Choral Secular Music Through the Ages
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French Secular Music in Saint-Domingue (1750-1795) Viewed As a Factor in America's Musical Growth. John G
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth. John G. Cale Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Cale, John G., "French Secular Music in Saint-Domingue (1750-1795) Viewed as a Factor in America's Musical Growth." (1971). LSU Historical Dissertations and Theses. 2112. https://digitalcommons.lsu.edu/gradschool_disstheses/2112 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. 72-17,750 CALE, John G., 1922- FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH. The Louisiana State University and Agricultural and Mechanical College;, Ph.D., 1971 Music I University Microfilms, A XEROX Company, Ann Arbor, Michigan THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED FRENCH SECULAR MUSIC IN SAINT-DOMINGUE (1750-1795) VIEWED AS A FACTOR IN AMERICA'S MUSICAL GROWTH A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by John G. Cale B.M., Louisiana State University, 1943 M.A., University of Michigan, 1949 December, 1971 PLEASE NOTE: Some pages may have indistinct print. -
04 July 2020
04 July 2020 12:01 AM John Philip Sousa (1854-1932) Stars & Stripes forever – March Netherlands Radio Symphony Orchestra, Richard Dufallo (conductor) NLNOS 12:05 AM Thomas Demenga (1954-) Summer Breeze Andrea Kolle (flute), Maria Wildhaber (bassoon), Sarah Verrue (harp) CHSRF 12:13 AM Antonio Vivaldi (1678-1741) Concerto in C major, RV.444 for recorder, strings & continuo Il Giardino Armonico, Giovanni Antonini (recorder), Giovanni Antonini (director), Enrico Onofri (violin), Marco Bianchi (violin), Duilio Galfetti (violin), Paolo Beschi (cello), Paolo Rizzi (violone), Luca Pianca (theorbo), Gordon Murray (harpsichord), Duilio Galfetti (viola) DEWDR 12:23 AM Maurice Ravel (1875-1937) 3 Chansons for unaccompanied chorus BBC Singers, Alison Smart (soprano), Judith Harris (mezzo soprano), Daniel Auchincloss (tenor), Stephen Charlesworth (baritone), Stephen Cleobury (conductor) GBBBC 12:30 AM Bela Bartok (1881-1945) Out of Doors, Sz.81 David Kadouch (piano) PLPR 12:44 AM Franz Schubert (1797-1828) Rosamunde (Ballet Music No 2), D 797 Oslo Philharmonic Orchestra, Heinz Holliger (conductor) NONRK 12:52 AM John Cage (1912-1992) In a Landscape Fabian Ziegler (percussion) CHSRF 01:02 AM Jean-Francois Dandrieu (1682-1738) Rondeau 'L'Harmonieuse' from Pieces de Clavecin Book I Colin Tilney (harpsichord) CACBC 01:08 AM Bohuslav Martinu (1890-1959) The Frescoes of Piero della Francesca Slovak Radio Symphony Orchestra, Robert Stankovsky (conductor) SKSR 01:30 AM Richard Strauss (1864-1949) Metamorphosen for 23 solo strings (AV.142) Risor Festival Strings, -
OTHER WORLDS 2019/20 Concert Season at Southbank Centre’S Royal Festival Hall Highlights 2019/20
OTHER WORLDS 2019/20 Concert season at Southbank Centre’s Royal Festival Hall Highlights 2019/20 November Acclaimed soprano Diana Damrau is renowned for her interpretations of the music of Richard Strauss, and this November she sings a selection of her favourite Strauss songs. Page 12 September October Principal Conductor and Mark Elder conducts Artistic Advisor Vladimir Elgar’s oratorio Jurowski is joined by The Apostles, arguably Julia Fischer to launch his greatest creative the second part of Isle achievement, which of Noises with Britten’s will be brought to life elegiac Violin Concerto on this occasion with alongside Tchaikovsky’s a stellar cast of soloists Sixth Symphony. and vast choral forces. Page 03 Page 07 December Legendary British pianist Peter Donohoe plays his compatriot John Foulds’s rarely performed Dynamic Triptych – a unique jazz-filled, exotic masterpiece Page 13 February March January Vladimir Jurowski leads We welcome back violinist After winning rave reviews the first concert in our Anne-Sophie Mutter for at its premiere in 2017, 2020 Vision festival, two exceptional concerts we offer another chance presenting the music in which she performs to experience Sukanya, of three remarkable Beethoven’s groundbreaking Ravi Shankar’s works composed Triple Concerto and extraordinary operatic three centuries apart, a selection of chamber fusion of western and by Beethoven, Scriabin works alongside LPO traditional Indian styles. and Eötvös. Principal musicians. A love story brought to Page 19 Pages 26–27 life through myth, music -
CHORAL PROBLEMS in HANDEL's MESSIAH THESIS Presented to The
