DOCSLIB.ORG

The Solo Classical Guitar Concerto

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Solo Classical Guitar Concerto The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws © University of Pretoria The solo classical guitar concerto: A soloist’s preparatory guide to selected works by Josina Nina Fourie-Gouws A mini-dissertation submitted in partial fulfilment of the requirements for the degree Master of Music (Performing Art) Department of Music Faculty of Humanities University of Pretoria Supervisor: Professor Wessel van Wyk Co-supervisor: Abri Jordaan September 2017 © University of Pretoria ABSTRACT The study addresses the preparatory information needs of potential performers of solo classical guitar concerti. Identifying a range of specific decisions that play an important part in the pre-performance planning of an anticipated concerto performance provides performance considerations for each selected concerto. The content of six solo classical guitar concerti spanning almost 180 years by six composers from four countries was analysed for the purpose of this study. Two early guitar concerti by guitarist composers Mauro Giuliani (1781-1829) and Ferdinando Carulli (1770-1841), two modern concerti by non-guitarist composers Mario Castelnuovo-Tedesco (1895-1968) and Joaquín Rodrigo (1901-1999) and two modern concerti by guitarist composers Heitor Villa-Lobos (1887-1959) and Leo Brouwer (b.1939) were investigated. The study examines specific compositional and performance aspects of each concerto to serve as a guideline for professional performers, students and teachers. Each concerto was analysed according to similar themes: the historical significance of the investigated concerti, pre-performance considerations, the level of difficulty of selected concerti, technical observations, performance recommendations and observations regarding balance between the soloist and orchestra. As an addendum the study provides a comprehensive list of published concerti for solo classical guitar. © University of Pretoria KEYWORDS ● Classical guitar ● Composers ● Concerto ● Guitar repertoire ● Orchestra ● Performance recommendations ● Soloist © University of Pretoria TABLE OF CONTENTS INTRODUCTION 1 Introduction and background ............................................................................................. i 2 Problem statement and research questions ................................................................... vi 3 Aim of the study .............................................................................................................. vi 4 Scope and delimitation of the study ............................................................................... vii 5 Literature review ............................................................................................................ vii 5.1 The development and significance of the concerto as a genre of musical performance ................................................................................................. viii 5.2 Previous research on classical guitar concerti in general ...................................... ix 5.3 Solo classical guitar concerti manuscripts and sheet music ................................. xii 5.4 The history and development of the classical guitar and historically informed performance practice ................................................................................... xiii 5.5 Research concerning the music, personal history and importance of the composers of the featured solo classical guitar concerti ............................................. xv 6 Research design and methodology ............................................................................... xv 6.1 Description and justification of use of research approach, design and methods .. xvi 6.2 Data analysis and interpretation .......................................................................... xix CHAPTER 1: THE EARLY GUITAR CONCERTO 1.1 Introduction ................................................................................................................... 1 1.2 Mauro Giuliani, Concerto no. 1, Op. 30 1.2.1 Composer biography ........................................................................................... 2 1.2.2 Details and background to the work ..................................................................... 3 1.2.3 Observations regarding balance and audibility .................................................... 7 © University of Pretoria 1.2.4 Technical observations ...................................................................................... 10 1.2.5 Performance recommendations ......................................................................... 14 1.2.6 Level of difficulty ................................................................................................ 20 1.3 Ferdinando Carulli, Concerto no.1, Op. 8a 1.3.1 Composer biography .......................................................................................... 22 1.3.2 Details and background to the work ................................................................... 23 1.3.3 Observations regarding balance and audibility ................................................... 26 1.3.4 Technical observations ....................................................................................... 29 1.3.5 Performance recommendations ......................................................................... 32 1.3.6 Level of difficulty ................................................................................................ 36 CHAPTER 2: MODERN CONCERTI BY NON-GUITARIST COMPOSERS 2.1 Introduction ................................................................................................................. 38 2.2 Mario Castelnuovo-Tedesco, Concerto no. 1, Op. 99 2.2.1 Composer biography ......................................................................................... 