of the Emperor’s birthday. ONE COULD BE ELSEWHERE, AS ELSEWHERE DOES EXIST. ONE CANNOT BE ELSEWHEN SINCE ELSEWHEN DOES NOT. Ludwig van Beethoven “Stack of the Artist of Kouroo” Project HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1770 December 16, Sunday: This is the day on which we presume that Ludwig van Beethoven was born.1 December 17, Monday: Ludwig van Beethoven was baptized at the Parish of St. Remigius in Bonn, Germany, the 2d and eldest surviving of 7 children born to Johann van Beethoven, tenor and music teacher, and Maria Magdalena Keverich (widow of M. Leym), daughter of the chief kitchen overseer for the Elector of Trier. Given the practices of the day, it is presumed that the infant had been born on the previous day. NEVER READ AHEAD! TO APPRECIATE DECEMBER 17TH, 1770 AT ALL ONE MUST APPRECIATE IT AS A TODAY (THE FOLLOWING DAY, TOMORROW, IS BUT A PORTION OF THE UNREALIZED FUTURE AND IFFY AT BEST). 1. Q: How come Austrians have the rep of being so smart? A: They’ve managed somehow to create the impression that Beethoven, born in Germany, was Austrian, while Hitler, born in Austria, was German! HDT WHAT? INDEX LUDWIG VAN BEETHOVEN LUDWIG VAN BEETHOVEN 1778 March 26, Thursday: In the Academy Room on the Sternengasse of Cologne, Ludwig van Beethoven appeared in concert for the initial time, with his father and another child-student of his father.