*141 CHORAL PROBLEMS IN HANDEL'S MESSIAH THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By John J. Williams, B. M. Ed. Denton, Texas May, 1968 PREFACE Music of the Baroque era can be best perceived through a detailed study of the elements with which it is constructed. Through the analysis of melodic characteristics, rhythmic characteristics, harmonic characteristics, textural charac- teristics, and formal characteristics, many choral problems related directly to performance practices in the Baroque era may be solved. It certainly cannot be denied that there is a wealth of information written about Handel's Messiah and that readers glancing at this subject might ask, "What is there new to say about Messiah?" or possibly, "I've conducted Messiah so many times that there is absolutely nothing I don't know about it." Familiarity with the work is not sufficient to produce a performance, for when it is executed in this fashion, it becomes merely a convention rather than a carefully pre- pared piece of music. Although the oratorio has retained its popularity for over a hundred years, it is rarely heard as Handel himself performed it. Several editions of the score exist, with changes made by the composer to suit individual soloists or performance conditions. iii The edition chosen for analysis in this study is the one which Handel directed at the Foundling Hospital in London on May 15, 1754. It is version number four of the vocal score published in 1959 by Novello and Company, Limited, London, as edited by Watkins Shaw, based on sets of parts belonging to the Thomas Coram Foundation (The Foundling Hospital). -
Paul Weller with the BBC Symphony Orchestra and Jules Buckley
For immediate release Paul Weller with the BBC Symphony Orchestra and Jules Buckley concert date added to ‘Live from the Barbican’ line-up in spring 2021 Barbican Hall, Saturday 6 February 2021, 8pm The Barbican and Barbican Associate Orchestra, the BBC Symphony Orchestra are excited to announce that the orchestra and its Creative Artist in Association Jules Buckley, will be joined by legendary singer songwriter Paul Weller on Saturday 6 February for a concert reimagining Weller’s work in stunning orchestral settings as part of Live from the Barbican in 2021. In Weller’s first live performance for two years, songs spanning the broad spectrum of his career from The Jam to as yet unheard new material will delight fans and newcomers alike. Classic songs including ‘You Do Something to Me’, ‘English Rose’ and ‘Wild Wood’ along with tracks from Weller’s latest number 1 album ‘On Sunset’ will be heard as never before in brand new orchestral arrangements by Buckley. Weller, who takes cultural authenticity to the top of the charts, reunites with Steve Cradock for this one-off performance. Part of the acclaimed Live from the Barbican series which returns to the Centre in the spring, the concert will have a reduced, socially distanced live audience in the Barbican Hall, and it will also be available to watch globally via a livestream on the Barbican website. Whilst the concert will reflect on some of Weller’s back catalogue, as is typical of his constantly evolving career, it will look to the future with performances of songs from an album not released until May 2021, as well as welcoming guest artists to illustrate his work and the music that influenced him. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
The Evolution of American Choral Music: Roots, Trends, and Composers Before the 20Th Century James Mccray
The Evolution of American Choral Music: Roots, Trends, and Composers before the 20th Century James McCray I hear America singing, the varied car- such as Chester, A Virgin Unspotted, ols I hear. David’s Lamentation, Kittery, I Am the —Walt Whitman Rose of Sharon, and The Lord Is Ris’n Leaves of Grass1 Indeed received numerous performanc- es in concerts by church, school, com- Prologue munity, and professional choirs. Billings Unlike political history, American cho- generally is acknowledged to be the most ral music did not immediately burst forth gifted of the “singing school” composers with signifi cant people and events. Choral of eighteenth-century America. His style, music certainly existed in America since somewhat typical of the period, employs the Colonial Period, but it was not until fuguing tunes, unorthodox voice lead- the twentieth century that its impact was ing, open-fi fth cadences, melodic writing signifi cant. The last half of the twentieth in each of the parts, and some surpris- century saw an explosion of interest in ing harmonies.11 By 1787 his music was choral music unprecedented in the his- widely known across America. tory of the country. American choral mu- Billings was an interesting personal- sic came of age on a truly national level, ity as well. Because out-of-tune singing and through the expansion of music edu- was a serious problem, he added a ’cello cation, technology, professional organiza- to double the lowest part.12 He had a tions, and available materials, the interest “church choir,” but that policy met re- in choral singing escalated dramatically. -