39 2.2.2 Details and background to the work ................................................................... 40 2.2.3 Observations regarding balance and audibility .................................................. 42 2.2.4 Technical observations ....................................................................................... 46 2.2.5 Performance recommendations ......................................................................... 54 2.2.6 Level of difficulty ................................................................................................ 56 2.3 Joaquín Rodrigo, Concierto de Aranjuez 2.3.1 Composer biography ......................................................................................... 58 2.3.2 Details and background to the work ................................................................... 59 2.3.3 Observations regarding balance and audibility .................................................. 65 © University of Pretoria 2.3.4 Technical observations ....................................................................................... 72 2.3.5 Performance recommendations ......................................................................... 78 2.3.6 Level of difficulty ................................................................................................ 80 CHAPTER 3: MODERN CONCERTI BY GUITARIST COMPOSERS 3.1 Introduction ................................................................................................................. 84 3.2 Heitor Villa-Lobos, Concerto pour guitare et petit orchestre 3.2.1 Composer biography ....................................................................................... 85 3.2.2 Details and background to the work ................................................................ 86 3.2.3 Observations regarding balance and audibility ................................................ 92 3.2.4 Technical observations .................................................................................... 97 3.2.5 Performance recommendations .................................................................... 105 3.2.6 Level of difficulty............................................................................................. 106 3.3 Leo Brouwer, Concerto No. 3 Elegiaco 3.3.1 Composer biography ..................................................................................... 108 3.3.2 Details and background to the work .............................................................. 109 3.3.3 Observations regarding balance and audibility .............................................. 116 3.3.4 Technical observations .................................................................................. 121 3.3.5 Performance recommendations .................................................................... 126 3.3.6 Level of difficulty............................................................................................. 133 CONCLUSION ................................................................................................................ 135 SOURCES ...................................................................................................................... 137 ADDENDUM: Comprehensive list of published solo classical guitar concerti ......... 154 © University of Pretoria LIST OF MUSIC EXAMPLES 1.2.1: Giuliani, Concerto no. 1, Op. 30, 3rd mov, bars 245-247 .......................................................................... 9 1.2.2: Giuliani, Concerto no. 1, Op. 30, 3rd mov, bars 17-18 ........................................................................... 10 1.2.3: Giuliani, Concerto no. 1, Op. 30, 1st
Load more

Recommended publications
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • Simon Powis, Guitar (Australia) New Opportunities for a Twenty-First Century Guitarist 6:00 - 7:15 P.M
    The 16th Annual Cleveland International Classical Guitar Festival June 3 - 5, 2016 Vieaux, USA SoloDuo, Italy Poláčková, Czech Republic Gallén, Spain De Jonge, Canada North, England Powis, Australia Davin, USA Beattie, Canada Presented by UITARS NTERNATIONAL G I in cooperation with the GUITARSINT.COM CLEVELAND, OHIO USA 216-752-7502 Grey Fannel HAUTE COUTURE Fait Main en France • Hand Made in France www.bamcases.com Welcome Welcome to the sixteenth annual Cleveland International Classical Guitar Festival. In pre- senting this event it has been my honor to work closely with Jason Vieaux, 2015 Grammy Award Winner and Cleveland Institute of Music Guitar Department Head; Colin Davin, recently appointed to the Cleveland Institute of Music’s Conservatory Guitar Faculty; and Tom Poore, a highly devoted guitar teacher and superb writer. Our reasons for presenting this Festival are fivefold: (1) to help increase the awareness and respect due artists whose exemplary work has enhanced our lives and the lives of others; (2) to entertain; (3) to educate; (4) to encourage deeper thought and discussion about how we listen to, perform, and evaluate fine music; and, most important, (5) to help facilitate heightened moments of human awareness. In our experience participation in the live performance of fine music is potentially one of the highest social ends towards which we can aspire as performers, music students, and audience members. For it is in live, heightened moments of musical magic—when time stops and egos dissolve—that often we are made most conscious of our shared humanity. Armin Kelly, Founder and Artistic Director Cleveland International Classical Guitar Festival Acknowledgements We wish to thank the following for their generous support of this event: The Cleveland Institute of Music: Gary Hanson, Interim President; Lori Wright, Director, Concerts and Events; Marjorie Gold, Concert Production Manager; Gina Rendall, Concert Facilities Coordinator; Susan Iler, Director of Marketing and Communications; Lynn M.
    [Show full text]
  • Preservation and Study of Historical Guitars Museu De La Musica, Catalunya : Methodology Proposal to Play the Unplayable
    Preservation and Study of Historical Guitars Museu de la Musica, Catalunya : Methodology Proposal to Play the Unplayable Toros Ufuk Senan MASTER THESIS UPF / 2014 Master in Sound and Music Computing Master Thesis Supervisor: Enric Guaus, Paul Poletti Department of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona ii Preservation and Study of Historical Guitars Museum de la Musica : Methodology Proposal to Play the Unplayable Toros Ufuk Senan Philips Electronic Nederlands High Tech Campus 36, p.118 5656 HA Eindhoven, Netherlands Master's thesis Abstract WoodMusick project is a multi-disciplinary COST action research project. The main goal of the project is to study museum instruments and preserve their physical and acoustical properties. This paper aims to contribute the project by studying historical guitars in Museu de la Musica, Catalunya, as well as to propose a global measurement methodology for prediction of acoustical properties of guitars during the design stage. Two historical classical guitars, Torres 625 from Antonio de Torres and Labrador from romantic period are studied, in addition to a test guitar. Steady-state and impulse responses are recorded and spectral and physical properties are extracted from recordings. The results are classified with WEKA by ESSENTIA descriptors and two guitars are succefully identified and distinguished from each other. Extracted features and physical properties are observed in the latter stage and sound feature estimations are proposed.Besides the multi disciplinary nature of the study is already a challenging task, the main obstacle turned out to be to build a methodology that ensures safety of the instrument while collecting the necessary data.
    [Show full text]
  • The 'Romantic' Guitar Transcript
    The 'Romantic' Guitar Transcript Date: Thursday, 9 October 2014 - 1:00PM Location: St. Sepulchre Without Newgate 9 October 2014 The ‘Romantic’ Guitar Professor Christopher Page Before I begin, I would like to introduce the musicians who will be performing this afternoon: the soprano Valeria Mignaco, and the guitarist, Jelma van Amersfoort. Today, the guitar is probably the most popular musical instrument in existence. With millions of devotees worldwide, it eclipses the generally more expensive piano and allows a beginner to achieve passable results much sooner than the violin. You might be surprised to discover that the guitar has a long history in England. Queen Elizabeth received a set of three guitars on New Years’ day in 1559, as a gift. Almost exactly a century later, at the Restoration of the Monarchy in 1660, Charles II returned to England with his own guitar, carried home to London by the diarist Samuel Pepys, who complained of the trouble that it gave him. Queen Anne, who died in 1714 and gave her name to some of the most elegant architecture this country has ever known, also played the guitar, and her book of lessons still survives (although it has made its way to the other side of the Atlantic). The guitar may be a light instrument, in many senses of the word, but it is not at all ephemeral. By citing those examples I do not mean to suggest that the guitar has always remained the same, or that its popularity has never waned. The guitar known to Elizabeth in 1559 was quite different to the one played by Queen Anne, and the guitars we play today are different again and immensely varied; but all the instruments concerned were recognizably guitars with a body resembling a figure eight, a circular sound-hole in the middle of the body and frets along the fingerboard.
    [Show full text]
  • Guitar and Lute Music
    SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet.