Multiple Choice
Unit 4: Renaissance Practice Test 1. The Renaissance may be described as an age of A. the “rebirth” of human creativity B. curiosity and individualism C. exploration and adventure D. all of the above 2. The dominant intellectual movement of the Renaissance was called A. paganism B. feudalism C. classicism D. humanism 3. The intellectual movement called humanism A. treated the Madonna as a childlike unearthly creature B. focused on human life and its accomplishments C. condemned any remnant of pagan antiquity D. focused on the afterlife in heaven and hell 4. The Renaissance in music occurred between A. 1000 and 1150 B. 1150 and 1450 C. 1450 and 1600 D. 1600 and 1750 5. Which of the following statements is not true of the Renaissance? A. Musical activity gradually shifted from the church to the court. B. The Catholic church was even more powerful in the Renaissance than during the Middle Ages. C. Every educated person was expected to be trained in music. D. Education was considered a status symbol by aristocrats and the upper middle class. 6. Many prominent Renaissance composers, who held important posts all over Europe, came from an area known at that time as A. England B. Spain C. Flanders D. Scandinavia 7. Which of the following statements is not true of Renaissance music? A. The Renaissance period is sometimes called “the golden age” of a cappella choral music because the music did not need instrumental accompaniment. B. The texture of Renaissance music is chiefly polyphonic. C. Instrumental music became more important than vocal music during the Renaissance. -
III CHAPTER III the BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – Flamboyant, Elaborately Ornamented A. Characteristic
III CHAPTER III THE BAROQUE PERIOD 1. Baroque Music (1600-1750) Baroque – flamboyant, elaborately ornamented a. Characteristics of Baroque Music 1. Unity of Mood – a piece expressed basically one basic mood e.g. rhythmic patterns, melodic patterns 2. Rhythm – rhythmic continuity provides a compelling drive, the beat is more emphasized than before. 3. Dynamics – volume tends to remain constant for a stretch of time. Terraced dynamics – a sudden shift of the dynamics level. (keyboard instruments not capable of cresc/decresc.) 4. Texture – predominantly polyphonic and less frequently homophonic. 5. Chords and the Basso Continuo (Figured Bass) – the progression of chords becomes prominent. Bass Continuo - the standard accompaniment consisting of a keyboard instrument (harpsichord, organ) and a low melodic instrument (violoncello, bassoon). 6. Words and Music – Word-Painting - the musical representation of specific poetic images; E.g. ascending notes for the word heaven. b. The Baroque Orchestra – Composed of chiefly the string section with various other instruments used as needed. Size of approximately 10 – 40 players. c. Baroque Forms – movement – a piece that sounds fairly complete and independent but is part of a larger work. -Binary and Ternary are both dominant. 2. The Concerto Grosso and the Ritornello Form - concerto grosso – a small group of soloists pitted against a larger ensemble (tutti), usually consists of 3 movements: (1) fast, (2) slow, (3) fast. - ritornello form - e.g. tutti, solo, tutti, solo, tutti solo, tutti etc. Brandenburg Concerto No. 2 in F major, BWV 1047 Title on autograph score: Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo. -
THOMAS TROTTER Biography
Download as a Word doc THOMAS TROTTER Biography Thomas Trotter is one of Britain’s most widely admired musicians. The excellence of his musicianship is reflected internationally in his musical partnerships. He performs as soloist with, amongst many others, the conductors Sir Simon Rattle, Bernard Haitink, Riccardo Chailly and Sir Charles Mackerras. He has performed in Berlin’s “Philharmonie”, the “Gewandhaus” in Leipzig, the “Concertgebouw” in Amsterdam, the “Musikverein” and the “Konzerthaus” in Vienna and London’s Royal Festival Hall. He has played inaugural concerts in places such as Princeton University Chapel USA, Auckland Town Hall in New Zealand, the Royal Albert Hall London, and Moscow's