    [Show full text]
  • A Schubertiade for Biedermeier Flute & Guitar
    Gotham Early Music Scene (GEMS) presents Thursday, March 11, 2021 1:15 pm Streamed to midtownconcerts.org, YouTube, and Facebook Taya König-Tarasevich ~ Romantic flute Daniel Swenberg ~ Romantic guitar A Midday Nocturne: A Schubertiade for Biedermeier Flute & Guitar Abendlied Robert Schumann (1810–1856) [arr. J.K. Mertz] An Die Sonne Franz Schubert (1797–1828) Romanze from Rosamunde Franz Schubert Am Fenster Franz Schubert Mouvement de prière religieuse Fernando Sor (1778–1839) Nocturne Friedrich Burgmüller (1806–1874) Nacht und Träume Franz Schubert [arr. Diabelli] 9 Waltzes from D. 365 original Dances Franz Schubert [arr. Diabelli] Mondnacht Robert Schumann Taya König-Tarasevich: Romantic flute by Stefan Koch 1830 (restored M. Wenner 2019) Daniel Swenberg: 8-string guitar after Ries (Kresse 2012) Midtown Concerts are produced by Gotham Early Music Scene, Inc., and are made possible with support from St. Bartholomew’s Church, The Church of the Transfiguration, The New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; public funds from the New York City Department of Cultural affairs in partnership with the City Council; the Howard Gilman Foundation; and by generous donations from audience members. Gotham Early Music Scene, 340 Riverside Drive, Suite 1A, New York, NY 10025 (212) 866-0468 Joanne Floyd, Midtown Concerts Manager Paul Arents, House Manager Toby Tadman-Little, Program Editor Live stream staff: Paul Ross, Dennis Cembalo, Adolfo Mena Cejas, Howard Heller Christina Britton Conroy, Make-up Artist Gene Murrow, Executive Director www.gemsny.org Notes on the Program, Instruments, Editions, and Arrangements by Daniel Swenberg I suppose this program gradually formed over the years I got to know Taya and we shared our love of German Romantic poetry, particularly the song or Lied repertoire of Schubert and Schumann.
    [Show full text]
  • A Historical and Critical Analysis of 36 Valses Di Difficolta Progressiva, Op
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 A Historical and Critical Analysis of 36 Valses di Difficolta Progressiva, Op. 63, by Luigi Legnani Adam Kossler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A HISTORICAL AND CRITICAL ANALYSIS OF 36 VALSES DI DIFFICOLTA PROGRESSIVA, OP. 63, BY LUIGI LEGNANI By ADAM KOSSLER A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2012 Adam Kossler defended this treatise on January 9, 2012. The members of the supervisory committee were: Bruce Holzman Professor Directing Treatise Leo Welch University Representative Pamela Ryan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements ii ACKNOWLEDGEMENTS I would first like to thank my guitar teachers, Bill Kossler, Dr. Elliot Frank, Dr. Douglas James and Bruce Holzman for their continued instruction and support. I would also like to thank Dr. Leo Welch for his academic guidance and encouragement. Acknowledgments must also be given to those who assisted in the editing process of this treatise. To Ruth Bass, Dr. Leo Welch, Bill Kossler, Lauren Kossler and Jamie Parks, I am forever thankful for your contributions. iii TABLE OF CONTENTS List of Musical
    [Show full text]
  • Festival 2011 Program
    THE LONG ISLAND Guitar Festival Harris Becker Festival Director April 13-17, 2011 THE LONG ISLAND GUITAR FESTIVAL HAS BEEN FUNDED IN PART BY : The Augustine Foundation Murphy’s Music & Violin Shop This event is supported by a grant from Long Island University’s John P. McGrath Fund The School of Visual and Performing Arts and The Department of Music of the C.W. Post Campus of Long Island University For more information on the Long Island Guitar Festival visit www.liu.edu/gfest LONG ISLAND GUITAR FESTIVAL SCHEDULE OF EVENTS Wednesday, April 13 8:15 p.m. CONCERT : Musicians from “A Midsummer M2usic D0ream” 11 Performers include: Harris Becker, Dale Stuckenbruck, Veronica Salas, Laura Lessard, New York Virtuosi/Kammermusik and Barbara Fusco • Great Hall Thursday, April 14 8:15 p.m. CONCERT : Paul O’Dette, Lute • Great Hall Friday, April 15 11 a.m. MASTER CLASS : Paul O’Dette • Fine Arts 3:30 p.m. MASTER CLASS: “The Music of J. S. Bach” with violinist Dale Stuckenbruck • Fine Arts 8 p.m. CONCERT: Raphaella Smits, Guitar • Hillwood Cinema Saturday, April 16 9:30 a.m. MASTER CLASS: Raphaella Smits • Study Lounge 11:30 a.m. WORKSHOP : High School Ensemble Workshop • Hillwood Recital Hall 12:30 p.m. Lunch Break 1 p.m. WORKSHOP: “Electric Guitar Techniques” with James Erickson. Bring your guitars! • Study Lounge 3 p.m. CONCERT: Emerging Artist - Julian Boyoga • Cinema 4:15 p.m. CONCERT: High School Ensemble Concert, Bishop McGuinness High School from Greensboro North Carolina and Brentwood High School Guitar Ensemble • Hillwood Recital Hall 8:15 p.m.
    [Show full text]
  • Guitarmuseum.Org
    The Instrument That Rocked The World STUDY GUIDE FOR THE EXHIBIT Preliminary!!! www.nationalguitarmuseum.org “GUITAR: The Instrument That Rocked The World” 1 Presented by The National GUITAR Museum TABLE OF CONTENTS Introduction to the Study Guide . 3 Overview . 4 Definition of Chordophone, Brief History . 5 Parts Of A Guitar . 6 Wood Construction Strings Gears Electricity & The Electric Guitar . .14 Body Parts Pickups Amplifiers Preliminary!!! The Inventors . .17 Antonio De Torres Jurado, C.F. Martin It Electrified Orville Gibson, George Beauchamp Paul Bigsby, Leo Fender, Les Paul, Charles Kaman The Entire Historical Guitars Featured In The Exhibit . 20 The Guitar In Art . 21 World. Caravaggio, Vermeer, Rousseau, Benton, Picasso The Interactives In The Exhibit . .30 Student Activities . 36 Drawing Activities (various ages) . 49 Credits . .62 “GUITAR: The Instrument That Rocked The World” 2 Presented by The National GUITAR Museum Introduction to the Study Guide Science plays a significant role in “GUITAR: The Instrument That Rocked The World.” The science inherent in the guitar (and all music) allows students to explore sound and sound generation from within the instrument itself as well as from the perspective of engineers and musicians. The following pages are designed to be used as both a Teacher’s Reference to “GUITAR: The Instrument That Rocked The World” and an education and activity book. Any of the pages herein can be used for classroom presentations and activity, but it is up to the educator to determine the grade appropriate level of each section. For very young students, teachers may want to disseminate the drawing and activities section only, while using other pages as a guide and prep for the exhibit.
    [Show full text]
  • News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter
    News 2011/12 Boosey & Hawkes · Schott Music Autumn · Winter The Solo Piano Collection The Boosey & Hawkes Solo Piano Collection provides the intermediate pianist with exciting repertoire in accessible yet authentic arrangements. Russian Masters Classical Chill-Out 20 Russian classics arranged for 20 relaxing melodies to soothe the intermediate pianist, your soul arranged for the including pieces by 20th-century intermediate pianist, featuring masters Prokofieff, Rachmaninoff all-time favourite repertoire and Shostakovich, alongside along side little-known 19th-century greats Borodin, classical gems. Mussorgsky and Tchaikovsky. ISMN 979-0-060-12389-4 ISMN 979-0-060-12387-0 BH 12389 · in prep. BH 12387 · in prep. Rachmaninoff Best Of British Russian great Sergei Great Britain’s finest 20th - and Rachmaninoff’s most celebrated 21st – century composers are orchestral and choral themes represented in this splendid arranged for the intermediate collection of arrangements for pianist. the intermediate pianist, from ISMN 979-0-060-12390-0 Elgar and Holst to Karl Jenkins BH 12390 · in prep. via Bridge, Britten and Bliss. ISMN 979-0-060-12388-7 BH 12388 · in prep. In preparation for 2012: American Greats Shostakovich BH 12392 · ISMN 979-0-060-12392-4 BH 12395 · ISMN 979-0-060-12395-5 Prokofieff Tango BH 12394 · ISMN 979-0-060-12394-8 BH 12391 · ISMN 979-0-060-12391-7 Boosey & Hawkes is exclusively distributed by Schott Music. MA 5525-01 · 08/11 · 5525-01 MA www.schott-music.com www.boosey.com Dr. Peter Hanser-Strecker Publisher Along with our international partner publishers Boosey & Hawkes and Belaieff, we would like to give you a preview of our interesting selection of music in a variety of styles and levels, from material for beginners through to advanced performance repertoire.