International Performing Arts Centre. He won the Royal Philharmonic Society award for Best Instrumentalist in 2002, and in 2012 he was named International Performer of the Year by the New York Chapter of the American Guild of Organists. In 2016 he was awarded the Gold Medal of the Royal College of Organists for his achievements in organ playing. Thomas Trotter was appointed Birmingham City Organist in 1983 in succession to Sir George Thalben-Ball, and he is also Organist at St Margaret’s Church, Westminster Abbey and Visiting Fellow in Organ Studies at the Royal Northern College of Music. Earlier in his career he was organ scholar at King’s College, Cambridge, winning the First Prize at the St Albans International Organ Competition in his final year. He received an Honorary Doctorate from Birmingham City University in 2003 and from Birmingham University in 2006. Alongside his regular recitals in Birmingham, Thomas Trotter tours on four continents and plays at many international festivals such as Bath, Salzburg, and the BBC Proms. -
JOB TITLE: Tenor Lay Clerk LOCATION
JOB TITLE: Tenor Lay Clerk LOCATION: Durham Cathedral and other locations outside the Cathedral ACCOUNTABLE TO: The Master of the Choristers and Organist RESPONSIBLE FOR: This post has no supervisory responsibilities. KEY RELATIONSHIPS: Organist, Sub-Organist, Organ Scholars, Canon Precentor, Music Administrator, Lay Clerks, Choral Scholars, Choristers, Members of Chapter, Vergers, and other members of Cathedral staff and volunteers. BACKGROUND: Durham Cathedral Choir consists of up to 48 Choristers, (boys and girls singing in alternation), 6 Choral Scholars and 6 Lay Clerks. The Choir sings the daily Cathedral services during Choir term. The Choir performs a wide, exciting and varying repertoire extending from plainsong works written in Durham eight centuries ago to works written in the last ten years, including works commissioned especially for the Cathedral. It also appears regularly in concerts, in both the Cathedral and elsewhere. The Choir also tours from time to time. JOB SUMMARY: To sing the daily Cathedral services during Choir term and participate in additional services sometimes arranged at short notice as well as participating in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs in Newcastle and Edinburgh. Lay Clerks also participate in recordings, broadcasts, and other Cathedral concerts from time to time. MAIN DUTIES AND RESPONSIBILITIES: 1. To participate in the weekly timetable of services 2. To participate in the Northern Cathedrals Festival and joint Evensongs with cathedral choirs. 3. To participate in diocesan services or concerts as directed by the Organist. 4. To participate in recordings, broadcasts and other concerts in Durham Cathedral as directed by the Organist. 5. To take an active part in the worship of the Cathedral including full support for and commitment to the Cathedral’s Christian ethos. -
Proms 2017 Winter Repeats
CHRISTMAS LISTINGS 18 December 2017 – 1 January 2018 • Another chance to hear and watch selected BBC Proms 2017 concerts, on BBC Radio 3 and BBC Four over the festive period. MONDAY 18 DECEMBER FRIDAY 22 DECEMBER Jennifer France soprano Marcus Farnsworth baritone 7.30pm–10.00pm • Radio 3 7.30pm–10.00pm • Radio 3 Birmingham Contemporary Music PROM 49 PROM 73 Late Night Group Sian Edwards conductor BACH’S ST JOHN PASSION J. S. Bach J. S. Bach St John Passion The Well-Tempered Clavier – Book 1 WEDNESDAY 27 DECEMBER Nicholas Mulroy Evangelist Sir András Schiff piano 7.30pm–9.30pm • Radio 3 Matthew Brook Jesus Sophie Bevan soprano MONDAY 25 DECEMBER PROM 13 Tim Mead counter-tenor MALCOLM SARGENT’S 500th PROM Andrew Tortise tenor 1.40pm–4.30pm • BBC Two Konstantin Wolff bass Trad., arr. Henry Wood 7.30pm–11.00pm • Radio 3 Stephen Farr organ The National Anthem PROM 35 Berlioz Dunedin Consort Overture ‘Le carnaval romain’ John Butt harpsichord/director OKLAHOMA! Schumann Rodgers & Hammerstein Piano Concerto in A minor WEDNESDAY 20 DECEMBER John Wilson Orchestra Elgar Overture ‘Cockaigne (In London Town)’ 7.30pm–10.00pm • Radio 3 John Wilson conductor Walton PROM 25 Late Night Façade Suite No. 1; Suite No. 2 – Popular TUESDAY 26 DECEMBER Schütz Song 7.30pm–9.35pm • Radio 3 Holst Nun lob, mein Seel, den Herren, SWV 41 The Perfect Fool – ballet music Nicht uns, Herr, sondern deinem Namen, PROM 8 Delius SWV 43 CELEBRATING JOHN WILLIAMS On Hearing the First Cuckoo in Spring Danket dem Herren, denn er ist freundlich, Britten cello SWV 45 Jamal Aliyev The Young Person’s Guide to the Orchestra Annelien Van Wauwe clarinet J.