    [Show full text]
  • Classical by Composer
    Classical by Composer Adolphe Adam, Giselle (The Complete Ballet), Bolshoi Theater Orchestra, Algis Zuraitis,ˆ MHS 824750F Isaac Albeniz, Iberia (complete), Maurice Ravel, Rapsodie Espagnole, Jean Morel, Paris Conservatoire Orchestra, RCA Living Stereo LSC-6094 (audiophile reissue) 2 records Tomaso Albinoni, Adagio for Strings and Organ, Concerto a Cinque in C Major, Concerto a Cinque in C Major Op. 5, No. 12, Concerto a Cinque in E Minor Op. 5, No. 9, The Sinfonia Instrumental Ensemble, Jean Witold, Nonesuch H-71005 Alfonso X, El Sabio, Las Cantigas de Santa Maria, History of Spanish Music, Volume I MHS OR 302 Charles Valentin Alkan, Piano Pieces Bernard Ringeissen Piano Harmonia Mundi B 927 Gregorio Allegri, Miserere, and other Great Choral Works CD ASV CD OS 6036 DDD, ADD 1989 Gregorio Allegri, Miserere, and other Choral Masterpieces CD Naxos 8.550827 DDD 1993 Gregorio Allegri, Miserere, Giovanni Pierluigi, Stabat Mater, Hodie Beata Virgo, Senex puerum portabat, Magnificat, Litaniae de Beata Virgine Maria, Choir of King’s College, Cambridge, Sir David Willcocks, CD London 421 147-2 ADD 1964 William Alwyn, Symphony 1, London Philharmonic Orchestra, William Alwyn, HNH 4040 Music of Leroy Anderson, Vol. 2 Frederick Fennell, Eastman-Rochester “POPS” Orchestra, 19 cm/sec quarter-track tape Mercury Living Presence ST-90043 The Music of Leroy Anderson, Frederick Fennell, Eastman-Rochester Pops Orchestra, Mercury Living Presence SR-90009 (audiophile) The Music of Leroy Anderson, Sandpaper Ballet, Forgotten Dreams, Serendata, The Penny Whistle Song, Sleigh Ride, Bugler’s Holiday, Frederick Fennell, Eastman-Rochester POPS Orchestra, 19 cm/sec half-track tape Mercury Living Presence (Seeing Ear) MVS5-30 1956 George Antheil, Symphony No.
    [Show full text]
  • Aneta Kielkucki, Guitar Saturday, April 16, 2011, at 3 P.M
    The Music Department of Wagner College presents Aneta Kielkucki, guitar Saturday, April 16, 2011, at 3 p.m. Music Performance Center, Campus Hall Aneta Kielkucki is a guitar student of Edward Brown Program Packington’s Pound Anonymous, Sixteenth Century Toy for Two Lutes Thomas Robinson (1560–1609) Edward Brown, guitar Larghetto Ferdinando Carulli (1770–1841) Vals José Ferrer (1835–1913) Plegaria Guillermo Gómez (1880–1955) Non al suo amante Jacopo da Bologna (1340–86) Agatha LaRocca, soprano Malagueña Sophocles Papas (1894–1986) Buenos Reyes Anonymous, Eighteenth Century Edward Brown, guitar Intermission Études simples Leo Brouwer (b. 1939) I. Movido II. Lento III. Rápido IV. Comodo V. Allegretto Morenita do Brazil Giuseppe Farrauto (1915–79) Edward Brown, guitar Birth of the Blues Richard Cortland Harrison Text and translation Non al suo amante piú Dïana piacque, Not to his lover Diana liked more, quando per tal ventura tutta ignuda when this whole venture saw here naked la vide in mezzo de le gelide acque. in the midst of the icy water. Ch’a me la pastorella alpestra et cruda For me the forbidding cruel shepherdess 5posta a bagnar un leggiadretto velo, washing her dainty veil from the breeze, ch’a l’aura il vago et biondo capel chiuda, confines her golden locks that roam at will. Tal che mi fece, or quand’egli arde ’l cielo, This creature wild doth on my fancy seize, tutto tremar d’un amoroso gielo. through Heaven glows with warmth, -Francesco Petrarca I freeze and tremble with an amorous chill. -Translation by William Foulke Program Notes Packington’s Pound is a piece that was originally composed for the lute during the Renaissance.
    [Show full text]